Jim Laurel

Thank you for sharing your video, Peter! I'm heading to Gardens of the Queen in a few days and I really enjoyed seeing your perspective on the place. With regard to the red you're seeing in your videos, this is the result of the mixed light problem. If you white balance for the color temperature of the light at depth, daylight balanced lights will look very red. And if you white balance for the daylight balanced lights, everything lit by the ambient light will appear very blue until you are close enough to your subject that the lights overcome the daylight in terms of the amount of light on the subject. The solution is to use lights that approximate the color temperature of the ambient light at depth. Then, in theory, a single white balance should be more or less correct for both ambient and your artificial lights. With a camera like the GoPro that can't do a manual white balance, I've often wondered if it would be possible to use a red filter like the "Flip Filters" that Backscatter sell, along with ambient-balanced (cyan/blue) lights. I've never tried it, but it would be an interesting experiment. This video provides a good primer to understanding the issue. Here is another good video to watch on the subject

Ahem...it might be time to stop digging.

To be clear, my earlier posts were messages from Sony Customer Relations (USA). The post directly above is a message from Sony Pro Support (UK) to British A1 user.

The latest word on v2.01 from Sony Pro Support UK: "Encountering a WiFi issue with a new mainboard would be unfortunate, but it's not possible to guarantee that this will not occur. The new firmware introduces a detection mechanism for the Wi-Fi chipset. Should a user encounter a chipset failure on a version prior to this mechanism's implementation, the camera may fail to boot, become inoperable, display a System Error, or enter a boot loop. Since your camera is functioning properly and you've indicated that the features available with firmware 2.01 do not interest you, we still recommend against updating your camera's software."

I agree that there are many appealing aspects to the M43 system. Chief among those was the idea of very small cameras and lenses that had all the functionality of the larger, full-frame system cameras. I think members of the consortium lost the plot when they began producing camera bodies that are the same size as full frame models. Yes, M43 lenses are always going to be smaller because they cover smaller image circles, which has made them popular for wildlife photography, but for most other users, there’s no size/weight benefit to the system. If I were a LUMIX program manager, I’d write a spec for something sized like this old GX1 with optional high resolution external viewfinder. Panasonic’s hybrid phase/contrast detect autofocus. A new line of lenses around the size of the old 20mm f/1.7, but with updated focus motors. There’d be a trio of tiny pancakes: a 12mm f/2, an updated 20mm f/1.7, and a 40mm f/2. Each lens in this trio would have a physical aperture dial. I’d approach Kodak to create a partnership to embed simulations of classic Kodak emulsions in the camera for use with its JPG engine. Create, share and download film simulations with IOS/Android smartphone apps, or by copying to a special folder on the SD card. Clearly, this kind of feature is hugely popular. The camera would do away with a PASM control, and have a traditional shutter speed dial on the top deck. It would still have those modes, but they would be implicit. For example: Program Auto: Aperture and Shutter speed set to “A” Shutter Priority: Shutter speed selected on top dial, aperture set to “A” Aperture Priority: Aperture selected on lens, shutter speed dial set to “A” Manual: Aperture and shutter speed both selected. Auto or Manual ISO available in all modes Given the wild popularity of the Leica Q3 and the Fuji X100VI, I’d bet this thing would be an instant hit.

I shot MFT underwater for a number of years. First the E-M5 (mk1), then the E-M1 (mk1), then the GH4 and the GH5. The IBIS on all of them was wonderful. For stills photography, I was never wanting for focus speed. Compact size, very good compact optics. Good image quality, not unto FF standards, but good enough considering the other advantages. Ability mount almost any lens... What drew me to them initially were the early models that were like little digital rangefinders. Early models like the Lumix GF1 and GX1 had so much functionality packed into a camera the size of a 1973 Leica CL. GX1 was like having a little digital Leica for a bargain price. In fact, many of the lenses were designed by Leica! And they were an absolute delight to use. I took alot more pictures because they were so nice to use, and easy to carry around. The GM1 was a little jewel that fit in the palm of your hand, could mount any MFT lens, and had a 16mp sensor that did very well. It's only a personal opinion, but what I miss about MFT are those small bodies. The popularity of the Fuji X100VI might be a clue. A camera the size of the old GX1, with interchangeable lenses, a tilting EVF, with a shutter speed dial on top, aperture ring on the lens might prove very popular, no? Ah well, who knows what the MFT consortium is thinking these days. But I hope the format continues and reigns popularity.

Karin and I each use these ThinkTank Logistics Manager rolling cases. They're alot lighter than our old Pelican cases, and they attract alot less attention. We pack all the underwater parts of our kit in these. Karin has to carry her WACP in a carry-on because it puts the ThinkTank over 50lbs. https://www.thinktankphoto.com/products/logistics-manager-30-v2 We'll have all the dive gear in large duffle bags, and carry both those and the Thinktanks on Porter cases. Inside the Porters, we have our regs, camera bodies, lenses, lithium batteries, etc. Those get hand carried. They're the maximum size allowable for carry-ons to/from the US, and they're heavy. Often airline staff will ask us to check them, and we just say they've got a lot of lithium batteries in them and that's the end of discussion. The Porters aren't made any more, but you can still find them on eBay if you watch for them. Best travel product ever made!

Yes, the video specs look amazing. Unfortunately, the Z8 cannot white balance at depth. You can live with it if you shoot in RAW all the time, but otherwise, it's not possible. And even if you shoot RAW, you'll want to grab a white balance as deep as the camera can go, then carry that down with you. Otherwise, you'll be spending alot of time in post dealing with magenta/purple casts. Once you go past 40ft with the Z8, the colors fall apart. Not a problem if you're using daylight balanced video lights, but I never do that anyway. The Z8 would add a few layers of complexity for the way I work with the Keldan Ambient (cyan) lights. But man, the video specs sure look delicious! Panasonic? Oh, Panasonic...I love your IBIS more than any other. But when, oh when will you fix your autofocus problems?

I actually find CAF to be pretty useful, but it's only because the A7SIII is so sure-footed in that regard. I always jump with CAF enabled because often enough, there's something wonderful happening right as you enter the water. Too often, by the time you can even power up the camera, it's over. I have my focus button set up as a toggle between MF and CAF, so as soon as I start rolling on a subject with CAF, the camera grabs focus almost instantly. Then, I hit the toggle, lock off the focus and stay hyperfocal, and monitor focus peaking on the Atomos. If I end up with another scene on the same clip (say, 1 dolphin moves away and is joined by 4 more and now it's a wider shot), I just reframe, hit the focus toggle, the A7SIII grabs focus, then I lock it off again. It's a very fast, and very effective way of working, but it's only viable if the camera has extraordinarily fast and reliable AF capabilities, including in very low light, and can rack the focus very smoothly without hunting.

Yes, Davide, I agree. I got pretty deep into researching a new Komodo-based system over the last few days, and have ruled it out for now. As you point out, the Nikon acquisition puts no small amount of uncertainty on the future of RED and what it all means for the existing lineup. And also, the Komodo itself is nearing the end of its life cycle. It's not a good time to jump in.

Quick follow with the latest from Sony Customer Relations. I replied to their previous email, emphasizing that my wireless module was working with Imaging Edge before the update. Here is their response. Essentially, "You can't prove that your wireless was working before the update, so bugger off." ------------------- "Thank you for contacting Sony. We regret to inform you that no one can verify if the software update caused the issue of your unit and this is considered as a normal out of warranty repair. You may contact Precision Camera Repair 860-272-2100 to get a repair estimate. Thank you. Regards, Mark Sony National Customer Relations"

Fifteen years ago, the 5DMKII was a revelation for its ability to white balance at depth and produce natural colors in ambient light without the aid of filters. "Canon Color", we called it, with a wink. Back then, Canon was the only manufacturer that bothered to send a representative to the Digital Shootout every year to listen to the concerns and needs of the underwater photo/video community. This was a time when pretty much everything else was dismal in this regard. Nikons couldn't do it. None of the Micro 4/3 cameras could do it until the GH5 came along, and even that was nowhere near the Canons. The early APS-C Sonys were particularly awful. The only salvation for everyone not using Canons for UW video at the time was Alex Mustard's (truly magic) "Magic Filter". Times have changed since then, and now, the OG underwater camera manufacturer is set to release it's latest kraken: The Canon R5 Mark II is just around the corner! To get us ready for the R5 Mark II, let's take a moment and look back at the original R5 and R5C. Here's an excellent review of both of the Mark I cameras from our friends, Joel Penner and Cristian Dimitrius: https://www.backscatter.com/reviews/post/Canon-EOS-R5-vs-R5C-Underwater-Review And now some of the early rumors: https://www.4kshooters.net/2024/03/07/more-canon-r5-mk-ii-specs-leaked/

Good idea! I'm sure it will be of interest to our whole community here.

Thanks, Chip. It’s caused me to have a good look at the Canon R5C. I’d dismissed the previous version because of overheating, but the R5C looks quite good. 4K120P and 8K60P with internal RAW is a big step up from the A1. R5C is certainly as good or better in terms of white balance at depth and focus speed. But lack of IBIS will be missed. However, the housing is quite large compared to the A1, so that will help with stability.

I’m no stranger to this kind of thing. At Nokia, we shipped millions of devices with WiFi and Bluetooth every week, and we’ve seen it all. After Twango was acquired by Nokia, we began using the S60 hardware in new ways that were never originally intended, and we discovered all sorts of things, including hardware design issues that precluded using the hardware in certain ways. None of what is happening now should come as a surprise and Sony isn’t really to blame. They are, however, responsible, and what they do to make it right is what matters. It is correct to say that this new firmware has not damaged cameras. The likely case here is not that we’re seeing firmware reporting hardware that has failed, but that the new firmware is reporting errors from hardware that was always out of spec and that is not responding to firmware control as expected, or is responding in unexpected ways. It is highly unlikely that the hardware in affected cameras suddenly fails after a firmware update. It is also highly unlikely that the firmware has done physical damage to the affected cameras. What is likely, however, is that the new firmware is using the wireless module in ways that prior versions never did before. And now, the firmware on units with out of spec wireless modules is correctly reporting an error. The affected units were always out of spec. And that fact is only now being uncovered. Prior to 2.01, customers with out of spec wireless modules had no way of knowing their example was defective from new. It suggests that the way in which 2.01 is using the wireless module was never part of the original test harness to which the A1 boards were subjected before assembly. Logically, this is the most probable explanation. The poll on the Sony A1 Facebook group currently shows that about 11% of respondents are reporting major problems. And if you take the time to read the numerous comments on that and several other forums, you’ll see that inoperability of the WiFi/Bluetooth unit is being widely reported. You might notice that Sony pulled the prior version (2.00) for this very same issue. No doubt that after they pulled it, they realized it wasn’t actually a firmware problem, it a hardware problem. It may take them a bit longer to realize that they’re dealing with out of spec hardware rather than hardware that has spontaneously failed after a firmware update. I see very few comments online related to third party applications. Indeed, most are related to the camera reporting a failure of the WiFi/BT module when trying to connect to the Creators app. its not just one person, Interceptor. If you have a more plausible explanation, please enlighten us. I’m glad that yours are both working as before. But the way, it’s not just the A1 any more…

Thanks, Davide. What you say in your last sentence is something I've been thinking as well. My only interest underwater is video. So I'm starting to see this as a wake up call that maybe it's time to put away the consumer toys and get some serious tools. The Komodo might just travel in the same space as the Sony setup. I'm reading up and talking to some friends who shoot RED underwater to get a clearer picture of reliability, how they treat customers, etc. The Canon C500 could be another interesting option. I kept all the old EF lenses from my Canon days, so that would help with either system.

Begs the question of what to do next. Sell off your old A1 for say $2-$3k, with the honest disclosure about it's limitations with the new firmware, then buy a new one with warranty? Used ones go for $4000-$4500, so If you figure that the repair is around $1500, then the most you could expect people to pay for one is about $2500. Or...Have a huge gear sale here on Waterpixels of ALL your Sony gear...lenses, housings, ports, bodies...and switch to Canon...or maybe RED? Bend over and pay Sony Service to replace your old main board with one that's actually in-spec? Or...give it a few weeks and see what happens? Maybe Sony will do the right thing after all.

I have just received a response from Sony Customer Relations as follows. Bottom line, they don't seem to be planing to do anything about it. So suck it up, plebs. "Thank you for contacting Sony Electronics Inc. Your file has been forwarded to our department. We apologize for any inconvenience this may have caused you. Please be advised that Sony provides a standard 1 year warranty for initial failures to be covered through repair or replacement by the manufacturer. Once the warranty expires, it will be the customer's responsibility to cover any repair or replacement cost on the unit. Due to the fact that the unit is beyond the manufacturer's warranty, we regret to inform you that we are unable to assist with the repair. Thank you for understanding. Regards, Mark Sony National Customer Relations"

It means the camera was working properly, as advertised when new. Imaging Edge working properly, including remote shooting and transferring files. i never did use ftp to transfer files, but it’s worth noting that even now, my camera will connect to local WiFI access points (and stay connected) without a problem. It gives the error when connecting to imaging edge or attempting to use the monitoring app. And really, those are the only things that matter in terms of connectivity. But the way, it’s not just the A1 any more…

An EVF with diopter is fine for stills, or video with static subjects. But in the big blue, with fast-moving action, and swimming hard while filming big animals, it's completely unworkable. You need the LCD at least, and preferably a monitor.

I just got off the phone with Sony support. The agent was not aware of v2.00 & 2.01 firmware problems. After a few minutes on hold to "research", he came back and said that Sony's policy on this issue with the A1 is that if the camera is reporting a Bluetooth/WiFi unit malfunction, then it is a hardware problem and the camera needs to be sent back for repair, the cost of which is the responsibility of the customer. I explained that wireless connectivity on my camera was working perfectly before the firmware update, but apparently that doesn't matter. Sony breaks your camera with firmware, then expects you to pay for it. He advised there is no firmware in the works.

DO NOT UPGRADE YOUR A1 OR A7SIII FIRMWARE TO v2.01 or v3.00 Like a fool, I upgraded my A1, A7SIII and A7IV yesterday. On the A1 (v2.01) Bluetooth and Wifi, which were working prior to the upgrade are no longer functioning. The camera will not connect to the Creator app or work with the old Imaging Edge app. Like many others, I'm now getting this message when I try to start Smartphone Connect: On the A7SIII (v3.00) In video mode, the text for shutter speed and aperture is now about 1/2 half of the former size. It will be very difficult to see underwater at a glance. I wear +1.5 to +2 reading glasses and have diopters in my mask. However, with the old firmware, I could easily read shutter speed and aperture without correction. Now, it's just a blur. And there does not seem to be any way to make the text larger. There are reports that, when capturing in ProRes RAW to the Ninja V monitor in S-log3, duel base iso that was formerly 640 and 12800 is now 80 and 1600. I'm still not clear about this, so I'd love to hear from anyone who can shed more light.

I like the whibal G7 as well and it's well-sized for diving. Certainly cheaper than the Keldan, which also works perfectly well.

This is the one I use from Keldan. It is a standard x-rite color checker classic encased in resin, and the grey side is intended for white balance. From the x-rite website: ColorChecker Passport is a rugged, pocket-sized case that houses and protects three indispensible targets: ColorChecker White Balance Target: A spectrally-neutral white balance gray card target for in-camera white balancing for RAW and JPEG photography. ColorChecker Classic: The recognized industry standard 24-patch target for fine tuning critical color and building custom DNG profiles. ColorChecker Creative Enhancement Target: A Creative Enhancement target for white balance adjustment and exposure verification. One thing to note is that the grey card on the "passport" size color checker that Keldan supplies may be too small a target for some cameras. In particular, it would be a challenge with some cameras that measure a little outside the white frame presented by the camera during the custom white balance process, so a larger card might be needed. I can confirm that, for the Sony A1, A7SIII, and A7IV, the grey side of the Keldan card is of adequate size and results in an accurate white balance every time. I do think you get slightly better color when the red filter is used. But the 2-stop light loss alone is a bigger penalty than slightly worse colors. And in any case, as you say, the Sonys white balance just fine.

Thanks 1fspeed! Appreciate the kind words. I'm trying to do exactly what you mention, which is to light a scene, so that it doesn't look lit. You can tell from the shadows being cast by the fish and shark fins, for example, but I try not to make it too obvious. I think the background looks more or less the way it looks to your eye when you're actually down there. In response to your question, yes, I do the white balance with the filtered lights on. My normal practice is to have the lights on at about 2/3 power. The Keldan grey card is on a retract attached to a d-ring. I just pull it out, take the WB at arm's length. I usually have the lights behind the lens, and aimed straight or toed a little outward to reduce backscatter. So the light hitting the card is always a mix of ambient and the cyan lights. The ambient component is higher at shallower depths, and lower at greater depths where there's less ambient light. At shallower depths, I turn the lights up as bright as possible. When deeper, maybe to 2/3 power. Seems to work very well. I know that Keldan suggests taking the white balance with the cyan lights off, and that works pretty well also. In a recent email, though, Daniel Keller told me that when testing the new 8XR Ambient, he was actually setting the white balance with the lights at full power. The 8XR Ambient is an 18,000 lumen light, so that's a heck of a lot of power. He seemed to imply that he was using them unfiltered, so that light would be the equivalent of a Keldan AF6B. I normally use an AF12B on my 4X lights, or the cyan modules in the Luna 8s, which are also equivalent to color temperature of a daylight light head with the AF12B filter. I'd also say that it's really critical to capture white balance in a way that is completely repeatable. Alot of people I talk to say that they grab white balance from their buddy's tank, or a patch of sand, etc. It can work, but results will vary based on how close you are to the target, the color if it, etc. I find having a small grey card that I can hand-hold to the same distance every time works well.