RomiK

Get WACP-C and don't look back. From some reason WWL-1B is a bit soft at the long and while WACP-C is razor sharp. Plus not dealing with bubbles especially when you do freediving is an enormous plus. I lost so many opportunities at Galapagos with sharks present at the drop but I had to burp lens first... I would dismiss adapted 8-15 for your application. You need perfect AF. These pictures are with WACP-C and at 60mm from Indonesia this summer. I got better quality and clarity from WACP than from 90mm (!!). It is one image - the whole frame and the crop. You can't believe this unless you see it!!!

I think both Canon C50 and Nikon ZR are like dream come through for recreational UW videographers. Especially ZR with 24-70 2.8ii paired with WACP-C would be a killer pocket rocket provided that Nauticam makes N100 housing for it and Nikon allows for IBIS focal length definition and there is fast access to manual WB and that WB is actually good. Uff too many conditions :-) For me it is DOA for lack of mechanical shutter (I do like taking stills with flash :-). I absolutely love bigger screens on both. So c'mon Sony, bring FX3 ii with 8k60, mechanical shutter and 5inch screen and my money are yours 😆

Video will be as better as smaller screen to watch will be and as larger portion of 8k footage you can cram on it. I got 360 a bit naive to think it could at least document the dive - and it can if you can bear watching the footage out of it - but now I think its good for like those special effects if you building memories video and nothing much cinematic :-) . Like this instagram bait :-)

I agree, the front element of 130 is bulging out and the light source could have come from literally anywhere... perhaps even caused by the shrimp... it definitely is not camera lens reflection, the construction of EMWL system wouldn't allow it. I have the same system - A1 and 130 - and time to time the reflections appear... rarely but they do. With the shade you won't be able to get this close to shrimp though and anemone would quite suffer. I would say with taking several pictures there would be a good chance to have at least one of them clean. Great example of a good use of 130 btw!👏

I dunno, I've found using rectilinear 14/1.8 challenging UW so 11mm the corners will stretch a lot. And not to put a cold water on this rumour but isn't R7 ii crop camera also coming out with that range perhaps more fitting for it... 😉

They have them made to specs in literally milimeter increments for each housing... that's why...

I've found housing ok. No problem with fogging, good response. Stiching glitches on occasion, definitely avoiding stitch over the subject. So good overall. Just the camera isn't there yet for UW. I also got Osmo360 so waiting for housing for this one...

Hi Davide, it's an export from numbers and has no links, yours does... The flip button is important when shooting with macro 90mm and EMWL when I don't want to use relay lens. The relay lens deteriorate image quality, takes off the light and contribute to even more color cast. And also the whole setup is smaller with no relay. My EMWL is 130 and so when I take it off the housing I still have standard narrow macro 90mm . But no relay lens means the image is flipped. So I need to flip it. And last thing I want to do underwater is to go through menus. And with Nauticam solution and shinobi just forget it. There is no access to settings while Shinobi is in housing. monitors.xlsx

It's tough to suggest as there are various criteria more or less important to anyone. Like do you shoot video? HDR? Need to switch quickly foto/video? Battery life? I shoot A1 and need all of the above so it's really tough and up until now the only solution was $5k+ Nauticam/SmallHD Ultra5. Now there are some viable options in $1k range although more or less bricks. I went Shinobi/Nauticam route as Ultra5 wasn't available at the time. If I accept shooting stills in Slog3 PP I can switch fast. Just disregard ISO reading, it's meaningless on A1 as 100000 in Slog3 is about the same as 10000 with PP off as far as noise goes. I did found some differences in color rendition in shadows topside at 800% but in real world not much to see. But ultimately I will switch as soon as I find something. New Weefine 5Pro looks nice but no HDR seems to me. Also a big question mark about battery life. These nits will consume quite a bit and it only has 5000mA battery. Will not last long and changing batteries between the dives is no highlight... Personally I think 1000 HDR nits on Shinobi is very sufficient and 1500 will be even better. But no need to go higher as the battery life will suffer. I am quite glad Shinobi sips the power and NPF970 lasts whole day 4 dives on a live aboard and then some. The same will be for Shimbol, also HDR with good YouTube reviews. But the SeaFrog housing has truly idiotic cable positioning. If only there would be an L shaped Out. So I would recommend Shinobi and Seafrogs for battery life, buoyancy and screen qualities. Fotocore MR6 and MR5.5 seems to check all/most boxes but don't know about cables qualities. But there is access to all settings underwater at least. Why flip is important to me - so I can use EMWL without relay. Why is HDR important to me - because UW videos look 10x better in HDR on good screens and with overexposing the log you won't see much highlights even on 3000 nits monitor. Without HDR tone mapping highlights will turn to big mess and 709 zebra will not help and you shoot blind. I put some updated table to ultimate monitor thread for reference and inspiration. Cheers.

Great job on the table, love this! 👏 As more information will come along we could perhaps add some other vital information such as HDR mapping, whether it allows Flip image and Lut On/Off underwater and one button shortcuts for these. And also if available which underlying monitor is used in custom enclosures - like Fotocore MR6 includes Feelworld LUT6 older UI version. I took a liberty in demo of this addition and added information known to me - some from product review and some from manuals.

it perhaps used to be... now with all these easy money made on internet and influencing and all it became a trendy destination it seems to me. The bar for diving abilities is so low anyone is coming and if there is current situation they just skip the dive... The diving travel - safaris - are doing just fine as far ecosystem as the guides are doing their best but off course there are many many more surface based activities and day travels which put more stress on the environment but still it's nothing like and far far from the hotspots around the world.

It's totally worth it no matter circumstances and conditions. It's pretty much guaranteed you will get a chance to photograph Galapagos and hammerheads, eagle rays, jacks bowls, sea lions, penguins and iguanas and if you ask nicely 😅you might score whale shark and mola. Just go... 😁

I shoot 120 - when I have reason see below :-) and when water is not too warm 🙈. At 25C it’s fine but I tried to do fuvamullah tiger sharks feeding and both A1 and DJI action 4 were overheating some minutes into the dive at 30C. And once they get hot they not cool down reasonably quickly 🤨. I guess you have Sony (from 24 to 60 🤣) so we in the same boat. I too would prefer 30 mainly for shutter speed and light but no bueno… so I do 60. To try to answer the choppiness - I found 24 is butter smooth when the camera is stationary. As soon as there is panning or flyby movement the 24 gets awful chops. Much worse than skipping frames when putting 60p to 30p timeline. So that’s that. Here is my reason to shoot 120 on occasion :-)

Funny, I too was asking myself this very question! However from some reason it seems to be a thing (50hz, not PAL) as I do not know why Osmo360 ends at 8k50 and not 8k60 - worldwide...

This is very much true, more so in bad lighting environment but then even custom WB on a full frame ambient footage won't do wonders as for red. See below for a good light environment sample. This is also very much true. However the big Q is a kind of footage achievable in poor light environment with any sensor and whether further light penalty stemming from use of red filter is beneficial for such footage overall. Here again, in channel theory all very true except of 10bit importance compared with 8bit. 10bit will allow for some tweaks unavailable to 8bit footage and so the results may surpass footage taken with red filter because with decreasing light the action cam footage is getting mushy (especially in shadows) very quickly. Here is example I found from my recent Halhamera trip. I had my Action 4 Pro running as chase camera for when I took stills but it seems they were running simultaneously with A1 on video too :-) . The depth was 17 meters and the skies were not blue, it was off season Indonesia light overcast at around noon. First is screenshot of unprocessed footage side by side next is footage with tweaks and here is resulting video with settings in description: