Nando Diver

Anyone using Android the best app at the moment it seems to be the motion cam pro (29€) with ability to export RAW on Android smartphone, theres a support discord group for more information https://www.motioncamapp.com Regarding the IOS the most popular for video its seems to be the blackmagic camera app specifically optimised for the iPhone and with inclusion of LUT. https://www.blackmagicdesign.com/products/blackmagiccamera For photography Photon or Halide for IOS seems to be good options https://halide.cam https://photon.cam

@Maria Munn These divers are from my dive center, some of their pictures is with smartphones iphone 15 https://www.instagram.com/filomenasapinto_oficial/ xiomi (dont know the model) https://www.instagram.com/rui_palma_photography/ samsung s24 ultra https://www.instagram.com/pedroavasco/

Pixel pro 7 with the new "underwater mode" from android https://store.google.com/intl/en/ideas/articles/pixel-underwater-photography/ and here some guy doing snorkeling with pixel 9 pro https://www.androidauthority.com/pixel-underwater-mode-3496935/

The DXOMARK website can be a good starting point to understand the real capabilities of each smartphone heres some top rating smartphones currently on the market Iphone 16 Pro & Max Iphone 15 pro Vivo X200 pro Huwaei Pure 70 ultra Google Pixel 9 pro & XL Xiaomi 14 Ultra Oppo Find X8 pro Honor magic 6 pro samsung galaxy S24 Heres a review of the new VIVOX200 https://www.dxomark.com/putting-the-vivo-x200-pro-to-the-test-in-china/

The last couple years the smartphone market has exploded and manufacturers compete between them to implement the best cameras/sensor in portable devices. With the recent implementation of easy to use underwater cases it's a new era for underwater photography and filming. Lets try to understand whats the best feature a smartphone camera can have for underwater use, together with the best app for video & Photography. In Random order in terms of importance for underwater we should look for: Stabilisation Image quality (Noise, Texture, exposure, color, artifacts) Field of View Slow Motion RAW files output Zoom AI integration Auto Focus Bonus Feature (underwater mode)

And there tons of other options

The verge review iPhone 16 pro mention about tonne mapping The iPhone 16 Pro allow you to exclude yourself from this narrative entirely with a huge upgrade to the Photographic Styles feature that allows you to adjust how the camera processes colors, skin tones, and shadows, even after you’ve shot a photo. You can pick between five “undertone” settings that are meant to adjust skin tones and nine “mood” settings that feel a lot like high-quality Instagram filters. You can shoot with a live preview of any of the styles, and then you can tweak the settings or even switch styles entirely later on. And all of these styles offer three new fine controls: there’s “color,” which is basically saturation, and “palette,” which is the range of colors being applied. Most importantly, there’s a new control called “tone,” which lets you add shadows back to your photos. It turns out Apple is using “tone” in this context to mean “tone mapping,” and in my tests, the tone control allowed me to reliably bring the iPhone’s image processing back to reality by turning it down. The tone control is semantically aware — it will adjust things like faces and the sky differently, so it’s still doing some intense computational photography, but the goal is for you to be able to take photos that look a lot more like what a traditional camera would produce if you bring the slider all the way down. (You can also go all the way up for the most intense smartphone HDR photos you’ve ever seen, if that’s the sort of thing that makes you happy.) Turning down the tone control felt like a sigh of relief — I prefer photos with less aggressive tone mapping way more than the default iPhone 16 Pro settings and the photos produced by the iPhone 15 Pro. It’s like a haze is being lifted; images are a little punchier, a little more present. You might feel differently, but I like shadows and highlights, and the addition of the tone control lets me have them on a phone camera without jumping through the hoops of shooting in RAW and processing the photos myself. Source: https://www.theverge.com/24247538/apple-iphone-16-pro-review

which camera did you use, the sony or the TG

A little bit of history about GPLOG and LOG-BASE 400 Copy & Paste from gopro labs by David Newman NR01=1 is pretty close to turning all the noise reduction off. However it doesn't disable Bayer processing for things like dead or stuck pixels, and lens shading, all the processing that normalizes the image. Setting NR01=1 and not increase BITR could be an issue for some scenes, as compression will eat noise/detail in maybe a less pleasing way. Yet NR01=1 and BITR=170 (or higher) will have you covered for the more demanding scenes. NR01=50 is simply a 50% blend on the noise reduction path with the source image. NR01=10 is a 10% blend (10% reduced, 90% Source.) NR01=1 is not 1% blend, as at that point it stops blending. The denoise is the stage before compression, so with sufficient bit-rate you can do more denoise after compression (if at all, I often like the natural look.) GPLog and Log-base 400 For GoPro users they are not exposing for a classic grey point. The exposure logic in the camera is the same for all color profiles, where ISO 100 is the best dynamic range. My guess, the system exposure is basically a expose to the right system, the brightest reflected objects (white clouds) are set to be near the clipping point, so your dynamic range is in the shadows. The linear light data is then encoded with a curve. For Natural and Vibrant color profiles, that would be a gamma curve, plus global and local tone-mapping, and a lot of GoPro magic look stuff (I don't know the math for.) For Flat color, the GTM and LTM are off, and the curve is Log-base 113. This was development for HERO3 as a optimized encoding curve to preserve the most dynamic range for those sensors. The curve was designed for film and television production for which GoPro was being used extensively for crash cams. Flat using Rec709 color primaries, unless you are using Labs with WIDE=1 (note: the very first HERO2 Protune Flat 24p, use native color for the film projects of the day.) Flat also as a lifted grey point, but again for GoPro, middle grey is not technically important for encoding the best dynamic range. But Flat with a EV at -1 or (-0.5) often produces a nice result with limited or no color correction. GPLog is log-base 400, but otherwise pretty much the same as Flat, no GTM/LTM, but with a wide gamut as the default. The enhanced shadows can maybe get you half a stop more dynamic a range than Flat with today sensors. GPLog was partly to address a user misunderstanding that they already had a Log profile. Back in 2012 when Flat was designed, no consumer camera had a named "Log" profile, and users likely didn't want math terms (I guess.) GoPro was either the first (or very near) consumer camera to have a standard log profile (just called Flat.) Move ahead 10-years, nearly all cameras have a "X-log" naming scheme, so GoPro added a new one, GPLog. You technically don't need as much flatness to the look at log-base 400, but that is now a user expectation. Also other camera systems typically have a lifted black level, adding to the flatten look, but I do not know why these codewords are wasted. All 0-1023 codes are used for image signal in GoPro camera, many others only use 128-960/1023 in their log profiles (maybe a Cineon inspired throwback.) Flat at 113 is perfect for 8-bit, GPLog 400 is optimized for 10-bit, both are full range encoding. GPLog has room to grow. https://github.com/gopro/labs/discussions/1217

Last dive of 2024 Gopro 13 FW labs 4K60 8:7 crop to 16:9, no color grading

Ive check their forum lately and the DJI Osmo Action 5 pro, it seems it have a lot to be fix in the future. Weird color mapping wrong white balance exposure issue HDR issues Their forum has being very active with people demanding FW updates for does issues.

Really nice colours and excellent video stabilisation on Macro...Looks very professional.

Heres a detailed comparison of the Gopro 13 vs OA5 vs AP2 The Youtuber named Chris Rogers said he made the video because others YouTubers dont test this cameras properly, he also left the RAW files in dropbox link so anyone can make their observations. Also worth to read some of the comments.

@DiversLens Breathtaking.

Another video from today using Gopro Labs WBLK ..No color grading, Natural color, 4k60 etc etc

Same preset WBLK + WBDV with dive lights turned off Ps: is visible some unwanted torch light/flash from other diver for couple seconds No color grading,SDR to SDR output and crop 8:7 to 16:9

On the left preset WBLK On the right preset WBLK + WBDV If theres no other torch or dive lights interfering in the picture its possible to use the preset WBLK + WBDV..but the 4X RED boost will react in excess with other an expected light source.

On the left WBLK On the right WBLK + WBDV

Like i mention yesterday the preset WBDV dive gives boost in red 4X, and was to excessive. Also Yesterday the water has some kind of Broulliard/Fog in the water, meaning theres was less penetration of light at 18m, maybe 10m visibility (everything was darker) I erase that preset and create the WBLK + WBDV and i had nice improvement, but there a few points i should considerer. The water today was unusual blue, like 20m visibility at depth 22m (better light penetration than yesterday) Certain situations/distance i prefer to turn of the dive light if i see too much reddish If im filming with dive lights with preset WBLK and another diver point their torch to the subject the torch light is lightly visible. if im filming with dive lights with preset WBLK + WBDV, and another diver point their torch point to the subject the torch light became strong orange/reddish, the image is completly ruined (heres 2 examples) Ps: the dive location is a wreck.

Today ive tried the Gopro labs preset with WBDV=1 Depth was maximum 18m and with 2x dive lights at minimum about 2500 Lumes each, there was too much red with gain 4X WBDV is more automatic – as the scene get more blue, the more the red channel is gain up 4x. Currently $WBDV=1 is uses =2.33,4.0 Its seems like with WBDV i was using a strong red filter, it can be a good feature if you dont use Dive Lights with Gopro, it works better for closed objects or Macro, but for ambient it needs further testing with different values. At least the AWB dont change drastically. Small video grading using Davinci Resolve with WB locked.. (learning in progress) Has usual lot of debris in the Water and some current. No stabilisation correction was used because it creates a weird effect. ISO was set to 800 EV Comp -05 Color Natural The Gopro Histogram is very handy we can see if the colors are clipping. Ive delete the WBDV preset and create a new one named WBDV WBLK to test tomorrow.

@Bio free dropbox limit is 1080p you can use https://wetransfer.com limit is 2GB per file

Looks really distort to me..

For macro play with settings to remove that distortion and use 4K Its really difficult to get good stabilisation and focus without tripod in any action camera

Use wide FOV settings, dont use Standard (Dewarp) its valid for AO4 but it should be the same for AO5 see this article https://www.tropicalsnorkeling.com/dji-osmo-action-4-for-snorkeling/

Too me the image looks like it speeds up and then slowdown.