.jpg.c5e6bd876847a2be9e8f7ad68dd32d7c.jpg)
Everything posted by Davide DB
-
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. -
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... 😇
-
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...
-
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.
-
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.
-
Been there, done that
-
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/
-
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.
-
Welcome aboard!
-
Looking forward to see some photos
-
You're already at version 5.0 of the project! 😃
-
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.
-
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
-
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?
-
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
-
OMG
-
it's a real racketeering
-
Yes, it's sad but we are like the Phoenix 😜 Welcome back home!
-
Ad Chris explained in great detail, 100% TG7
-
It's almost time to update the filter thread then! Plain old Gopro without oil snake... good job indeed! I wish I had a beach dive like this here 😝
-
Hi Abraham, Welcome aboard! It’s great to have you here. Living within the Coral Triangle must offer some truly unique diving opportunities. Looking forward to seeing some of your work, and I hope you’re able to fit in another dive trip soon.
-
Join Flo as she follows the esteemed underwater photographer and marine biologist Laurent Ballesta on an exceptional scientific mission in the Philippines. For two weeks, Ballesta and his team conduct deep-sea dives between 80 and 130 meters in the Tubbataha Reef, a UNESCO World Heritage site known for its biodiversity but rarely explored at these depths. With the support of cutting-edge technology and meticulous planning, the team aims to document and study the reef’s unique ecosystems, searching for previously undocumented species and understanding the behavior and interactions of marine life in an untouched environment. The expedition also provides insight into the challenges of deep-sea research, including the use of pressurized diving habitats and specialized equipment to collect samples and data safely. This video offers a rare look into the world of marine science, demonstrating the significance of preserving pristine ecosystems while expanding our knowledge of the ocean's unexplored depths.
-
In the heart of the Mediterranean Sea, off the coast of Cap Corse, a group of scientists makes a surprising discovery: over a thousand perfectly round rings etched into the sandy seafloor, more than 100 meters deep. What are they? Who or what created them? To find out, diver and naturalist Laurent Ballesta leads an extraordinary scientific expedition. Using cutting-edge technology, he and his team live and work underwater for three weeks, exploring an unknown and fascinating environment. This documentary follows three years of research, stunning imagery, and unexpected discoveries that reveal a unique ecosystem and help us better understand our planet’s past. An exciting journey into the hidden secrets of the Mediterranean.
-
Added to our DIYpedia. Thanks
