I have been fortunate to receive one of the first RX100M2 that have reached the market so I thought of sharing with you my first impression and what I believe will be the potential for underwater imaging use.
This is the link to the unboxing video of the camera
I posted a summary of the RX100 capabilities for underwater video some time ago on this blog the post is here:
Probably the best thing is to revisit my review and update any significant differences between the RX100 Mark 2 and the original version which is still on the market and will remain at least until the end of 2013.
Bright Lens – Not changed
The RX100M2 has exactly the same lens of its predecessor RX100, it is true that when zoomed the minimum aperture drops down to f/4.9 however this is not a concern for underwater imaging as usually long focal lengths are for macro and we are interested in very small aperture to allow for greater depth of field.
Low Noise – Improvement!
In virtue of the new retro illuminated sensor the mark 2 has one full f-stop advantage over the original RX100. This means that ISO800 is a breeze and potentially we could go as low as ISO1600. I would not do that but what it means is a cleaner image at depth in ambient light.
Image Quality – Improvement
Image quality is outstanding and the lack of aggressive contract and sharpness filters in the default settings means more room for correction in post processing.
Video Mode Control – no change
The RX100 had complete control on video mode and the mark 2 maintains the standard. Very important is that the program mode is excellent and keeps the shutter speed at 1/100 or 1/125 when used in active mode which is ideal for 50/60p smooth footage.
Manual Focus – no change
Same as for the RX100
Battery Life – Improvement
According to Sony battery life has improved from an already outstanding CIPA 330 to a declared value of CIPA 350. The new Mark 2 has also an hot shoe so in theory if any manufactures produces a wired TTL enabled housing this means plenty of shooting before changing the battery pack. We suspect though that only ikelite will have this option on the housing.
Active Steadyshot – no change
I initially slagged the RX100 stabilization system based on performance on land. However at a more in depth analysis it turns out that the RX100 active steadyshot, even if at cost of an image crop is very effective for sudden camera movement and for high magnification macro. The Stabilizer is not as sticky as others so when you eventually vibrate it does not jump. Although the performance for stills is poor to irrelevant and so is the normal mode the active mode is very effective for underwater use. The mark 2 is built exactly with the same algorithm and combination of optical and electronic.
Tedious Workarounds Comparison
Some of the ergonomics of the RX100 are not the best and seriously deduct from an otherwise excellent experience, the most annoying issues:
Lack of focus lock – no change
For some reason Sony decided to skip on this essential feature, the workaround involves switching to manual focus however it is then possible to accidentally change focus if the front ring is set to control focus. The RX100M2 has the same issue.
Setting Custom White Balance in Video – No change
Setting custom white balance is only possible in the still modes, while in fact if you shoot RAW don’t actually need white balancing. This is the largest non sense of this camera that requires the user to navigate out into Program to ensure white balance is set correctly and you don’t end up with the Custom WB Error message. Though this is annoying is not such a killer as it would initially seem if you take your movies in one of this still modes which is valid for wide angle and ambient light shot. For macro you will need to switch to movie mode aperture priority in AWB. If you keep this discipline this is issue is mitigated. The RX100M2 does not change this and I believe this is due to the fact that the shutter button that is used to set custom white balance is disabled in video.
Lack of 24/25/30 progressive modes at 1080HD – Improvement!
The RX100M2 shoots at 50/60p as well as 25/24p in addition to that you can switch between PAL and NTSC which is great!!!
AVCHD – Improvement!
The RX100M2 has not only the progressive modes at double frame rate but also AVCHD 1.0 compliant format, this means that if you choose the 24M 24/25 p mode you can import with all editing programs without issue. Not only that but if you use the wireless import utility this converts also the AVCHD progressive files in mp4 for you. This is great improvement
Key Weaknesses comparison
The RX100 had also some key weaknesses let’s see how the mark 2 fares.
Macro Performance – no change
Exactly the same as its predecessor the RX100M2 has a minimum focus distance of 5cm on land that becomes around 7 in water. Like with the RX100 because of the large capture area you will need diopters for macro shots. On a positive note once you have a close up lens the performance is incredible when coupled with manual focus with peaking.
Sony has adopted a lens shift approach in this camera instead of the sensor shift of the higher end alpha, maybe due to large size of the sensor compared to the camera body. They have then added some software processing in camera but the results are just average. There are many other cameras that do better than the RX100.
Soft Corners at Wide End – Improvement
The RX100 first generation had soft corners until f/5.6 the situation changes dramatically as we can see in this test card comparison shot. Not sure if there was an issue with the RX100 original sensor but this looks excellent and as sharp as the panasonic LX7 or Canon G15.
Look for yourself!!!
No Neutral Density Filter – marginal deterioration
As its predecessor there is no neutral density also on the mark2. A little tip for video is to shoot with filters that take away 1 1/3 f-stop. This is not ideal but helps. There were some speculation that because the minimum ISO in RAW is now 100 instead of 80 sunballs would be more difficult to shoot. 1/3 of an f-stop does not really make any difference I believe this is more a statement so that the RX100 housing that are in stock sell out at full price.
I have to say that the tilting screen is fantastic to shoot on a tripod on lens. I doubt any housing can accommodate for this but the feature is outstanding
And this is the rear
So the question is should I buy the RX100M2 or the RX100 maybe grabbing a deal? Recsea has already announced a housing for the mark 2 and Nauticam is working on it. I believe that when it comes to still photography the difference between the two cameras are not substantial as many shots are with strobes I have however noticed a much faster internal flash cycle time. I do not want to be definite but looks like a full dump takes around seconds to recharge. Also to be considered that in US the price difference is $100 so definitely the Mark2 is the way forward. In UK/Europe the difference on the list price is £150/€180 which is much more.
So I would say if you are planning to use the camera for video go for the RX100M2 the improvements are significant both in terms of video formats but also in terms of sharpness at wide apertures. If your main interest is photography and you live in US go for the mark 2 in Europe instead I would grab a deal on the RX100 when the price of the housing drops.
I am waiting for a test housing from Nauticam as soon as I have it I will post an unboxing video followed by some pool tests.
I thought of doing a debrief of the settings I use as I see few people that have bought this camera and have few niggles to go through and the obvious learning curve of new equipment so here we go.
Which Video Setting
It is always possible to reduce detail if needed so always shoot in the highest mode AVCHD progressive that in the menu is called PSH this records at 28 Mbps.
Which Mode to Use for Video
The LX7 has a one touch video mode that is accessible in still mode. When you press this button, even if the camera is in Aperture or Shutter priority and even in Manual, the movie clip is recorded in Program mode.
It follows that the mode to use to have full control is the creative video mode accessible through the mode dial.
Standard Setting for Creative Video Mode
I use the Shutter priority setting submenu in this mode. This is because the LX7 does not follow the 180 degrees shutter rule in video program mode.
Set your shutter speed to 1/100 for PAL and 1/125 for NTSC so that your shutter speed is double of the frame rate (1/50 for PAL and 1/60 for NTSC).
Exposure Lock Button
I never use the manual or the aperture priority mode as I find the lens fairly sharp even in macro and very small subjects. When I have changing light I point the camera to the exposure I want and the click Exposure Lock. To disable focus lock you need to go into the menu and set the button to AE lock only.
I personally find the standard exposure of the LX7 underwater far too bright. So using the exposure compensation dial found by pressing the shutter speed wheel I dial down to -2/3. This is personal sometimes I even go down to -1.
ISO and Max ISO
The LX7 has a very bright lens even at telephoto end and this lens produces also a very sharp image. In the worst case of deep water with low light I found that having an underexposed but cleaner picture at ISO400 is better than letting the camera go all the way to high ISO. So in the menu I set ISO MAX to 400 or in some cases I push this down to 800. I set the ISO to Auto as the camera generally keeps it very low anyway.
I leave autofocus for video mode to on and I ensure that the autofocus is set to single area. Be careful as the default setting is face detection and that does not work well underwater! Multi area and tracking are not available in video mode.
In video you can extend the 90mm lens to 180 with the iZoom and to 360mm with digital zoom. I set iZoom to on and Digital zoom to off as I have seen that the iZoom is very useful in macro and the picture quality is not visibly affected.
I use multi metering for landscapes and centred weighted for close ups and macro.
This is a tricky setting; generally I keep it off or on Low as the standard settings clip the highlights. In doubt turn it off.
This setting controls contrast, sharpness, saturation and noise reduction. I use the standard setting that is a little bit oversaturated. If you do a lot of colour corrections in post processing use the Natural setting. The footage will be less saturated and a bit less sharp with less noise reduction.
I use two custom settings WB1 and WB2 one for shooting with ambient light and the other one with lights that I only use in special circumstances.
I leave this on and it does not affect the field of view.
Zoom resume has to be left off as this delays the camera ready to shoot time and ends up with missed opportunities.
It is useful to leave this on.
I record all my settings for shooting in ambient light in the C1 mode this has all the settings are describes and recalls the Custom White Balance 1.
I then set another menu C2-1 with auto white balance for shooting with lights and menu C2-2 for shooting with lights and WB2.
This is an example video shot with those settings and no additional lenses this is with video lights and auto white balance little to no correction in post processing.
This other video is with some grading applied and ambient light for most
I was in Indonesia during the second part of May and I had in mind to take some clips and stills of mating mandarin fish
Mandarin Fish are very skittish creatures. During the day if you can see them they are usually hanging right close to sea urchins to make your life difficult.
Their movements are jerky and fast and they are very hard to capture. Mandarin fish mate every day at sunset, and they can be seen in specific spots around the world. Indonesia is the country that has more of those spots that are public knowledge.
The spot where they mate is usually shallow, 3 to 5 meters depth, and made entirely of rubble of broken coral.
So when you go and see Mandarin Fish mating all you are going to see is Mandarin Fish as other than the fish that prey on their eggs and the odd nudibranchs or squid there is really nothing else.
The rubble is usually quite light color and unpleasant to film, mandarin fish go swimming around those broken coral bits and only emerge from it for their mating ritual that lasts 4 seconds in total until the disperse eggs and sperm into the water.
Mandarin fish hates our light especially video lights and anything more than 150 lumens means the fish will just not show up and choose another place to make. This is very bad news because it means that all mandarin fish footage has to be taken at high ISO or high gain, with a lot of noise in the picture, it is important to have a camera that performs well in low light conditions and will produce footage that is watchable.
Video requires continuous light and as said before mandarin fish hate light especially cold light as your typical 6500K video light.
In order to make our set up more mandarin fish friendly there are few options:
Buy two special red stealth lights such as Sola Photo light
Buy red filters for your normal video light those also serve the purpose of reducing power output
Use some sort of red diffuser for your lights
If you already have video lights and they don’t have the special red beam you are left with option 2 and 3.
A set of 2.2″ red filters will do the trick for the Sola lights
I had ordered two red filters for my Sola video lights and of course these did not arrive on time for the trip so I had to improvise as you can see in this pictures that features my red speedo shorts!
As you can see the mandarin fish really hang out on the rubble.
The red weak light does not disturb the mandarin fish when they come out to play and allows you to get quite close shots.
I took a video whilst in Bunaken using my Panasonic LX7. I used the flat port and zoom between 50 and 90 mm. I performed custom white balance on the rubble with the red lights on.
The result is in this video
I also shot few stills in another dive. If you want to take pictures of mandarin fish you have a similar challenge in terms of not scaring the fish but also you need to be able to know when to shoot.
Those are my suggested settings:
Shoot a normal lens around 90mm equivalent
Disable any form of pre-flash as that scares the fish and stops the mating act
Try to pre-focus as you will be in low light and don’t want blurred pictures
Try to follow a couple of fish from the start and count to 4
The eggs are released at 4 any other shot can be taken earlier
If possible (it was not possible for me) try to point the camera up to avoid the rubble
Set high shutter speed to have a dark background and get rid of the rubble
The featured image and this other one are my two best shots, there is minimal cropping
I took all my shots at the minimum aperture to have maximum depth of field but this I believe is an error and gives too much detail of the rubble behind.
I think the video that is shot at wide apertures is better and less distracting.
Another tip of environmental nature is that usually the rubble patch with the mandarin fish is small more than 2 cameras and there are just too many and the max is 4 dives plus the guide. I am glad I did my mandarin dives in Bunaken and not in Lembeh where you can get up to 10 people on the same spot whilst in Bunaken I was on my own twice.
I hope you found those tips useful and good luck with your next mandarin dive!
Just before leaving to North Sulawesi and in the process of packing I realised I had not completed the tweak of my GoPro Hero2 Set up.
I do not use the GoPro for video but for time lapse however the modification that I will present here is valid for both video and stills or time lapse.
Some users of the PolarPro filter have noticed that when you point the camera to the sunball or on a very bright day there is quite a bit of flare with this filter in the image corners.
Flare occurs when stray light enters the frame and reduces contrast giving a result a picture with washed out colours.
Flare is more relevant to wide angle and is usually reduced with lens hoods however our GoPro does not have anything like that and due to the large field of view probably it is better to be so otherwise the hood would be visible.
So what can we do to improve our polarpro filter and why does it flare more than others in the first place?
The PolarPro is the lowest price push up filter for the gopro and the reason is that its build is very simple. All other filters will have a dark rubber ring on the edge that has the dual effect to secure the filter to the housing and eliminate the stray light that may enter from the side. The polarpro is one single piece of acrylic and does not have this ring around the lens.
So let’s build one cheaply all you need is genuine gaffer tape, to make it look better I suggest black matt gaffer.
Pull enough length to cover the whole external ring of the polar pro filter and lay it on it to go from the edge of the front side back to the where the lateral panel ends. Once you have measured the approximate length make note of the width and then remove the gaffer. Pull the tape so that it rips at the width required and then tape the exterior making sure the smooth part is on the front side. Then create another strip a bit longer for the inner part. Make sure it is going straight and with no bubble and then once you get to the opening for the button come outside and overlap the exterior ring.
Once finished it should look like this
This is the other side you notice the part we ripped of the gaffer is on the outer side
Gaffer type does not mark and will stay there for a good number of dives. I am going to test this and see how long it goes but I expect more than 20 dives before it falls apart.
What you have seen here can be done for the Hero3 filters and it is actually simpler as the filter has no button opening
There has been a new Mako product coming at the low cost end and that one has a rubber ring so I would recommend trying it if you don’t have a filter already
First of all I have to thank Mike on Scubaboard to get this in motion the original post is here
When you shoot macro and operate at high magnification even the smallest movement translates into shake, let’s think about it for one moment.
A macro image will have a frame size of 36×24 mm, this means that a move of half centimeter or 1/5 of an inch is equivalent to 20% vertical movement a considerable annoyance. When you shoot a picture this is not an issue because with a very high shutter speed you can freeze motion and there will be no blur like in this image.
Trying to take a video of a moving subject like this proves challenging, and you need to slow down the footage to avoid sea sickness like here
So how do we get outstanding macro footage? We need to be super stable and avoid any type of shake.
One possibility is a tripod. There are various examples of underwater tripods such those made by Ultralight example here
There are several inconveniences using a tripod first is that those are more suited to a camera than a tray that may have the tripod hole off centre, so if you use a tray for your set up and just want to occasionally put it on a tripod this gets complicated.
So that where Mike came into action and contacted ULCS to build a tripod out of a tray those are my results using the following parts:
Camera set up
2x TR-DH handles
2x 12 segments 12″ locline arms
2x Sola 1200
Panasonic LX7 in Nauticam housing
Tripod set up (approx $310)
3x 1420 ball base adapters
3x 5″ arm segments
This gives something like this also called Ultimusmacro
I tried this set up and the key issue is that you are far away from the floor and end up with working distances of around 10-15 cm or 4-6″ those are suited to a +6 diopter but not more and best with camera with at least 105mm zoom.
This is a bit of an issue with my Panasonic LX7 as the max zoom is 90mm equivalent. So I came up with a mini-monopod that has several advantages:
Closer to sea floor
For the mini-monopod all you need is ($150)
3x 1420 ball adapters (two female and one with screw or bolt) – alternatively 3x 3816 2x female and 1x 1420 with bolt if you use AC-AH handles with 3/8 hole
1 8″ arm segment
This is the mini in action also called cyclop
In this configuration I also have a lens holder on the 8″ this gives even more stability
With a mini-monopod you can easily use +10 diopters as you are on the bottom. In my set up I have floats however the 3 1420 ball heads on the bottom are sufficient to have a stable platform that can be pointing down even more raising the arm segment.
In addition to this the monopod can be used to push the camera in remote places or approach critters in crevices or similar
I will be testing both in North Sulawesi starting next week I hope to come back with some great footage
For more pictures of the set up check the Panasonic LX7 link on the top of the page
Who has followed my initial LX7 tests is aware of the few issues I have had at wide angle with the LX7.
One was the reflections back on the lens that I have now hopefully resolved using a black marker and changing the camera from white (and silver lens ring) to black and the other was flare.
Flare is an issue at wide angle even on land. What causes flare? Stray light coming from the sides that washes out the picture and eliminates contrast in the process.
Wide angle lens tend to have an ability to catch stray light from the sides and top and this is the reason why wet wide angle lenses have to be really coated well so that this effect is diminished, however it still can happen.
And it did happen to me with the Inon UWL-H100. The general advice to eliminate or reduce flare is to have a lens hood however lens hoods are generally not an option for wet lenses with an M67 thread mount. The only lens that I know that can position the hood on a screw mount is the fix UWL28M52 or UWL04 most of the other lens do not have a hood and have a circular lens unprotected from stray light. And this usually means at some point you will get flare.
So how do you get around it? In the case of the LX7 is pretty much a forced choice as the Inon UWL-H100 is the only lens that does not vignette at 28mm equivalent focal lenght so the possible solution is to put a hood on the lens.
Inon sells a hood for the UWL-H100 but the hood is attached through 6 allen bolts and its position can’t be fine tuned so to use the hood it is a requirement to change mount from M67 to the LD bayonet. You need also to convert the lens itself into an LD bayonet. If you go to your Inon dealer there is a relatively cheap service part that allows you to convert your M67 lens into a bayonet.
The LD bayonet is the latest incarnation of bayonet mount released by Inon. Whilst the old AD mount relied on a mechanical action to secure the lens, the new LD bayonet is much shallower and relies on a pin lock release to stay in place. There are two adapters on the market that are capable of attaching LD bayonet lenses to an M67 thread, one produced by Nauticam themselves and the other by the Japanese Fisheye Fix.
There is a price difference between the adapters with the Fix being 20% more expensive.
The Nauticam adapter is the largest of the two. It has 6 allen bolts on the front and a thumb screw lock on the back to fix it in position. With LD lenses there is only one position to put the lens hood in the correct place so if for some reason the thread ends in the wrong place with your housing you will need to unscrew the front of the adapter to ensure the release lock is on the upper left of the port this happens the same way on the fix adapter. Make sure the little spring does not jump off in the process…Once the release lock is in the right area the fine tuning of the hood position is done with the thumb screw. A possible weakness is that if your housing port has no room for the thumb screw then this adapter is not good for you.
Whilst the Nauticam is made of plastic and metal the Fix seems to be 100% aluminum, this adapter looks better but does not have a mechanism to fix in place it relies on the strength of the M67 thread, however this locking system is compatible with any 67mm threaded port.
The fix allows to perfectly fine tune the hood position and it shows.
The alignment mechanism of the Nauticam adapter creates an alignment issue with the hood where the lens is few degrees turned clockwise.
With the fix this does not happen.
The hood can be properly aligned. Note that in both cases this does not mean more vignetting as the corners are not covered by the hood.
The other check I do is the position of the back of the lens, if there is a gap between the thread and the back of the lens this can create vignetting so it has to be as close as possible or even protruding as the Inon UWL-H100 mount type 2 does.
Let’s have a look at the back of those two adapters with teh UWL-H100 28LD attached.
The Nauticam thread is somewhat too long so the lens sits slightly more inside the thread line.
With the fix the situation changes sightly.
There seems to be little difference we will now check if there is an impact on the possible vignette in water.
As we can see there is a little bit of residual vignette on the bottom right corner when the lens is at 28mm equivalent focal length,
This is the same situation with the Fix
There is still a dark bottom right corner but it is less.
Inserting a 1.25mm spacer between the inner housing and the left side of the camera improves matters, this is because the lens of the LX7 is somewhat misaligned in the Nauticam housing and this corrects it.
With the spacer in the housing and the Nauticam adapter there is a tiny little residue of vignette but overall this is ok.
With the fix adapter this is the result.
No dark corners left.
So this is the recap:
You can change the UWL-H100 28M67 into an LD version with a cheap service part
Once the lens has an LD mount it is possible to attach the hood this will reduce flare
Vignetting is slightly increased but can be eliminated with a spacer with the Fix adapter
There is an issue of hood alignment an increased vignetting with the Nauticam LD adapter
A final note: inserting a spacer in the housing is risky, you need to know what you are doing as in theory the chance of flooding could increase so this is not for everyone.
My recommendation to those who want to improve contrast with the UWL-H100 is to convert to LD mount, attach the hood and get a Fisheye Fix LDF-M67 Pro adapter. Changing to bayonet has other advantages making lens swaps in water much faster and easier compared to the thread version especially with a lens as heavy as the UWL-H100.
There are few design issues and manufacturing errors in the Nauticam LD adapter that create issues with the LX7, most likely other cameras that are not so fussy will have no problems but if you have an LX7 avoid the Nauticam adapter entirely until a new production version is defined. I have given Nauticam the feedback and they will probably react.
Inon introduced a new close up lens in February of this year the UCL100. So why did Inon come up with this after the very successful UCL165 series? Probably some pressure from products like Subsee that produce better quality images than the Inon lenses and more and more lenses with similar performance to the existing Inon lenses. So what is different about the UCL100? First of all this lens is heavy 243/269 grams in the LD/M67 version in air that become 130/151 grams in water double than the UCL165. The lens is made of 3 elements instead of two and is very similar to a Subsee this is more evident taking a look at the lens on land.
This shot is taken with the bare port at 50mm.
This is the same shot at the same working distance using the UCL100 note the magnification.
The lens behaves like a magnifying glass exactly as the Subsee, Inon has made some effort to try to reduce vignetting, this picture is taken on land at 28mm.
Note a little dark bottom right corner, the lens in fact vignettes at 24mm this is due to the huge size of the LX7 lens and may not happen with other cameras.
Here we can see the rear of the lens from the Fix adapter side. The lens sits very close to the glass port.
I have opted for a bayonet version of this lens as I will use the fix as m67 adapter if I had to dive with the wet mate.
If you are a photographer I would definitely recommend the LD bayonet version over the M67 as it is easier to remove and attach in water.
There are some other very interesting characteristics of this lens. Usually a diopter works only around a certain working distance for a given zoom so the issue with such a powerful close up lens is that if we are far away from the working distance the lens is not usable.
The UCL100 instead is quite flexible and has a huge swing of working distances for a given focal length as in the table below.
All values are in mm.
So the lens keeps working well far away the nominal 100mm and due to the construction also gives a magnifying effect this means that it is possible to take this lens in water as the only close up lens and there will not be too much of a limitation if for some reason we can’t get that close to the subject. A swing of 40mm at telephoto end is excellent and this becomes 70mm at 70mm zoom and 110 at 50mm.
What about image quality most of you will know by now how specific I am when it comes to aberrations, this is a crop of an image taken with the UCL165
You can see the yellow and purple halo around the zero.
This is a detail of the same ruler in water with the UCL100
The image is a bit soft because of the aperture used but absolutely free of any fringing that is astounding for this level of magnification, the quality of the image is same as Subsee.
This lens comes with a lens front and back cover, the front lens is a clip with lanyard. The UCL100 can also be stacked with other M67 lenses if you need more!!!
With the LX7 the UCL100 achieves a reproduction ratio of 1.1:1 compared to the 1.4:1 of an Inon UCL165. The limitation of the zoom of the LX7 shows a bit here as even the Sony RX100 gets nearly a 1:1 with this lens but the strength of the focus of the LX7 are second to no other camera in this segment so I look forward to using this lens on some really small stuff.
The UCL100 is priced at $282 in US and £275 in UK versus $225/£210 of Subsee so why would you bother getting this lens from Inon instead? I think the main selling point of this lens in addition to the image quality and magnification power is the fact that the lens operates until wide end and has a very wide range of working distances so you are not stuck just around the 100mm nominal focal lenght. This allows use of the full zoom from wide to tele that in video is especially important. For pictures I am not so sure the additional cost is justified as stills are usually at full telephoto end.
You can see in the section of the Veronica L that missing those extra degrees field of view did not allow me to take the full wreck by side even if it was not that big. On couple of reef dives I already had the Inon on the previous wreck dive so I left it you can compare performance of the two lenses in terms of sharpness and flare. Generally I feel the wet mate has less flare and is sharper however it does have an issue of reflections as covered in the previous post.
As always I have used iMovie to edit the AVCHD progressive files that I converted to normal mp4 using the workflow in a previous post. There are no dramatic alterations of colour or exposure and no stabilization has been run in any part of the video (in some parts like the snake eel moving it shows) all was done with custom white balance using the camera functionality, considering how deep were some of the wrecks this is very good I believe.
I would love your comments this was mostly an exploration trip so it is interesting to compare to the RX100 Raja Ampat videos
So I finally had the opportunity to take the LX7 on a trip after some pool tests.
After my attempts last year with the Sony RX100 I was a bit skeptical that I could actually find something better for video but I think the LX7 beats it.
I put together a sample just to give an idea of equipment used and how it works, please note this is not altered in any way
There is a picture of the rig in this blog on a specific page but let me confirm once again in detail
Nauticam LX7 housing
Ultralight TR-DM tray with extension TR-DUP and two TR-DH handles without ball.
12 segments locline arms on 3/4″ mount base and reducer on the handles
Two sola 1200
Nauticam wet mate
Inon UCL165AD on bespoke M67 adapter
Inon UWL-H100 28M67
Inon M67 double lens holder on custom mount
In a previous post I highlighted that for most the wet mate will be the only lens needed however I had some wreck dives and the 18mm of the Inon wide angle are more appropriate.
I also gave a try to the panasonic intelligent zoom that allows for 2x digital magnification and sharpening that for me works very well and you can see it in the footage. This allows a user with just the wet mate to further zoom without need of a close up lens or a use with a single +6 diopter to achieve super macro.
I found the white balance of the camera excellent on both my hand or sand. I had issues with my padi slate that many times returned a ‘scene too bright’ error. Maybe this is the reason why backscatter failed this camera for video?? Who knows.
You can see that even at 36 meters the colour are as good as they can be.
For macro shots I used the temperature setting at 6500K, I found the white balance tint fine tuning to be excellent to further enhance it.
I shot in shutter priority the whole time with shutter speed of 1/100 or 1/50 depending on conditions and type of shot. The camera autoISO and choice of aperture privilege noise reduction however as the lens of the LX7 is really sharp the relatively wide aperture did not mean soft corners.
I tried the various photo styles and at the end settled for the standard one, I found the natural really to have too little contrast.
I thought of shooting in mp4 for wide and AVCHD progressive for close up but this would have meant two different frame rates to edit, at the end I shot at the highest available setting to avoid confusion.
I had received a new port from nauticam so I had no vignette at 28mm and the full 100 degrees the inon lens can offer.
The ergonomics of the camera that have fixed commands for aperture and shutter proved to be convenient and the built in neutral density filter was very effective at shallow depth or on the surface.
In essence I think that the issues backscatter mention are non existent.
I did have a few problems with the wet lenses though.
The wet mate proved to be a great little tool very sharp and light however none of the sides of the glass have anti reflective coating. In bright scenes or backlit scenes I did not have many issues with flare however I could see the marking on the lens reflected back on the wet mate and in the picture. I suggest putting an inon anti ghost sticker or gaffer tape to hide those shining markers or to colour them with permanent black ink.
Other than this the wet mate performs very well in all reef scenes and close up of critter a few inches big.
The inon diopter did not cause any trouble other than the obvious vignetting until 70mm. One pleasant surprise is the LX7 autofocus. Having struggled with the poor focus of the RX100 at high magnification I was astonished that the LX7 finds focus even with two stacked diopters and keeps it!!! I never had to use manual focus that with the RX100 was the norm at macro range.
I had bought the UCL165 and UCL330 in m67 format but decided to sell them as I will actually switch to bayonet very soon for the wide angle.
The Inon UWL-H100 was probably the most disappointing find of the trip. Image was sharp in normal condition however this lens tends to flare quite a bit and this creates block noise in the water column in video, when I used my hand to shade the lens the flare went away. Inon sells a lens hood for the 28LD version of this lens but not for the M67 as there would be issues to align the hood petals to the frame.
Considering that the lens is very heavy in water at 350 grams and that screwing and unscrewing was a concern mid water I have decided to convert the lens into an LD bayonet. Inon sells a replacement service part for the 28LD that can be used to replace the M67 thread of the lens. Other than this part the two lenses M67 and 28LD are identical. I will use a nauticam m67 LD adapter I hope this will not increase the vignette. I will connect my AD mount close up with a AD->LD converter when using the wide angle and then use an AD->M67 converter when I use the wetmate. This saves me buying two different diopters and I can stack the two UCL165AD I already have. They do vignette a lot at medium but who cares when you shoot at full zoom.
I look forward to testing the UWL-H100 with the lens hood I am sure results will be better. On the other hand when the sunlight is behind the shots have incredible sharpness with this lens.
So the LX7 gets 5 stars from my side and I leave you with two recommendations:
1. Apply a form of anti ghost sticker to the LX7 lens
2. If you want to get the Inon UWL-H100 go for the LD mount so that you can put the lens hood on