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Everything posted by Davide DB
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Hi Anthony, Great to have you with us. We hope you will enjoy the forum! -
Yes, correct. And the INON UFL-GR140 ZD you have is the updated lens to work with the new GoPros and it's made to work with the 8:7 aspect ratio 😒
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Welcome aboard!
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Same here, For this reason, I am still a great admirer of the M43 format, even if I have to say that Pana has somewhat betrayed the system's real strong point: compactness. The camera bodies have gradually become larger and larger, and now, if you take a GH7, it's bigger than an A7R V! https://camerasize.com/compare/#924,898 Nevertheless, the size of the lenses and ports remains. So: Option 1 (Economical): Find a used GH5M2 and housing and reuse all your lenses and ports. Option 2 (Expensive): Find a GH6 housing (finding a used one is like finding a unicorn) and put a GH7 in it. You'd reuse all your ports and lenses. Option 3 (Very Expensive): Switch to Full Frame (FF) from scratch. Here, the choice is as wide as the wallet you need to buy everything again 😆
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For music in YouTube videos, downloading WAV files from Artlist is generally better than MP3. WAV is uncompressed, keeping all the original audio quality. MP3 uses "lossy" compression, removing some audio data to create smaller files. This can make the music sound less clear or "mushy," especially in detailed parts. The audio trace from your video editor does also get re-encoded when you export your final video file. This multi-step re-encoding process is exactly why starting with the highest possible quality audio file – the WAV – is so important. Original Source (Artlist): You start with either a high-quality WAV or a compressed MP3. Video Editor Export: When you export your video, your editor will encode the audio track within the video container (like MP4). If you started with an MP3, this is another round of lossy compression applied to already compressed audio. If you started with a WAV, the editor is working with full-quality audio for this first encoding step. YouTube Upload: When you upload your video, YouTube then re-encodes the audio again for streaming. Each time a lossy compression is applied, more data is discarded. 1 Starting with an MP3 means you're introducing quality loss at step 1. Then, your editor compresses it again (step 2), losing more data. Finally, YouTube compresses it a third time (step 3), leading to further degradation. In short: Start with the best quality (WAV) to get the best possible result after YouTube's processing.
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Hey Zvonimiri, I don't think this light is really the right fit for what you're looking to do. The lamp you're asking about has a single, very powerful LED with a super wide 160-degree beam. It's pretty much impossible to use it for macro photography. Just to clarify: Lumen = how powerful the light output is. Lux = how much light actually hits a specific spot. Lux = Lumen / area (in square meters) So, those 15K lumens are spread out over a huge 160° area. Honestly, I'm even convinced that 160° is too wide even for wide-angle shots. For comparison, Keldan lights have a beam angle of 90 degrees! Plus, with a wide-angle light, you'd be illuminating all the water between your lens and the subject, which increases backscatter and can even light up your lens, causing diffraction. I really don't think a single, super powerful light (more than 10K lumens) that works well for both wide-angle and macro shooting exists. There are some less powerful models like the Backscatter Macro Wide 4300 that have dedicated LEDs for each function, but they risk being a bit of a "jack-of-all-trades, master of none." If you really wanted to try macro with a wide-angle light, you'd need to attach snoots. Some lamps, like Kraken ones, have a standard photographic thread on the front, letting you attach things like lens hoods. That could be an idea! Last but not least: personally, I really dislike having to control the light with just one button and having to do or remember endless sequences. Also, that specific button is known for having problems over the medium to long term. Find a light with a wheel power control. Hey, perhaps if you share what equipment you've got and the sort of WA/macro shots you're thinking of (like Mediterranean, tropical, how big the subjects are), you can really help us excel at our core talent: getting you to spend cash! 😁
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A warm welcome aboard! Don't worry about the "no idea" part, that's what we're all here for – to swap tips, tricks, and maybe a few tales! Ah, the UK Legion is expanding!
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Romik, you are right. I'm not trying to convince you not to work in Rec.2020 or that it's not worth it. What I mean is that sometimes one has to be pragmatic. Desktop monitors capable of displaying the entire gamut of the Rec.2020 color space are rare and generally expensive, as Rec.2020 represents one of the widest color spaces available, surpassing DCI-P3 and Adobe RGB. Currently, even high-end professional models manage to cover only a portion of this space. We're talking about monitors that start from a minimum of 1000 euros and go up to 25,000 euros e require a special care with calibration. The same goes for field monitors, and a quick search reveals that only SmallHD has two 7" Rec.2020 monitors in its catalog, with costs ranging between 1500 and 3000 euros. Then you would have to put them in housings. There is a new cheap Feelworld Feelworld LUT11 but I haven't read anything about it. The Shogun Inferno does not support Rec.2020, but it can load LUTs that simulate it (what that really means...), but it does support HLG and PQ, which are two different concepts but also related to HDR productions. In short, despite the Rec.2020 standard being over 10 years old, it hasn't really become widespread precisely because technically it still represents a challenge that requires a non-trivial production and viewing chain. And here I return to the pragmatism I mentioned. If even professional DPs write that on set they work or are content to work in SDR, perhaps it's not that simple. Or when a Rec.2020 product is required, the costs involved are on another scale.
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Yes, the edges are worse than I expected. In the video of the turtle, on the right you have the blue and it's not noticeable. You have the reef on the left and I was about to write to you that maybe it was too close and therefore out of focus. Actually, with these lenses you have a very reduced MFD (Minimum Focus Distance). In the jack video, however, you can see that the problem is the lens. or a combination of sensor size/aspect ratio and lens. I have the impression that the lens manages to cover the entire 8:7 GoPro sensor but that it is not designed for this mode. Did you say the GoPro is in wide? Did you use the GoPro stabilization? It can also introduce artifacts. I don't know if these defects are also present in photo mode. I don't remember which part of the sensor the GoPro uses for photos. @Maria Munn , who is a photographer, surely knows more about it. P.S. I have lots of clips shot during a recent trip to the Maldives with the GoPro 11 and the AOI lens, but with original firmware and in 16:9. If only I could at least find the time to download the clips... 😇
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Just saw the news yesterday about the new Panasonic S1 II being announced. While it's not available yet and obviously no underwater housings or specific accessories are even on the horizon, I won't venture to talk about features related to photography but looking purely at the listed video specifications, there are a few points that caught my eye for potential underwater use down the line. From what I've read on the official UK site, the S1 II offers some pretty robust video capabilities. https://www.panasonic.com/uk/consumer/cameras-camcorders/lumix-s-mirrorless-full-frame-cameras-learn/article/s1ii-videography.html We're talking resolutions up to 6K (in 3:2), 5.9K at 60p (16:9), and 5.1K at 60p in Open Gate, which could offer some flexibility in cropping for different aspect ratios in post. It also mentions DCI 4K and 4K at up to 120p with a slight crop, and 4K at 60p with no crop in certain modes. Internal recording options are quite promising, including both ProRes and ProRes RAW, which are definitely professional formats that could be beneficial for grading underwater footage directly in camera. The camera apparently has a new sensor and a double ISO circuit that contributes to a wide dynamic range,. Autofocus performance for video is highlighted as improved, and there's mention of enhanced subject recognition. While underwater AF is a whole different ball game, any step forward in this area is worth noting. Stabilization is another key feature mentioned, with high stops of compensation. This could be very useful for handheld shots or reducing minor movements underwater, though the effectiveness within a housing and underwater environment would need to be tested. Other video assist features like waveform, vectorscope, and zebras are included, along with frame markers which can be helpful for framing shots. Again, it's early days and this is just based on the specs released. No idea how it will perform in a housing or what the lead time for those will even be. But purely on paper, the video features seem quite promising for those of us interested in underwater filmmaking with a full-frame system. Will we have dedicated underwater housings? In the past, only Nauticam had a housing for the S5 in their catalogue, and the camera body is almost identical. we'll see...
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Panasonic has made a significant announcement for hybrid photographers and videographers with the launch of its new full-frame mirrorless cameras, the Lumix S1 II and Lumix S1 IIe. Both models are engineered to cater to the demanding needs of creators who seamlessly switch between capturing high-quality stills and professional-grade video. Lumix S1 II: Pushing Boundaries with a Partially-Stacked Sensor The flagship Lumix S1 II marks a milestone for Panasonic, introducing the company's first partially-stacked CMOS sensor. This 24.1-megapixel full-frame sensor significantly boosts read-out speeds, enabling impressive capabilities. Videographers will appreciate the ability to record 6K30p open-gate video, offering greater flexibility in post-production. For still photographers, the S1 II delivers with a remarkable 70 frames per second continuous, blackout-free shooting experience. Key features of the Lumix S1 II include: 24.1MP Full-Frame Partially Stacked CMOS Sensor Open Gate 6K 30p Video Recording 5.1K 60p Open Gate Recording 8.0-stop 5-Axis Image Stabilization Technology Phase Hybrid Autofocus with AI Detection Lumix S1 IIe: Streamlined Power for Creative Professionals The Lumix S1 IIe offers a more streamlined package while retaining many of the advanced tools found in its sibling. It is built around a 24.2-megapixel full-frame BSI CMOS sensor. This model also supports Open Gate 6K 30p video recording, ensuring high-resolution video capture. Photographers will benefit from features like 96MP high-resolution handheld stills and the inclusion of Photo Styles and Real-Time LUT application. Key features of the Lumix S1 IIE include: 24.2MP Full-Frame BSI CMOS Sensor Open Gate 6K 30p Video Recording 96MP High-Resolution Handheld Stills Phase Hybrid Autofocus with AI Detection Photo Styles and Real Time LUT Shared Strengths and Availability Both the Lumix S1 II and S1 IIE share a robust set of features designed for professional use. These include: Dual card slots for versatile media management. A high-resolution tilting/free-angle LCD screen for flexible monitoring. A durable body built to withstand demanding shooting environments. The Panasonic Lumix S1 II is set to retail for $3,197.99 USD, while the Lumix S1 IIe will be available at a price point of $2,497.99 USD. These new additions to the Lumix S-series lineup signal Panasonic's continued commitment to providing powerful and versatile tools for the modern hybrid shooter. -
So, prices will go back to normal now, right? 🤣 US and China agree to slash tari...US and China agree to slash tariffs as trade war easesShares jump as markets welcome news of a major de-escalation of the trade conflict between the two nations.
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I too, was about to give up with the strap wrench. Then, on the last try, it worked. Effectively, the irregular shape of the flip holder prevents the wrench making a firm grip. With the Irwin clamp you are able to apply the force on more specific spots.
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Been there, done that
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Yes, it's definitely perfect for that kind of camera/housing setup, and it will likely become the go-to monitor. My concern is with mirrorless configurations like the one shown in this photo from their page. Two bulky floating arms aren't always enough to achieve a setup that doesn’t strain your wrists when you're tilting the rig. And with 800 grams placed on top, it gets tricky. As for LUTs, I don’t really see the issue. These days, almost all cameras let you load LUTs directly into the body. When it comes to HDR, the professionals I’ve seen at work expose just as they would for SDR — the key is getting the midtones right. Manufacturers try to sell you their gear, but honestly, you can get the job done anyway. So, IMHO, HDR is a non-issue. Here are a couple of links on that: Sony CineHDR - What does it really mean? - Part 2 – Shooting HDR a... https://vmi.tv/blog/learn-help/hdr_reality_and_monitoring-a_dops_perspective/
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I have to admit that 870 grams is really a lot. I find it difficult to imagine a setup with a mirrorless camera that can make it perfectly trimmed. Being neutral isn't enough for video. It's probably much easier on cinema housings that have greater mass and better balance. Conversely, I like the layout and position of the I/O ports. IMHO that's the best point. However, I don't understand how this new type of mount works. The part on the housing looks like some kind of Arri mount. But I don't get how it rotates. Of course, Nauticam prices are getting higher and higher. 3500 USD for the basic version and 4700 with SDI. Personally, it's now beyond my budget.
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Welcome aboard!
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Looking forward to see some photos
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You're already at version 5.0 of the project! 😃
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It’s almost two years old, but still incredibly relevant! Ian Urbina's investigation reveals the extensive human rights abuses and environmental degradation associated with China's vast distant-water fishing fleet, which may comprise up to 6,500 vessels. These ships often engage in illegal, unreported, and unregulated (IUU) fishing, contributing significantly to the depletion of global fish stocks. Workers like Daniel Aritonang, an Indonesian deckhand, are subjected to exploitative conditions, including forced labor, inadequate food, and lack of medical care, sometimes leading to death. The article also highlights the environmental impact of practices such as bottom trawling, which releases nearly 1.5 billion tons of CO₂ annually—comparable to the aviation industry's emissions. Additionally, China's fishing activities in regions like West Africa and North Korea undermine local economies and violate international sanctions. Despite international labor and ethical laws, seafood caught under these conditions often enters global markets, including the U.S., due to insufficient supply chain transparency. The New YorkerThe Crimes Behind the Seafood You EatChina has invested heavily in an armada of far-flung fishing vessels, in part to extend its global influence. This maritime expansion has come at grave human cost.
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You know that feeling when you hit play expecting a nature documentary — majestic underwater shots, soothing narration, maybe David Attenborough whispering about tentacles — and instead you get... something else entirely? Yeah. That’s what this is. Something undefined — and that’s me being generous. It presents itself as a documentary about octopuses, and your brain immediately gears up for a classic wildlife piece, BBC or National Geographic style. But nope — it’s something completely different. A thing. It starts from the (fair) assumption that everyone is fascinated by octopuses. And so this fascination is told through a quirky bunch of characters who love them in their own weird ways: a comedian, an American researcher, an Italian biologist, a filmmaker, and a fisherman. It’s all shot like a fashion editorial or a magazine report, sprinkled with jokes, comic scenes, and bits of science. I even watched it in the original language, and honestly, I still don’t know what the creators were going for. I have to admit, at first, it’s kind of charming. Just watch the first five minutes — it kicks off with World Cup matches and the legendary octopus Paul. It’s light and entertaining, at least initially. But for me, that charm wears off after about half an hour. As for real, original footage of octopuses underwater? There’s barely any. Maybe just the hatching of a Pacific octopus’s eggs. The rest? Stock footage. Apart from some shaky sand shots filmed in Mexico by the Italian researcher with a GoPro, there’s nothing authentic. And to tell the story of this imaginary octopus, they even used stop-motion puppets. Original, sure — but also clearly a budget choice. Otherwise, they’d have had to do it properly, like the BBC Natural History Unit. So yeah, a very strange product. Not terrible, but... definitely having an identity crisis. For a more professional review: https://www.theguardian.com/tv-and-radio/2025/may/08/octopus-review-phoebe-waller-bridge-documentary-prime-video
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The visual difference between the photos is noticeable to a pixel peeper, but naturally, I can't judge the difference in the lens's user experience (range and AF). Two questions come to mind: Does the image quality (mfo-1 effect) depend on the lens used? Is it worth spending €500?
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Manufacturers are using different approaches. It seem that AOI has doubled the prices in US only. Aura light is over 1K USD from Backscatter and still 500 € in Europe. https://www.backscatter.com/AOI-ALS-01-Aura-Underwater-Video-Snoot-Light-System-01
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OMG
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it's a real racketeering
