RomiK

Here the moment reviewer describes new CWB process, it is 44:54 mark

So I think that quote below sums it up perfectly Options are not a must, they are to be selected from based on needs. Slog3 has the largest color space from profiles offered on Sony cameras and so it is indispensable if: shooting ambient light with CWB and/or planning on HDR delivery Because it has the largest color space it offers largest room for color correction and unifying color look of multiple clips. It is advisable to shoot not fixed ETTR (+1.7 etc.) but to shoot based on waveforms as high as you can. Noise lives in shadows they say and with this approach it will become a non issue even at ISO32000 (max for my A1) which in Slog3 corresponds to like ISO 8000 in standard profile. But if you shoot with artificial lights with AWB then above mentioned doesn't mean that much except of it protects your highlights a bit more. But you could also expose for the highlights (think of reflections) and see what shadows will do. I must say after I switched to Davinci from FCPX my slog footage started to look much better. Now only figure out bullet proof HDR delivery for social networks. What you see on my instagram is often not what I see on my monitor as I try to deliver in Dolby Vision (insta doesn't take HDR10+ as YT does) and often it (i) fails :-) But when it doesn't it is awesome.

Guys, my question about CWB of FX5 wasn't as much about the mechanical process and how to hold the card (although that play role too) as about how and from what camera calculates it. Right now from brief mentions I found (and silly me there was FX5 in showroom near me couple days ago) it looks as if it calculates WB from the entire scene. Pretty much like Canon as recently as R5 did it from capturing the photo. Unlike your A7SIIIs and my A1 and somebody else's FX3s and R5iis where you have square box that you simply point at the middle of your white cards. So imagine 25m depth, colors disappeared, you have your white slate in the frame together with some white corrals in the back and now camera needs to calculate the RGB gains and how is it going to decide... Yes, shooting raw has greater flexibility but as you know from shooting raw images, which have far more flexibility than raw video, if you start on bad footing you are not going to catch it in post. Like shooting ambient in 25m on AWB good luck then in Lightroom... And so in cinema OS on fx6 you are supposed to zoom in and fill the frame with that slate. Which is like impossible with wide angle lens unless you carry a sail underwater :-) But FX5 presumably does not require that and analyze whole scene so that comes back to Canon's way of doing things in the past and its accuracy and challenges. And I am not even bringing out the fact that at depths we are at extended unpublished WB territories where cameras somehow calculate RGB gains but then only say "above 9900K" and "red max" 🤣

In live view mode the AF in DSLR world outright sucked as it wasn't using PDAF but contrast detection. Up until Sony came with hybrid translucent mirror and we know where it end up. With mirror up there was nothing reaching PDAF sensors. Do not remember which models if any from DSLR world introduced PDAF on the chip...

Good question and It is not either / or. The use case is overlapping and also differs photo vs video. For video the viewfinder is just a no - stability, scene control, surrounding awareness... For photography from my standpoint monitor allows for faster framing on the fly and from difficult angles. See the picture below. Taken when swimming alongside the turtle with WWL-1B so 130deg FOV. Tried to get the sunball in the frame. Now imagine doing this with viewfinder - can't swim sideways really and most likely would end up in corrals. Power draw is actually greater for viewfinder than camera monitor so it's another plus. Plus on some camera you can output over HDMI and have built in monitor disabled which further saves camera battery. The only use case I find viewfinder better is a super macro as framing through viewfinder after creature is found is more precise and faster especially if subject is not stationary. Also manual focusing there. with 3000 nits on wed5-pro not a slightest

CWB is still a big IF. It calculates WB from the entire frame but how who knows. Gerald mentioned it briefly and I didn't find any other mention. On FX6 you are supposed to zoom in to fill the frame and that won't quite work underwater in one man one hand operation... little details make or break 🤔

Hehe good one!😅 When considering options some may advise "get Ninja, you can record and it is future proof". But no. Ninja has much greater energy consumption so it won't last nearly that long and besides with newer cameras external recording is a thing of the past.Although I did get weefine which works good for my main use case which is 4x a day 1 hour liveaboards I still keep my shinobi in case there is going to be R5C successor and housing with extended battery for it. Whole day diving without the need to open the case is really appealing thought :-)

For this use case I would probably skip on Weefine and go for Shinobi in Nauticam housing with NPF-950 battery. I will last whole day with time to spare. So although I was recommending Weefine in the other thread now with this use case on hand I would advise against and go with Shinobi. You may even watch movies on extended deco stops 🤣 Another plus for Shinobi is its neutral buoyancy.

Can't speak for other models but Sony A1 CWB is great even at 30m depth. Official metadata say like WB >9900 but Lightroom often displays WB at above 15000K. CWB at depth is what is going to remain to be seen on FX5. Unlike other models with square pointing at white target FX5 calculates CWB from the entire frame (!) pretty much like Canon was evaluating the picture in the past. I haven't use Canon underwater but those who did - how good and up until which depth was that process?

Wow. This (carnet) resolve does not look good. It is the opposite of relaxing the rules. And more costs to visit Mexico.

Last month in red sea I skipped on using relay as my new monitor allowed image rotation and the logistics became quite simple. Scubapro's new cargo shorts host the base plus 130 comfortably even on zodiac on the way to dive site. Then jump into water and based on needs and subject at first use atach both, disattach 130, clean bubbles and attach again and shoot. When not needed store the base+130 in cargo shorts. Done.

I don’t think the tech is ready for 360 images out of 360 cams. Insta 360 Pro housing is not good enough even for video and Nauticam’s case while superior in terms of sharp seas still has issues with stitching plus produces very nasty flare if there is sun ball in the image. For docu video it’s ok. But not for what you need.

It absolutely had. WACP-C is amazing. Such a difference in performance compared to WWL-1B you won’t believe unless you try. WWL was very unsharpnespeciallybat the long end 60mm while WACP is tack sharp at all focal lengths. Heck it is even good for macro - if you can get close enough. Totally recommend It. I must correct myself. WACP-C is worlds better than WWL1

There is no flare problem when shooting sun with WACP-C. You will get flare with mispositioned strobes facing the WACP glass but not otherwise. For snorkel with whales its a non issue (no strobes) Having said that I wouldn't bring WACP-C for whale snorkel trip. Never been on one but if it is anything similar to my Orca experience in Norway you are going to spend a lot of time on the small boat chasing the whales and jumping in and out of water. And so you may miss a lot of pictures and videos topside. With dome not so. All my topside shots in Orca video are with camera inside of housing behind 180mm glass dome. Also one of attached pictures. For Orcas I had 20-70 F4 with 180mm and 16-35 F4PZ which I haven't used. For whales I probably would. Honestly I think that all technical discussions for snorkel trip are nonsense. The rule of the game is be light be quick and have great AF. Also external monitor will be invaluable for these shots floating on the surface extending arms down and getting shot from down below. Wed5Pro may prove to be the best investment :-). Good luck :-) WACP-C 20-70 with glass dome

+1. Too many missed pictures in galapagos right after the drop where I had to remove - clean - put on wwl1... Plus WACP-C is soooo much sharper on long end than WWL... I think where WWL makes sense is video for wide/portrait shots. For photo I havent had much luck with CMC on that 28-60 flat port so I wouldnt say wide/macro would make much sense to justify wwl1.

So I have had Nauticams X5 housing under water in the wild finally. First impression on the boat was - amazing! Sharp as a knife with amazing contrast when viewed on the phone. But then I came home and got it on the big screen. And on Apple Vision Pro. And the problems began to surface. I knew about the stitching and actually in the blue it is not that bad. And they work with Insta (supposedly) to improve it. But something very weird is going on in the optical department and it is consistent from multiple dives multiple days which precludes the camera being wrong positioned inside of the housing if that would be even possible (it is quite tight in it). Long story short - the regions close to stitch line maintain excellent sharpness from near to far, something that has been advertised by Nauticam. But the regions farther from stitch lines - or in between , like in the middle of the 180deg image - are blurry from near to far. Very weird and kinda confirming the something in the optical department is off. So for now cant recommend it to anyone.

Not this nice. There are tools extracting frames from video but many challenges - white balance, loss of detail, unsharp... but you can try and see.

These are exactly my experiences with Shinobi. Clean HDMI out ? Very good tone mapping for HDR preview. And plus for Sony users its waveform shows the levels of log signal, not interpreted (Canon users can display their own camera waveform). Want to make stills and video? Tough life. Unless shooting stills on slog3 profile. Want control monitor on a big screen? Not a chance. Lower status line obscured with housing controls even when I collapse Shinobi menu. So that’s that.

I approve this message 👍. Plus many other benefits beyond ‘well built’ compared to Shinobi/Ninja solution. Take it from a 2 years user of Shinobi in Nauticam.

It went through renovation couple years ago. It’s quite nice now.

😱 good point about disconnect thank you! Another thing to find out for sure. 👍 Yep, WB button exactly where is needed. I am so used to this position from A1 - custom button 3 next to the Menu button.

Wow. Speechless. One thing to live through and another deal with it emotionally in memories later on. Good luck 🍀 On the liveaboard as we speak. In Red Sea. It seems like they forbid use of charging in the cabins in Egypt so much so that our boat C-echo has no plugs in any cabin. Just light switches. Not that fires would not be starting by boat electrical system in engine rooms or elsewhere or in kitchen but a good step nevertheless.

It’s (overexposure) the same thing with Sony Slog3. I expose based on waveforms and often it is 3+ stops to what camera weighted average measures. Almost a butter even in ISO 32000 :-) . What it intriguing to me on C50 package is the housing with extra battery (ZR doesn’t have it) so the camera lasts no matter what. I can’t stress enough how disappointed I was in Norway when at the end of the day after 4 hours in zodiac last epic bait with 4 humpback ending the party and I missed that.

If you like R5C you will love C50 - for video that is. I got real GAS about it a month ago when A1 overheated in hot Malpelo (!!wtf) waters and also was running out of battery when filming 8k. This C50 Nauticam housing checks all the boxes. Lens choice may be personal issue but for me the 20-50 PZ either behind dome or if going wide in combination with WACP-C is just perfect. BUT - sadly for me - no shutter no flash. And as I travel to dive and take both photo and video … But since you look for a video camera it’s perfect. Clog2, cinema OS, canon colors. Will not overheat. Will last whole day. Perfect.

If you haven't had chance to visit and dive this iconic shipwreck now you can. In 2023 I took about 550 pictures of it with the aim to create a panorama. Which I did and it was a painful process in photoshop. And there were major problems with parallaxes of items on superstructure. Fast forward to 2026 and AI powered 3DGS allowed me to reuse these images and look what is the result. So now have to come back (actually coming next week) to take more imagery of the superstructure part which is always in shade. And hope for the best :-). In the meantime enjoy this preview. https://superspl.at/scene/23b971fc