Shark and Yolanda Red Filter and Ambient Light Filter test clip - Graded

Everybody is a manager after the football match is over

It is a good idea to comment on what works with the benefit of some hands on experience

If I recall correctly some of those writing on this thread have been in touch to ask what was required to try the technique

At this point as the rest of the world seems to know best I will keep the details to myself and I will be looking forward to some of your work in anticipation

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Everybody is a manager after the football match is over

It is a good idea to comment on what works with the benefit of some hands on experience

If I recall correctly some of those writing on this thread have been in touch to ask what was required to try the technique

At this point as the rest of the world seems to know best I will keep the details to myself and I will be looking forward to some of your work in anticipation

 

 

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please dont do that I am interested in the details, and like to experiment like this. I dont get to dive much so having details and plans on what to try ahead of dives makes the most of my experiments.

please dont do that I am interested in the details, and like to experiment like this. I dont get to dive much so having details and plans on what to try ahead of dives makes the most of my experiments.

The way to see it if you want to do some tests is that filters on the lens give you around 4 meters benefit on custom white balance.

Typically custom white balance works to max 10-11 meters before it maxes out. Some cameras like Olympus can do custom white balance to 14K in some models.

Now there are plenty of schooling fish you can’t illuminate with lights and you need to make do with ambient light that are between 10 and 15 meters. This is basically the filter hot spot.

In bright scenes 12 meters is also not dark enough to make your lights work well.

So the filter helps to resolve that 10-15 meters area ambient light scene that cwb can’t cover and lights are not suited to.

If your scene is in the range 0-10 meters the benefit of the filter especially for video on MFT is to avoid apertures beyond f/11 where the lens perform poorly so as by product you also get better sharpness.

It really depends on what you are shooting and where but it is nice to have options.

For what concerns the ambient light filters this is a more complex topic because you use the lights just for highlights and detail not as main source same goes for strobes but you have much more power there

So for experiment purposes you need to be able to understand what shots work with filters and which not and then in case of closer scenes or caves you ca try the ambient light

If you start everything altogether you may end up with too much of a challenge

If your primary use is still images wrecks around 12-15m are the perfect starting point or large school of fish from the distance

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The way to see it if you want to do some tests is that filters on the lens give you around 4 meters benefit on custom white balance.

Typically custom white balance works to max 10-11 meters before it maxes out. Some cameras like Olympus can do custom white balance to 14K in some models.

Now there are plenty of schooling fish you can’t illuminate with lights and you need to make do with ambient light that are between 10 and 15 meters. This is basically the filter hot spot.

In bright scenes 12 meters is also not dark enough to make your lights work well.

So the filter helps to resolve that 10-15 meters area ambient light scene that cwb can’t cover and lights are not suited to.

If your scene is in the range 0-10 meters the benefit of the filter especially for video on MFT is to avoid apertures beyond f/11 where the lens perform poorly so as by product you also get better sharpness.

It really depends on what you are shooting and where but it is nice to have options.

For what concerns the ambient light filters this is a more complex topic because you use the lights just for highlights and detail not as main source same goes for strobes but you have much more power there

So for experiment purposes you need to be able to understand what shots work with filters and which not and then in case of closer scenes or caves you ca try the ambient light

If you start everything altogether you may end up with too much of a challenge

If your primary use is still images wrecks around 12-15m are the perfect starting point or large school of fish from the distance

 

 

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Thank you. I mostly dive in the 10-15m so this is the sweet spot so this method could work well for me. Can you share some details on how you combine the filters in the rosco kit to get your ambient blue? I have an ikelite 6441 series filter I use on my WA

As far as I recall the ikelite is just a warming filter very similar to a CT Orange full and therefore it won't work properly with any ambient filter on the lights

What set up have you got? Maybe better to start your own thread or write a message on my blog

Pretty close to what you shot before your upgrade sony rx100v, ys-d1 strobes, a pair of 12K 5000K video lights, and a inon uwl-100 WA. I can pop over there and start a thread

The way to see it if you want to do some tests is that filters on the lens give you around 4 meters benefit on custom white balance.

Typically custom white balance works to max 10-11 meters before it maxes out. Some cameras like Olympus can do custom white balance to 14K in some models.

Now there are plenty of schooling fish you can’t illuminate with lights and you need to make do with ambient light that are between 10 and 15 meters. This is basically the filter hot spot.

In bright scenes 12 meters is also not dark enough to make your lights work well.

So the filter helps to resolve that 10-15 meters area ambient light scene that cwb can’t cover and lights are not suited to.

If your scene is in the range 0-10 meters the benefit of the filter especially for video on MFT is to avoid apertures beyond f/11 where the lens perform poorly so as by product you also get better sharpness.

It really depends on what you are shooting and where but it is nice to have options.

For what concerns the ambient light filters this is a more complex topic because you use the lights just for highlights and detail not as main source same goes for strobes but you have much more power there

So for experiment purposes you need to be able to understand what shots work with filters and which not and then in case of closer scenes or caves you ca try the ambient light

If you start everything altogether you may end up with too much of a challenge

If your primary use is still images wrecks around 12-15m are the perfect starting point or large school of fish from the distance

 

 

Sent from my iPhone using Tapatalk

I read that Canon can have extreme manual white balance up to 50K, my personal experience is that it can manual white balance at least down to 25m, but some may find the color unnatural.

I read that Canon can have extreme manual white balance up to 50K, my personal experience is that it can manual white balance at least down to 25m, but some may find the color unnatural.

The camera may white balance but that doesn’t mean you keep all colour

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@Interceptor121Which spectrum filter were you using mostly? Is it the -2 or -4? For my last trip I tried the -2 filter for WWL-1 and realise that even with those I am losing like 2 stop of light. Also from your video is it mostly ambient light? i try to look for your video light but can barely see it maybe only those close up shot of bat fish.

[mention=34353]Interceptor121[/mention]Which spectrum filter were you using mostly? Is it the -2 or -4? For my last trip I tried the -2 filter for WWL-1 and realise that even with those I am losing like 2 stop of light. Also from your video is it mostly ambient light? i try to look for your video light but can barely see it maybe only those close up shot of bat fish.

@supawoot.t the -2 filter in fact takes 2 stops and the -4 four stops so that is the expected behaviours

All filters take light off so this is not unique to keldan