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Everything posted by Davide DB
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https://eu.usatoday.com/story/news/politics/2025/03/12/noaa-layoffs-trump-federal-government-cuts/82305736007/#:~:text=NOAA%20lays%20off%201%2C000%20employees%20as%20President%20Trump%20escalates%20federal%20cuts -
Insta360 has officially announced the launch of the X5, its most advanced 360-degree action camera to date. Introduced on April 22, 2025, the X5 features upgraded 1/1.28-inch sensors and a high-speed Triple AI Chip system, which together enable video capture at 8K resolution and 30 frames per second. A new mode called PureVideo uses AI algorithms to enhance low-light performance, offering improved noise reduction and dynamic range. In terms of hardware, the X5 includes user-replaceable lenses made from highly durable glass, making field repairs easier and reducing waste. Other design updates include a built-in wind guard for better audio quality, increased battery life—up to 185 minutes depending on settings—and an IP68 rating, meaning it is water-resistant up to 15 meters (49 feet). The camera also introduces InstaFrame Mode, which captures both 360-degree and standard flat video simultaneously. The Insta360 X5 is available starting at $549.99 for the standard package. A more complete bundle, including a selfie stick and extra battery, is priced at $659.99. Additional accessories such as lens replacement kits and spare batteries are also available separately. https://www.insta360.com/product/insta360-x5
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Welcome aboard Dave, we missed some technical Diver!
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Hi Cyrille, A warm welcome to our forum! We hope you will enjoy it!
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Welcome aboard Maria!
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Sony released a firmware update for three cameras: A1 - A1II and A9III More details here: https://www.sonyalpharumors.com/sony-released-a-new-firmware-update-for-the-sony-a1ii-a1-and-a9iii/ -
Other bad news for camera market. ATM we are getting info from rumors sites: Fuji RumorsFujifilm to Suspend Orders for GFX100RF, X100VI and X-M5...I have received this message from an anonymous source (THANKS), telling me that on Friday April 11, Fujifilm contacted retailers about the suspension of orders for the following cameras: Fujifilm G...
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here we are: https://www.theguardian.com/business/2025/apr/14/sony-hikes-playstation-5-price-by-25-as-trump-tariffs-bite
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Latest rumor Canon RumorsPrice Increases Coming From Canon USAIt looks like we may see Canon USA increasing prices across the board in response to the current trade-war between the USA and China. While the USA has paused t
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Added to our DIYpedia: https://waterpixels.net/forums/topic/671-proven-3d-printed-parts-for-underwater-imaging/ Thanks
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Beautiful image! It’s impossible to know whether it would’ve turned out the same without adding the MFO. My question is, does the Black Mojo focus range adjustment also happen with M43 lenses? Edit: my bad, I've just discovered that Nauticam updated its M43 N85 port chart with MFO: https://drive.google.com/file/d/180prPNEGE2nAfoxEYAq9FLkWj6XOiV-M/view
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IIRC in the big tariff mess, there were already previous tariffs applied to China (and thus Hon Kong). That is why the White House specified that the current tariffs are at 145%.
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The Bajo people of Southeast Asia have a deep connection with the marine environment. As descendants of sea nomads, they traditionally roamed the ocean to fish and trade, but today, most live in coastal villages or on stilts over the water. This short film focuses on the Bajo of Southeast Sulawesi, Indonesia, highlighting their strong bond with the sea and the challenges small-scale fishing communities face. Impacted by overfishing, pollution, and biodiversity loss, they are struggling to survive. In response, some have resorted to harmful fishing methods, putting the health of the reefs at risk and leaving their future in jeopardy. www.ritahencke.com/film/salt-in-their-veins www.ritahencke.com/photography/salt-in-their-veins
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Welcome aboard 🤣
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Ciao Ivan! Welcome aboard, we hope you will enjoy the forum!
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The video portrays a profound message about the significance of the ocean in relation to Earth’s health and the future of humanity. Through personal reflections spanning nearly a century, David Attemborough emphasizes the ocean’s vital role as our planet’s life support system and its capacity to combat climate change. Despite its current poor health, there’s a strong sense of hope: the ocean’s ability to recover more rapidly than previously thought. The narrative implores humanity to take action to preserve the seas, asserting that if we save the ocean, we ultimately save our world. This story is not just about acknowledging the critical state of the oceans, but also about understanding the immense potential for restoration and rejuvenation, underscoring a collective responsibility for the future of our planet. OCEAN WITH DAVID ATTENBOROUGH. Global Cinema Event from May 8 Tickets on sale now: https://www.oceanfilm.net
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Hi Bradley, Welcome to the forum!
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Hi Craine, Do what you think is best. It makes sense that people who use photos more professionally would link them from a service that allows sharing. When we said "community assets," we meant that some forums and communities don't allow you to upload images, but only link to them. We encourage uploading, even if it means compromising on quality and space. At first, we received some negative feedback about the quality of photos after they were automatically resized by the board algorithm. So, we've suggested ways to adjust the photos before uploading. Ciao
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I was looking at my buddy's GH5 Aquatica housing. It has a threaded hole and a bulkhead with an external M16 thread
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Important: Our discussion will center on the economic impact of the new camera equipment tariffs, not the political motivations behind them. Again, Let's keep the discussion strictly to the economic consequences of the camera gear tariffs, leaving politics aside! The Mirrorless Rumors article reports that new tariffs will significantly impact the price of Sony cameras and lenses. Cameras produced in Thailand will face a 36% tariff, while those from China will have a 34% tariff. Sigma lenses from Japan will see a 24% tariff, and Tamron products from Vietnam, a steep 46%. This will likely lead to price increases across the board; for example, the Sony A1II could jump to $8708. The article emphasizes that even relocating production to the USA wouldn't solve the problem quickly due to reliance on foreign components. It also lists the production locations for major camera manufacturers and a table with the most common camera and lens models: Canon – Japan, Taiwan, Malaysia, Thailand, and China Nikon – Thailand and Japan Sony – Thailand and China Fujifilm – Japan and China Panasonic – China and Malaysia OM System (Olympus) – Vietnam and China Leica – Germany and Portugal In the last hours, several comments followed. Each commenter inevitably expresses his or her political views as well. i insert a few random links and avoid politically motivated comments. All I'm saying is that given our passion, other fees for housings and everything else are added to the above prices. Gates Underwater Products (professional video housings) and ULCS aside, I don't think I remember any U.S.-made housings and accessories. Please correct me if I forget anything. Edit: according to Marelux: https://www.marelux.co/pages/aboutus they are USA founded but I don't know where their products are made. https://www.theverge.com/tech/643041/trump-tariff-consumer-electronics-gadgets-smartphones-laptops-wearables https://www.digitalcameraworld.com/cameras/how-could-trump-tariffs-affect-camera-prices
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DaVinci Resolve 20 has been officially announced by Blackmagic Design, and it's a substantial update packed with over 100 new features! The integration of DaVinci AI looks to be a major focus, introducing tools like IntelliScript, which promises AI-powered text-based editing workflows for transcription and timeline generation. The new Animated Subtitles feature also leverages AI to automatically create and synchronize subtitles. For multi-camera work, Multicam SmartSwitch uses AI to intelligently cut between cameras based on analysis of the footage. Editors will see a dedicated keyframe editor integrated directly into the Cut and Edit pages, offering more precise control without needing to jump to the Fusion page. Audio professionals gain access to AI audio mixing, aiming to simplify and enhance the sound design process. Visual effects artists will have significant enhancements across Fusion, including new multi-layer compositing tools and improvements to the USD (Universal Scene Description) workflow. Colorists also get a notable addition with Chroma Warp within the Color Warper, offering new creative possibilities for color manipulation. Beyond these highlights, the update also includes improvements to the Magic Mask and Depth Map tools, further leveraging AI for complex selections and effects. https://www.newsshooter.com/2025/04/04/blackmagic-design-davinci-resolve-20-announced-with-100-new-features-including-ai-enhancements/
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After posting the news that Adobe after more than 4 years* will support the N-Raw codec within Premiere Pro, I reflected that Nikon's path is truly admirable. There is no denying that, until recently, Nikon was perceived as the most “backward” brand in terms of advanced video capabilities compared to competitors such as Sony and Canon (and my beloved Panasonic). This situation was a source of frustration for many hybrid users and videomakers who appreciated Nikon's photographic quality but often had to look elsewhere for more professional video needs. However, the recent turnaround is palpable, and N-RAW, with its impending support in Premiere Pro (after more than 4 years since its introduction), is clear evidence of this. This initial delay, while criticizable, now appears to be part of a larger and more thoughtful strategy. The acquisition of RED was not an isolated move, but is part of a well-defined path of strengthening in the professional video and cinema market. The hybridization of video and cinema is an unstoppable trend, and mirrorless cameras, with their increasingly advanced capabilities, are indeed the ideal bridge between these two worlds. It is no longer just a matter of “adding video capabilities” to cameras, but of designing tools that meet the needs of an increasingly sophisticated hybrid workflow, where the distinctions between photography, high-quality video, and cinema production are becoming increasingly blurred. A short comment on the Nikon journey: (*) Adobe Premiere Pro EX customer didn't receive well the news 😉
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When Nikon acquired a controlling stake in RED Digital Cinema in early 2023, the industry took notice. For photographers and filmmakers alike, this wasn't just another corporate merger—it signaled Nikon's serious commitment to professional cinema production and a strategic evolution beyond still photography. Strategic Integration and Immediate Benefits The integration has moved quickly. RED has already released cinema cameras featuring Nikon's Z-mount, creating a native pathway for Nikon glass to reach professional cinema environments without adapters. This compatibility breakthrough offers significant workflow advantages for creators invested in both ecosystems. The technical advantages of the Z-mount make this integration particularly powerful. With its 55mm diameter and minimal 16mm flange distance, the Z-mount delivers exceptional optical flexibility, supporting everything from ultra-fast apertures to edge-to-edge sharpness across varying sensor sizes. For RED's cinema application, this mount architecture provides future-proofed optical performance while simplifying lens choices for filmmakers. Image credit: Nikon.com Nikon's Video Evolution Z9 vs Z8 - image credits: cined.com Concurrent with the RED acquisition, Nikon has dramatically expanded the video capabilities in its flagship cameras. The Z8 and Z9 now incorporate features previously exclusive to dedicated cinema cameras: Internal 12-bit RAW recording ProRes and N-RAW codec support Advanced log profiles Professional monitoring tools (waveforms, vectors) Timecode synchronization N-RAW and R3D: Complementary Codecs Since the acquisition of Red, Nikon has two Raw codecs in house. Rather than competing internally, Nikon's N-RAW and RED's REDCODE (R3D) formats serve distinct purposes within the expanded ecosystem: N-RAW targets hybrid creators and solo operators with its efficiency-focused design. The 12-bit compressed RAW format balances high-quality acquisition with manageable file sizes, making it ideal for documentary filmmakers and content creators who need cinema-quality results without complex external recording setups. REDCODE RAW (R3D) maintains its position as the industry-standard cinema codec, optimized for controlled production environments and post-heavy workflows. Its established integration with DaVinci Resolve and REDCINE-X makes it the preferred choice for high-end production houses REDCINE-X is a free, professional-grade software application provided by RED Digital Cinema. In addition, Adobe has announced that it will support the N-Raw codec within its video editing software Premiere Pro. The Future Landscape This strategic alliance is redefining Nikon's identity in the visual content creation space. By bridging the gap between hybrid creators and cinema professionals, Nikon is positioning itself as a comprehensive imaging solutions provider. The RED acquisition doesn't represent a casual expansion into video—it's a fundamental repositioning that leverages RED's cinema expertise alongside Nikon's optical and sensor technology. For working professionals, this integration promises future innovations that blend RED's cinema heritage with Nikon's technological prowess, potentially creating entirely new categories of imaging tools designed for modern visual storytelling across all formats. -
Nikon announced the Z5 II mirrorless camera last night, but in addition to that announcement was another exciting update for Nikon videographers. The company revealed that Adobe will finally offer support for Nikon's N-Raw video format in Premiere Pro. N-Raw is Nikon's proprietary 12-bit Raw video format. It supports Rec2020 color gamut and allows users to adjust white balance in post-production, much like what's possible with Raw photo files. As a result, it provides more flexibility during the editing process. Despite that extra data for editing purposes, it also produces smaller file sizes compared to Apple ProRes Raw. It's ideal for those who need editing flexibility while saving space on memory cards and hard drives. The only other options for editing N-Raw files are DaVinci Resolve and RedCine-X Pro, so it is great to see Adobe getting on board. While support for N-Raw in Premiere Pro is certainly welcome news, users will have to wait until "the end of 2025." Nikon didn't provide more specifics than that, simply saying it will come with an updated version of Premiere Pro coming later this year. Here the Nikon full press release: https://www.nikon-asia.com/articles/nikon-n-raw-video-format-will-be-supported-in-adobe-video-editing-software-premiere-pro -
Managing underwater photography collections can be overwhelming, but with Adobe Lightroom's robust metadata features, organization becomes seamless. On his blog, Mike Jones outlines a systematic approach to metadata management, emphasizing the importance of consistent practices to enhance searchability and gain deeper insights into marine environments. Key steps include: Rating: Assigning ratings to evaluate image quality. Keywords: Applying terms to describe the environment and subjects. Title: Using a consistent format for easy grouping. Species: Recording both common and scientific names. Category: Grouping similar species under broader classifications. GPS: Adding precise coordinates to document the exact location of each shot. Implementing these practices transforms your photo library into a valuable dataset, capturing snapshots of time, place, biodiversity, and behavior. For a comprehensive guide, visit Mike Jones's blog: https://mikejonesdive.com/lightroom-metadata
