Category Archives: diopters

Nauticam NA-LX100 Released

On Christmas day Nauticam has released the NA-LX100 housing for the Panasonic DMC-LX100. It is priced at ¥168,000 which is 50,000 more expensive than the last NA-RX100 III.

If this translates correctly in $ and UK prices it means $1,399 plus tax or £895 including VAT for UK.

Here is the original link in Japanese on the fisheye homepage

http://www.fisheye-jp.com/products/compact/na_lx100.html

NA-LX100 with flat rectangular port
NA-LX100 Rear View

 

Prices for the short port for wet lenses and the dome port have not yet been announced but we know that the dome can use the camera at full zoom and that the short port. The US price of the flip diopter for the rectangular port is known and is $220.

Which means we can now update the GH4 comparisons for 4K

Super Wide

Panasonic LX100  $899 NA-LX100 with Short Port and Wet lens $2,000 circa

Panasonic GH4 with 7-14mm and 6″ dome $2750 housing and port only plus camera and lens $2,399

The max field of view of the two options is almost the same however you can’t zoom the LX100 due to the zoom lock on the housing.

LX100 $2,899

GH4 $5,149

Price Difference $2,250

Mid range

Panasonic LX100 $899 with 3.5″ dome circa $1,699

Panasonic GH4 with 12-35mm and 6″ dome $2750 housing and port Camera and Lens $2,399

The LX100 is wider in 4K at 26-81mm vs 28-81mm of the GH4

LX100 $2,599

GH4 $5,149

Price Difference $2,550

Close Up

Panasonic LX100 with NA-LX100 rectangular port $2,299

Panasonic GH4 with 14-42 and 35 macro port $1,815 housing and port $2,680

The GH4 will have more magnification due to the longer focal length with the same diopter.

LX100 $2,299

GH4 $4,495

Price Difference $2,195

The gap is still significant even with the price increase ranging between $2200 and $2500.

There is still an option to use the GH4 with wet lenses although this has only been tried with diopters to date it is technically possible to use a wet wide angle lens.

 

Panasonic DMC-LX100 Nauticam 4K Underwater video becomes affordable

This week I have been in contact with Nauticam that have given me some final details with regards to the NA-LX100 housing that will be released in the next weeks and is already available for pre-order in Hong Kong.

The housing is confirmed to have a changeable port system the default is the rectangular flat port as in the image below.

When shooting 4K the Panasonic LX100 focal length is 26-81mm which means that in water the default port will give a range of 35-108mm due to water magnification. This is however negated by the increased working distance so don’t get too excited about macro.

Panasonic LX100 Flat Port

There will be a flip diopter for the rectangular port as a separate accessory. Due to the limited zoom of the LX100 a strong diopter with power of at least +10 in water is required for macro.

The other option displayed was a mini dome port.

Nauticam LX100 Mini Dome Port

Nauticam has confirmed that this dome is 3.5″ wide and unfortunately there is no provision currently for a flip diopter for this port.

The 3.5″ acrylic port is probably the most versatile option for the Panasonic LX100 and I am a bit puzzled of why the flat port is offered as a default. The mini dome seems perfect for all round reef use when there are no really small critters and medium size fish.

 

Nauticam has also a super wide option that utilizes a short port with a 67mm thread. This takes the Inon UWL-H100 from what we have heard and also a new lens Nauticam has designed.

The zoom will be  locked so the lens will stay at 24mm limited to circa 50mm which means with the wet lens this is a 16-32mm wide lens in water, I am not sure however that zoom in will be a possibility with the Inon lens but will be possible with the Nauticam lens as far as I understand.

Nauticam LX100 Wide wet lens

So what is the strategy for Nauticam and this housing?

It is quite clear for me that the Panasonic LX100 has the same 4K capabilities of the GH4 the same IPB codec and processor. It falls short of cinema options but costs half of the GH4 body.

So for your perusal those are the equivalent options

Super Wide

Panasonic LX100  $899 NA-LX100 with Short Port and Wet lens $1,700 circa

Panasonic GH4 with 7-14mm and 6″ dome $2750 housing and port only plus camera and lens $2,399

The max field of view of the two options is almost the same however you can’t zoom the LX100 due to the zoom lock on the housing.

LX100 $2,599

GH4 $5,149

Price Difference $2,550

Mid range

Panasonic LX100 $899 with 3.5″ dome circa $1,300

Panasonic GH4 with 12-35mm and 6″ dome $2750 housing and port Camera and Lens $2,399

The LX100 is wider in 4K at 26-81mm vs 28-81mm of the GH4

LX100 $2,200

GH4 $5,149

Price Difference $2,950

Close Up

Panasonic LX100 with rectangular port $2,000

Panasonic GH4 with 14-42 and 35 macro port $1,815 housing and port $2,540

The GH4 will have more magnification due to the longer focal length with the same diopter.

LX100 $2,000

GH4 $4,355

Price Difference $2,355

So the performance may be better but the price difference is very high.

The total cost of the Panasonic GH4 plus lenses housing and port is around $6,640 but the LX100 stops at a much more modest $2,400 without the wet wide angle lens. This still does not include flip diopters adapters and lens worth another $800+ but gives an idea that the total will be around $3,200 for the whole set.

You can get a complete 4K underwater video rig around $4,500-4,700 including tray, video lights and all the rest which few years ago would have been unthinkable.

Video Feature Sony RX100 Mark II in Malta

Following from my previous post I managed to get together a clip out of the 5 dives I did

The first day was somewhat plagued by visibility a bit lower than the norm for the location but the second day was fabulous

For this trip I brought with me the Inon UWL-H100 and the red push on filter from deep roof H20 and the Inon UCL-330 as I was expecting medium size fish and nothing really small

Here is the outcome

I am quite happy how things turned out so let me share the settings with you

First I shot most of the footage in 25p AVCHD mode only some small sections are shot at 50p and actually I did not need to slow down any of the material.

For the wide shots I used steady shot in normal mode and shutter priority at 1/50th. With the filter on I had auto white balance with tint correction G2 A1. I noticed that the camera was giving red tint in some situation and so added a bit of green back. The Amber correction instead is for the RX100 itself the camera does not have vibrant yellow and is a bit blue.

Tunas
Tunas – AWB with filter

For the first time I use creative mode changing the standard contrast to -3 in order to prevent crushing of blacks.

Exposure was set all along to -1/3 and metering to multi area with AUTO ISO limited 160-800.

I think the results are so good that in fact I have performed no colour correction to any shots in ambient light.

Opening the tuna farm
Opening the tuna farm – AWB with filter

For shots with lights I set up first colour temperature to 6500K and A1 to match the lights but then in some of the far shots this resulted a bit cold so I adjusted very slightly in post the temperature.

Seahorse
Seahorse – AWB UCL330

Only 40″ are adjusted in the whole video in essence is as shot and the editing took me half hour.

In cave
In cave –  AWB no filter

I did a bit of analysis and the camera was operating for most at ISO200 with aperture around f/3.5 – f/4.0 which is really the sweet spot of the lens.

I did have some challenges using the UCL330 for some nudibranches  that really required a stronger lens so they look a bit small, there was also surge so I had to fight with focus problems but all in all very happy.

Nudibranch
Nudibranch – AWB UCL330

The longer working distance of the UCL330 (20-30 cm or 8″ to 1′) proved challenging on walls as you are too far to hang on to anything or use a stick. I will bear this in mind in the future.

For the close up shots I used steady shot active.

I also wanted to say that a few times the camera did manage to white balance properly however the results were not exciting and frankly not worth the hassle. Using the filter is just so much better with the auto white balance.

Introducing the Sales Corner

I receive so many queries about equipment that I thought I would put some of my items on sale.

My cupboard is near enough to explode and I need to streamline the equipment I have. Currently I have 3 strobes, a huge selection of ball and clamp arms, 3/4 and 1/2 locline arms, float arms, floats, video lights, tray bases, around 15 clamps and some 6 macro wet lenses and 3 wide angle wet lenses with 3 different mounts.

I guess it is time for a clear up so I will add a section with items on sale where I will list some of the combination items.

The idea is to provide a full set of lenses or a tray + float solution as those seem to be the most asked for items in my set up.

So if you look on the menu you will see the link Sales items with details of the various sets. I can also sell the items individually but I think this makes little sense as I’d rather do that on ebay.

Many people read my posts and then go to gear shops but there there is always a little mistake or problem getting the whole set up from here you avoid that. I priced the items based on 50% of retail UK price and I would ship to UK and Europe, other overseas will attract import duty so it is not worth it in my opinion.

If there is anything you like  use the contact form on the relative page to inquiry

Tweaking the Sony RX100 Mark II Video Performance

I am currently in Malta for few days relaxing and I manage to squeeze in some dives. The Mediterranean sea is nothing sensational (from a pure diving point of view) but does offer clear water, and some brisk thermoclines, and a combination of algae, blue water, caves and silvery fish that is challenging on the dynamic range of our little RX100.

The purpose of this trip is mostly to refine the video settings and go more in depth in few topics. I wanted to try specifically the following:

  • Metering modes
  • Creative modes
  • Stabiliser modes
  • Tracking focus
  • Medium size fish portraits
  • White balance
  • Caves and low light

Some of my settings will be the same and I am not intending to changed them those are:

Auto ISO: 160 – 800

DRO: Auto

Starting off with metering, the first attempt was to try and use the camera on 0 exposure compensation with centred weighted average metering.

Entering Cave Fairly Bright
Entering Cave Fairly Bright

Pretty soon I realised this gave issues of banding of the blue water, this was apparent not only in backlit shots but also in normal wide angle of fish in specific cases. So after dive number 1 I changed it to the standard -0.3 from dive 2.

I set a new creative style with contrast at -3 in the hope to recover detail and seem to be working fine with the shots still having plenty of contrast.

Lowered Constrast on -3
Lowered Constrast on -3

I also tried spot metering for close up but it makes no sense the video lights are too wide and ended up with burned highlights at the edges of the frame so back to centred weighted average for close up shots.

Spot metering
Spot metering

So when it comes to metering my settings are:

Wide angle: multi area

Close up: centered weighted average

I did some tests with stabiliser in steadyshot mode, this gives back some field of view and the lens offers 100 degrees diagonal and 90 horizontal, I actually think a bit more anyway with fairly stable conditions this worked fine. At longer focal length for close up I am still using active mode.

Schooling Fish 100 fov
Schooling Fish 100 fov

I have a +3 diopter for this test as I realised in my last still trip I don’t have a lens for medium size fish, the lens worked very well and I also tried the camera tracking focus but it seems it won’t work with fireworms or similar. So either keep normal focus or manual with peaking.

Tracking focus fail
Tracking focus fail
Rock FIsh UCL 330
Rock FIsh UCL 330

White balance has been a subject of discussion, I did manage this time to white balance a few times but to be honest it was not worth the effort there is a better correction of the purple hue of the filter but this can be corrected setting Green to 1 or 2 in AWB. I also changed the AWB to include a correction with Amber 1 as per examples. Very happy with the results I think this is the final set up with this filter lacking a proper orange filter.

AWB corrected
AWB corrected

Shooting in low light was rewarding with ISO maxed out at 800. I am becoming less and less a fan of video lights in cave due to the amount of backscatter am getting. I think I will default at using the lights as dive torches instead of wide beams of even leaving them off for effect.

Backscatter
Backscatter
Cave in natural light
Cave in natural light

 

Galapagos: Sony RX100 Mark II Video

The time finally came for our trip to Galapagos and I was ready with a set of think rubber suits to overcome the cold water. I just bought a 5mm Oneill Sector (wonderful suit) a 3mm hooded vest, kevlar gloves and a 5mm 4th Element short john. Well the short john was not used and for most I used just the wetsuit and a set of O’Neill Thermo X unders (very recommended) as El Nino is coming and the water was warmer at 25-27C or 77-80F.

This means lack of schooling hammerhead at shallow depth close to the reef, they were in the blue. We had however our good dose of schooling barracuda, tuna (in the 1000s) and even galapagos sharks

This is the video I produced

If you have problems with playing in your country use vimeo instead

The conditions were difficult with low visibility and in some sites very green water as you can see here

Green waterQuestions will come about what I used etc etc so here is the list

  • Sony RX100II in Nauticam housing
  • FIx adapter for Inon LD mount
  • Inon UWL-H100
  • Deeproof blue water filter
  • Sola video lights 1200 (just few shots of the barracudas and some close ups)
  • Combination of arms and sometimes no arms
  • Ultralight tray TR-DM with extension and handles

The video has been produced with iMovie 9.0.4 no stabilization performed except the scene with the moray eels mating (very mild)

I shot the whole trip in shutter priority 1/50th of a second in the 25 fps 24 Mbps format. After some tests at home I have decided to use this mode as I can’t physically play the 50 fps files the camera produces on any of my devices differently. The 25 fps gives a film look and very smooth footage. This format is only available on the RX100II and not on the original RX100 so the consideration I made at the time for video settings of the RX100 remain valid.

The benefit of 1/50th shutter speed is a full f/stop of light the disbenefit is that at the surface and for backlit shots this is too slow, in those cases I go back to program mode or increase shutter speed to 1/100 or 1/200 or more.

For what concerns the editing I import the raw files in iMovie without using the conversion and then export with x264 using very slow preset and level 4.0 compatibility to use it with my appleTv.

I do minimal color correction in some cases I had to eliminate the red color cast of the filter when shooting upwards, to do that I change the white balance to top yellow until i remove the cast.

In some cases I had to put the green gain to the max for the same problem but in all other cases there is NO color correction in post.

When you work with AVCHD cameras the footage is compressed and the key is to get it right in camera.

As Galapagos conditions were challenging, although less than I expected, I used gloves in some dives to hang on to the barnacles and I also modified the set up to completely eliminate the lights.

I would dive with two 3″ segments and two 6″ Inon Mega float arms when I had the lights on and for other shots in ambient light I would have this set up here that looks odd but it is very effective and almost neutral at only 120 grams in water. The position of the floats means the camera stays upright at all times.

Compact tray for ambient light
Compact tray for ambient light

I would put a single Sola light on top of the housing not for video purpose but to signal the dive master when I was a bit far in the murky or dark waters. I used this set up on almost all blue water dives (Darwin and Wolf) and the normal set up with lights for the South and West sites with murky or green water.
There will be a separate post on the photos, I did a total of 18 dives with the camera of which 4 where photo and 14 video. You can see an example in the featured image.

I have now ran some statistics on the final clip that I produced

I used a total of 41 video clips:

ISO average was 273 with the following breakdown

  • 2 clips at 160
  • 30 clips at 200
  • 6 clips at 400
  • 3 clips at 800

f/stop average was 3.1 hyperfocal distance on average 1.16 meters. So if I were able to shoot without filter I would have not gained anything in terms of sharpness as most subjects were further away

I would consider the Galapagos and the dive trip I did not the best in terms of brightness and visibility so I would conclude that the RX100II with the Inon UWL-H100 and a red filter is the best set up for wide angle video in terms of performance, ease of use and flexibility.

 

Tuition Day with Martin Edge

During the London Dive Show I attended a talk from Martin where he covered a number of shooting situations and how to deal with them in terms of composition and settings.

There was a promotion for a two for one tuition day with him that my buddy was keen to take so few months later we made our way to Dorset for a day of underwater photography with Martin.

This will be my first day of shooting with the RX100 Mark II albeit in a pool with my new arms and lenses so I was looking forward to it.

We arrived in Poole the night before and got ready for an 8.30 start with Martin.

We started off with a review of some basic exposure concepts and then looked at competition winning pictures and trying to identify what makes a wow picture. It was extremely useful!

Afterwards we went through our trips pictures so he could see what needed improving. Then look at what was needed for the next trip.

With that in mind we set up to jump in the pool to take some pictures the objective was to improve my buddy close ups and portraits as apparently her wide angle is as good as it gets with the Canon S95 used see featured image on this post.

Pool conditions were low visibility and plenty of suspended particles as the pool is used for kids swimming lessons let me give you an idea!

Pool Conditions
Pool Conditions

The first task was to shoot a frog with a view of eliminating shadows in its mouth. Start with one strobe and finish off with two.

Frog at 28mm
Frog at 28mm

The frog with the bare port gives you an idea of the size and the complexity of the task with one strobe. There are shadows in his mouth.

Frog at 50mm
Frog at 50mm

I then shot a portrait at 50mm, the reason why you see shadows more on the left is because I set the strobe at different powers.

Frog single diopter
Frog single diopter

The magnification of the RX100 is little so I went on with a first Inon UCL-165 and full zoom at 100mm equivalent. Note that everything is pretty much sharp at f/11.

Frog Double Diopter
Frog Double Diopter

With two Inon UCL-165 focusing on the mouth will result in this and the eyes being in focus and the rest blurred because of lack of depth of field.

Octopus fisheye
Octopus fisheye

I then moved to an Octopus rich of textures. I took the first shot with my Inon UWL-100 28AD with dome.

Octopus at 28mm
Octopus at 28mm

The same octo at 28mm fills the frame much more of course.

Octopus at 50mm
Octopus at 50mm

The Octopus at 50mm looks even better. I have topped up the lighting on this one.

Octopus single diopter
Octopus single diopter

I then took this guy with a single UCL-165 note the depth of field insufficient to keep the back of the head in focus, results though are exceptional.

Octopus double diopter
Octopus double diopter

With two close up lenses we go back to the depth of field problem even at f/11.

I thought I had at that point nailed all focus and strobe issues, especially considering I shot with single auto focus, I did not bother using manual focus at all with exception of some double diopter shots.

I then tried a few surface reflections with the fisheye this being the best.

Falcon Fisheye
Falcon Fisheye

You can see the outside of the pool and the windows on the top.

Family Fisheye
Family Fisheye

Afterwards made my own composition of statues for a fisheye shot that I think came out very well. The Z240 performed extremely well in both TTL and external auto as well as manual.

Child with dog
Child with dog

Martin asked me to have a go at the child with the dog as it is extremely difficult to lit up properly.

I went for an alternative strobe placement with light from the bottom as if it was in a gallery. He was impressed with the results.

Lion Mouth Single Diopter
Lion Mouth Single Diopter

To finish off my last task was the tongue and eyes of a lion that I shot with a single UCL-165.

Overall a great day and I definitely recommend you the tuition day with Martin. He is a great person and extremely good at teaching I can see the benefits my buddy had right away.

Lessons learned on the RX100

There were a few things that I learned about my RX100 still rig mode that I want to share with you.

  • The autofocus is incredible. I even used this for macro. If the camera does not focus is because you don’t have enough depth of field and that is it.
  • Best macro performance is with a single diopter and also had a benefit of an increased working distance, this means the shots will need cropping for extremely small critters
  • Two diopters resulted in near bokeh with less than 1mm in focus and difficult to autofocus (though the LCD is great and I could see if things were in focus or not I think this is personal and I would recommend DMF to others)
  • Performance at wide angle with the UWL-100 28AD with dome is stellar
  • Inon float arms (I used two 6″ segments) were perfect with lens holders on it.
  • Inon Z240 twin set with one in TTL and the second in external auto delivered creative lighting without headaches, remember to buy the AUTO diffuser that does not come with the strobe
  • Strobes in manual allowed for even more creativity and the level of precision compared to sea and sea was staggering
  • Despite pool conditions the RX100 focused well in low light and much better than the Canon S95 that was returning focus error on the same exposures. I will not bother having a focus light with this camera and only have a single sola on night dives

That’s all for now any question just drop a comment

 

Sony RX100 – In depth into digital settings

Over a year ago I wrote a set of posts for the RX100 and some of the quirks of this wonderful little camera.

Steadyshot – aka Image Stabilizer

The RX100 has a specific Active mode for video not available when taking stills. I described the differences between those two modes in this post

Everyone is so obsessed of having the widest possible field of view that other more important considerations are completely missed out.

If you have ever shot a video with a GoPro underwater you know how bad is the quality of the image in the corners, this is because the flat port combined with the gopro lens create many optical aberrations.

Our RX100, especially the original Mark I, also has an issue in the corners, this is not just an underwater issue is also true on land. The lens on the camera has a lot of distortion and when corrections are applied to the image this effectively creates corner softness.

When we add a wide angle lens the image quality in the corners deteriorates further especially if the lens is flat creating a lot of chromatic aberrations that you can see in pictures with a blue or yellow halo around the edges.

Standard Mode
Standard Steadyshot

Now the good news the Active steady shot mode crops the image of a factor of 1.15x getting rid of the majority of the corner softness.

There is of course a price to pay which is the loss of some of the angle of view. According to my calculation if you use an Inon UWL-H100 you start from more than the declared 100.8º more around 104º in fact. When the active mode is on this drops to around 95º. Remember all those values represent the largest incident angle that means the diagonal field of view.

Active Steadyshot
Active Steadyshot

A lens with 100º diagonal field of view means 90º horizontal. So after the active mode is engaged our horizontal field of view looks more like 84º which is equivalent to a 20mm lens. This is sufficient for most close wide angle shots and plenty for ambient light videos of large fish or wrecks. I generally suggest to keep the Active mode on, of course if you can be in a fixed position and hold the camera really steady you can also use the standard mode and obtain more field of view. There is a chance though that you will need to crop the extra field of view if you need to stabilize in the editing phase.

For macro shots without a tripod the steadyshot is a must and helps greatly. I do not even see a reason to take it off if you have a tripod as the RX100 does not have a particularly small capture area.

Digital Zoom

This brings the second subject: digital zoom, if you shoot pictures you avoid it as what you are doing is to crop the image, something you can do yourself in processing. In video though there is very little quality loss as we use just 2 megapixels of the 20 of the RX100 camera. In my test you can use digital zoom until the 2x multiplier is reached, this corresponds to 7.2x magnification and see no noticeable degradation in the image quality. The other benefit is that the depth of field is the same despite the magnification so you can save yourself stacking two diopters with all the difficulties that follow in terms of focus.

Max Optical Zoom with UCL-165
Max Optical Zoom with UCL-165

Digital zoom is always on in video mode and I recommend to use it with a single close up lens before embarking on dual diopters or a strong single diopter. Also take into account that with a single +6 diopter your working distance is around 4″ which is ideal for most critters except pygmy seahorse and bobtail squid or some shrimps.

Digital Zoom 2x with UCL-165
Digital Zoom 2x with UCL-165

Video Lights

In another post I have explained that getting hung up about light angle coverage is not really the only thing to consider, there is also luminous flux and quality of light. With my Sola 1200 I can cover something between 2 and 4 feet away with decent results further away is just back scatter. Generally this is ok for some close portrait work and close wide angle and of course not sufficient to cover part of a wreck or much larger subjects. You may decide not to bother at all with lights for wide angle and just render your deep wreck dives in black and white in this case consider that a pair of Sola Dive 800 at $399 are a high quality macro set up, function as dive light and provide some decent close wide angle portrait illumination. For macro shots you need much less than that, I set my fill light at minimum (300 lumens) and the main light at 2/3 which is 600 lumens, I can shoot at f/11 with this light intensity. You can see me shooting in the feature image.

Barbados: First Sony RX100 Mark II Feature

So after a few months since I got the Nauticam housing I finally had the time to get in the water and try it on.

I was in Barbados for a week and although the diving was not exactly outstanding I did have enough to test the camera behavior.
The link to the videos are here for YouTube at 1080p

or if you prefer Vimeo at 720p

The footage was all taken at 1080p50 the highest mode of the RX100. The RX1oo can work in both PAL and NTSC standard but I chose the PAL mode just to avoid the annoying NTSC message at startup. The clip has been edited with iMovie 9.0.9 and then exported in 1080p25 using Xencoder codec for quicktime in high profile. Youtube then reconverts it to its own specifications, but at least I have the highest possible starting point.

As mentioned the RX100 shoots at shutter speed of 1/100 in 50p mode and this suited me fine in case I wanted to produce a 60p clip for viewing on the computer as currently no online system supports it.

As discussed in the previous post I shot all wide angle in camera Program mode. This allowed me to use the left control wheel button to call the white balance set menu that in video is not available. I set the picture format to 16:9 so that would show similar on the screen. I did notice that when I actually started the movie recording the crop of the active steadyshot kicked in with a reduction of field of view of around 9 degrees or a 1.14 zoom equivalent.

However the active steady shot was well worth it as I have not used any stabilization for any part of this clip and therefore not introduced any extra cropping.

The wide angle shots with the RX100 are an absolute breeze when you use a filter and there is no need for custom white balance until it gets too deep to actually use a filter. I struggled getting decent results with custom white balance, the 9900 K error came pretty much every time except when in shallow water and balancing on sand. Also the results were off with too much magenta tint to the point I had always to correct it.

Ultimately I kept the filter and the camera in Auto White balance and did not bother doing a custom reading at all. The results were excellent.

SS Stavronikita
SS Stavronikita AWB

In deeper water the filter started making the image a bit dark so I took it off and used a temperature setting of 9900K with Magenta and Amber at the maximum.

For close up at distances over 20cm I still shot in program and had good results. When getting super close or macro I used Movie mode in Aperture priority mode with aperture set at f/11. Towards the end of the clip you can see a shot of a small pink frogfish that is done like that. The close up on the eye is shot with two stacked Inon UCL165 the depth of field is really small as you can see but still workable considering I hand held the camera at all time.

Pink Frogfish f/11
Pink Frogfish f/11

When I shot this arrow crab I had left the camera in program mode so it chose an aperture of f/5.6 you can see that whilst the mouth is in focus the arrow is not

Arrow Crab
Arrow Crab f/5.6

Similar situation with the pedersen shrimp where not everything is sharp in focus

Pedersen Shrimp
Pedersen Shrimp f/5.6

Obviously I am being very exigent with my footage and in normal condition this is already good to very good.

So what I liked and what I did not like about the RX100 Mark II:

I liked:

  • The ergonomics and ease of use are outstanding
  • The camera performs incredibly well with a filter in auto white balance
  • The manual focus with peaking works extremely well
  • Dynamic range and colors are outstanding and not just for a compact
  • Image crisp even in the corners at f/1.8 compared to the Mark I this is extremely significant
  • The active stabilizer was great and meant to manipulation in post
  • Battery life is incredible
  • Performance in low light is excellent and better than the Mark I the camera never reached the ISO MAX of 800 I had set hitting a top of 640 at 30 meters
  • Autofocus at wide end in bright conditions is superb

The only think I hated was the custom white balance results an absolute disgrace, to the point that there is no benefit doing it. Not only that the few parts of the clip I had used it and correct it were still a bit off and required correction in post to a small extent.

Also to consider some of the topside capabilities of the RX100 Mark II just to give an idea though this is not exactly the same location have a look as this shot with a Nikon D7100 with sigma 17-70 in comparison with the RX100 Mark II

Nikon D7100 Beach Landscape
Nikon D7100 Beach Landscape
RX100 Beach Landscape
RX100 Beach Landscape

There is a difference but considering the size of the RX100 and the fact it fits in a pocket I don’t think there can be that many complains. Obviously once you look at specific lenses for the DSLR things change but in the 28-100mm all purpose range I would say that the gap is not as much as double as the price of the two set ups.

So is the Sony RX100 the best compact underwater video set up? Definitely

Is the Mark II better than the original RX100? Yes and well worth an upgrade for video

How does it compare with the Panasonic LX7? The dynamic range and the colors are superior and produces footage that is simply better and sharper. Where the LX7 excels is at macro in clear waters, this is not because of magnification as the RX100 and LX7 perform exactly the same with diopters, and this is because of the LX7 amazing autofocus. However with a bit of silt or other objects in range there is need to switch to manual focus and there the RX100 is actually superior when using peaking even if the depth of field is actually less, the manual focus on the LX7 with the magnifier is not as good unfortunately.

So my ranking for video is:

1. Sony RX100 Mark II

2. Panasonic LX7

3. Sony RX100

I would also add that for stills the LX7 is even more rewarding at macro range due to the performance of autofocus.

Any questions please drop a comment

Underwater Video Tips: Best video settings for Sony RX100

It is not a mystery that the RX100 is capable of shooting excellent video. In fact in some comparisons with SLRs cameras there is little to no difference in the footage quality. The RX100 has many settings and options so which ones are important for underwater video? I will go and explain those that I find useful.

RX100 Video Behavior

Although the RX100 offers full manual control in video this option is not as useful as it seems. Now that many video editors support AVCHD progressive the 50p or 60p options are the more relevant as the footage can be slowed down to half speed and still offer a standard frame rate (50/60p at half speed is 25/30p).

The RX100 shoots video in program mode with shutter speeds of double the frame rate so 1/100 for PAL and 1/125 for NTSC that is excellent news. The camera will then drop to 1/50 or 1/60 when the max ISO is reached which is still acceptable. In Movie Program mode the camera shoots at the lowest possible ISO for the set shutter speed at the widest required aperture. The RX100 has a minimum ISO in video of 125 and the RX100 has it at 160, which is quite high.

Shooting Wide angle

I shoot all my wide-angle footage with the camera in Program Mode. By that I actually mean Photo Program Mode. Pressing the movie button in P mode results in the same behavior that shooting video in P mode. In order to be able to frame correctly I set the image format to 16:9 also for stills. This is also useful to capture ambient light landscapes. I started shooting in P because this allowed me to white balance quickly however I found out that the custom white balance on the RX100 Mark II is a total disaster and in fact I never use it as it gives weird results. I shoot with a red filter with Auto white balance on until approximately 25/27 meters and then I move to White Balance set to K (colour temperature) 9900K Tint set to M7+Y7. When shooting with lights I also use auto white balance. Generally speaking I only use the movie button and the white balance settings for wide angle.

Deep Wreck in Program Mode
Deep Wreck in Program Mode

Shooting Macro

When shooting with diopter at tiny subjects focus with the RX100 is a challenge. I set my video mode to Aperture priority with an aperture of f/11 and Auto ISO, the camera will always keep a shutter speed of double the frame rate which is ideal. If you light the subject properly the RX100 will always shoot at the lowest ISO maybe at 200 but not more. I use auto white balance for all my macro. I find it convenient to leave the video mode like this so that I only have P for wide angle and Movie – Aperture priority for video. If you prefer you can set those as memory recall 1 and 2 but I find that not as useful except you don’t need to use the control dial.

Frogfish at f/11
Frogfish at f/11

Settings for the Function Buttons

Many features that can be assigned to the function button are not available in video or not useful. I only have 4 settings in the function wheel:

  1. ISO
  2. Metering Mode – Always on evaluative
  3. DRO – I set it to auto
  4. Focus Mode – in video only constant and manual are available

To be perfectly honest I rarely change any of those except for testing the camera exposure. Even the metering mode can be left to evaluative all the time as when you shoot macro the area is so small and evenly illuminated that I have never had an issue with exposure.

Settings for the Control Wheel

I use the following assignments and I find them very useful:

  • Left: White balance
  • Centre: Manual Focus Toggle
  • Right: Exposure Lock

The bottom arrow is always assigned to exposure compensation and can’t be changed I set it to -0.3 eV all the time.

White Balance

The performance of custom white balance with the RX100 Mark II is shocking worse than the original RX100, 9 out of 10 I get a white balance error and the results are usually off with too much magenta. The only occasions where I do not get an error is in 6 meters or water (20 feet) on a sandy bottom. In other conditions it does not matter if you try with sand, tanks, hand, slates the outcome is shocking. The results can be used changing the tint to an M2 or even zero but generally using a filter and auto is just much easier and better. I assign the K setting to 9900K M7 for shooting at depth, This is painful because it means that unless you have a flat lens like an Epoque or Inon you can basically forget shooting video with the RX100 as the custom white balance is erratic at least.

The Inon UWL-H100 has only one red filter that is compatible and is made by deeproof. I find this filter excellent though I prefer plastic to glass I have to say it works a treat.

Results with White Balance Error 9900
Results with White Balance Error 9900 Note the Magenta tinge
Similar scene with auto white balance and red filter
Similar scene with auto white balance and red filter

Focus

The RX100 focus automatically on the center when shooting video and does it very well,. Tracking focus is not as useful and by assigning the center button to manual focus it can be eliminated. When shooting macro it is essential to use peaking. I set it to low with white color. Generally with diopters there is only one focus distance so I move the camera until the peaking shows nice white and then press record trying to be steady. That’s pretty much it.

DRO

I keep the dynamic range optimizer to Auto. This means the ISO is most of the times set automatically to 200 to preserve dynamic range. When the scene is perfectly lit the ISO is chosen to be 160. I don’t see much difference between ISO 160 and 200 but if this bothers you set the DRO to off which means the camera will mostly shoot at ISO 160 in good light conditions.

ISO and Max ISO

I set the ISO Max to 800, having analysed a lot of my footage I have not found one example where the camera shot at ISO800 yet unless I had a filter and was at 30 meters. However I prefer the camera to drop the shutter speed and keep the ISO to 800 instead of going all the way down to 3200.

Zoom

In video the RX100 activates digital zoom even when you set it to off. This deteriorates the image so you need to pay attention that the middle notch corresponding to 3.6x is not exceeded or you will see artifacts in your footage.

Stabilizer

I use active steady shot thought this reduces the field of view as it does help with shake quite a lot with macro footage.

Other Settings to disable

There are a number of settings that are harmful in video either because they use battery or because they are counter productive I disable them all list includes:

  • Smile / Face Detection
  • Picture effects
  • Audio recording ( I do not like bubble sound)
  • Wind Noise Reduction

The following are only relevant for still but I like them off regardless.

  • AF illuminator
  • Red eye reduction
  • MF Assist