It is not a mystery that even the new Mark IV version has issues with custom white balance.
The ergonomics have not changed and you need to go into photo mode to set custom white balance but generally underwater results are poor. Using filters is therefore a necessity also on the new 4K version.
RX100 Mark IV Video Behavior
The RX100 offers now a 4K 100 mbps mode and can use picture profiles.
I have used a modified version of PP6 that use the cine2 gamma curve, I have however changed the colour to the Pro mode and changed a number of other settings in my last video in Puerto Galera.
The water was green and murky but this gives you an idea of what you can get.
Filter Options and Wide Angle
Although the Nauticam WWL-1 is the best lens for the RX100 it does not take filters and therefore is not adequate for video.
In this review clip you can see the options available on the market.
In terms of wide angle you have two options for 4K:
Both lenses work fine in 4K however the older UWL-100 achromat does vignette in photo mode.
The UWL-H100 offers a very wide field of view also in HD mode with no vignette and accepts the mangrove/deeproof filter.
This filters is loaded with magenta so I suggest adjusting the tint in the auto white balance mode to +2 green.
The UWL-100 works fine in 4K and is wider than the UWL-H100 however has only the M67 mount. If you have one of those lenses you can use the Ikelite 6442 filter. This filter required you to remove the rubber ring on the lens and does work quite well except has a yellow cast to it you can reduce by changing the tint to +2 blue and increasing also magenta to +1.
For flexibility purposes probably the UWL-H100 is better as it takes the bayonet but the UWL-100 is really wide and has a little less fringing. Some people do like the UR/PRO filters better.
I hope you find this post useful and good luck with getting the best colours from your Sony RX100 Mark IV
So time has come for my first video with a micro four third camera the Panasonic GX7. I had only 3 dives in Sharm and conditions on Naama Bay beach were not the best but still good enough to give the set up a good try, this is the resulting video.
I used the Nauticam housing with the Macro 35 port and the M67-LD adapter so that I could use the Inon UWL-H100 wet lens.
As it is not possible to fix the position of the lens I had to take the hood off and therefore I used an Ikelite UR/PRO filter for the 100mm lens. I had to use gaffer tape on the lens and inside the filter or it would be loose but it worked.
The first dive was with the URPRO filter in auto white balance, I was hoping this would give me good results but instead everything came with a strong yellow cast.
From the second dive I used custom white balance and the results were much much better.
To give an idea of the issue this is a shot of a grey card with the UR/PRO filter on land with white balance fixed.
You can see what kind of effect the filter bear it is orange in colour.
Other than this I was pretty happy with the GX7 especially because I could use the full zoom with the wide angle lens this is the first time I see it working. The moray eel shot towards the end of the video is an example.
Back home I was not happy at all about the UR/PRO and the inability to work with auto white balance. Probably I could have played with the tint but it did not come to mind. So I got in touch with Peter Rowlands of Magic Filters to see if they had an option that would fit on the Ikelite mount. Peter sent me two sample and they fit perfectly in the ikelite frame, though this is not commercially available I guess you can request those if you are not happy with the ikelite UR/PRO.
This is the same test card with the magic auto filter.
You can see that it looks less orange and also slightly colder.
I did some tests and the UR/PRO is a warmer filter with 2700K temperature whilst the magic auto is 3200K. The magic is however more red and has more magenta tint than the UR/PRO.
For me this means that the magic will work better in auto and will require less custom white balance. However those 500K difference mean you will eventually need to custom white balance once you go below 18-21 meters. I know people say filter work until 21 meters anyway but I have tried with deeproof down to 30 and on a bright day it was still good.
So if you are not happy with the yellow cast of your UR/PRO in auto white balance is definitely worth giving magic filters a go.
The GX7 confirmed all the good features including the ex tele mode
Here the shrimps are shot with a single Inon UCL-165 and then the close up of the head uses ex tele that pushes well over super macro.
Look at the incredible ability to refocus in video mode. See how focus locks on the shrimps when I press the button.
Overall the GX7 can do pretty much everything on a single dive with a wet wide angle lens and a close up lens. You can cover from 100 degrees wide to super macro. The fact you can zoom with the wide angle removes the need to take the lens off at every occasion and in fact in the red sea you barely need to have any other lens.
I was not particularly happy with the lack of hood that the ikelite filter wants removed so I experienced the occasional flare. Still pretty good result.
The clip looks much better at home than it does on youtube where the gap with the RX100 seems much smaller.
So as far as video is concerned if you don’t need 4K the GX7 gives you extremely high quality footage and reasonable cost.
A final note I shot this video in 24p at home I can’t tell the difference with 25p see if you can see it!
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.
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.
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.
Only 40″ are adjusted in the whole video in essence is as shot and the editing took me half hour.
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.
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.
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
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:
Medium size fish portraits
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
Starting off with metering, the first attempt was to try and use the camera on 0 exposure compensation with centred weighted average metering.
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.
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.
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.
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.
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.
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.
Once again Sony has updated their RX100 camera with a stunning new release that will surely be a market leader at least until the release of the new promised Panasonic large compact sensor with 4K video recording.
So the question is again is it worth throwing our hard-earned money to this new model and housing or should we stay with what we have got? The Mark I and II are still available at reduced price though it is becoming harder to find Mark I housing as new.
The answer to the question is: it depends on what you are planning to do with your RX100, for some users an upgrade may not be required or even not advised let’s see why. no don’t waste any time with the Mark III.
Every time a new camera is released and reviewed I get a bunch of emails with subject: New Camera XYZ what do you think?
The best reviews you find online are made by sites that specialize in land photography and no consideration is given to underwater use. So not necessarily a camera that is a top performer on land will remain such underwater as this depends on specific characteristics that may be different or even opposite to land requirements.
So those reviews cannot be taken as they are they need interpretation. Personally I use two sites for camera reviews imaging resource and dxo mark I use the first to understand ergonomics, performance and to compare images with other cameras side to side, and the second to check sensor quality and lenses. Imaging resource has made a good article to compare the various RX100 on land read it here
If you look at a sensor comparison on DXOMark you would conclude that there is no need to upgrade at all if you use your camera primarily for still pictures as the sensor are practically identical in performance as this table demonstrates:
As you can see the differences in dynamic range, color depth or ISO are pretty much intangible.
However there are other metrics that are also important let’s see which ones and why.
We want our camera on board flash to recycle quickly after a full dump as the RX100 has only TTL flash and the flash can’t set to a minimum manual setting without consequences. Those are the flash recycling times at full output (a full dump will always occur when you don’t aim strobes directly at the subject for example wide angle)
Mark I: 7.2 seconds
Mark II” 4.4 seconds
Mark III: 3.3 seconds
The Mark III is pretty quick and the Mark II is acceptable the first release is definitely too slow.
Minimum Capture Area & Zoom
What is the smallest area that can be captured at wide end at the closest focus distance? This gives you an idea of out of the box close up performance
I do not have precise metrics yet but looking at comparable images on imaging-resource seems like the Mark III is worse than the Mark I and II of at least 20% with a capture width around 90mm versus the already not very good 76mm of the Mark I and II.
To fix this issue we use close up lenses in water that fix to a great extent the focal length and then zoom in to achieve magnification which means longer camera lens more magnification I roughly estimate that the Mark III will be worse of a factor of 0.7x so things will look 1.4x bigger with the Mark III this is terrible news for macro shooters as it means you need to be on top of the subject to fill the frame, this is in some cases not possible.
I have estimated that you need 11 diopters to achieve 1:1 macro so the Subsee 10 and Inon UCL100 that gave real macro on the Mark I and II won’t be sufficient. With two UCL-165 or Dyron 7 you are looking at 2.58″ or 6.5 cm from the back of the first close up lens that means you will be right on top of the subject which is not really an option.
Update July 18th: Nauticam has confirmed that even with their SMC lens the most powerful diopter on the market the capture area is 38mm wide so does NOT achieve 1:1 macro as I suggested…
Lens Focal Range
The new mark III has a 24-70mm lens compared to the 28-100mm of the Mark I and II what does this mean?
Less magnification with close up lenses and no real 1:1 macro
Vignetting or even not possible to use fisheye lenses designed for 28mm lenses
This means that with the Mark III your scene selection will be restricted compared to the 150 to 24 of the mark I and II.
Update 23 July I have done some tests that confirm my suspicions please look at the following frames. The Mark III once zoom to 28mm actually works fine with the Mark II housing except the power button.
With a single Inon UCL-165 (+6.06 in water) the minimum capture area width is 5.4 cm which is bigger than the Mark II 4.8 cm. Not only that the distance from the top of the lens is only 9cm.
With stacked UCL-165+UCL330 total power 9.09 diopter we get this
4.4 cm width however we start running into problems as the minimum distance from the lens is only 4cm.
We finally achieve 1:1 with two stacked UCL-165 however the distance from the top of the lens is 3cm definitely too little
I have also tried the Mark III at 28mm and it still vignettes with the Inon UWL-H100 in air until around 30mm. Instead the old UWL-100 28AD is fine at 28mm either way image looks narrower than with the Mark II but this may be an issue with the old housing.
So basically no macro with the Mark III and no decent fisheye as expected.
Underwater Photography Conclusion
Due to the reasons above the best camera for the job is the RX100 Mark II, with the Mark I coming close but being penalized by the strobe recycle time, the Mark III really is not an option for the serious shooter due to limitations of the lens.
Let’s have a look at some other features of the Mark III that are not relevant for stills as much as they are for video.
Shooting at the surface with plenty of ambient light or on land can create problems if you want to follow the 180 shutter rule, the ND filter of the Mark III ensures your footage will be smooth on land and in water. Take into account that on land you can apply optical ND filters (I have it for the Mark II) so this is really for underwater use when you are shooting at 1/50 or 1/60 shutter speed and the scene is too bright when you hit f/11 and the lowest possible ISO. Having now tested this feature I confirm it is really valid on land on a bright day to keep the aperture wide.
Clear Image Zoom
This is a special digital zoom with edge enhancement that only worked on JPEG stills on Mark I and II but is now available on video on the mark III. This means an additional 2x zoom is available bringing the focal length to 140mm that is more than adequate for macro. This is not an option on RAW images so irrelevant for still users.
23 July update Having done some tests for macro video (as stacking two diopters is not an option) the image quality suffers but anyway this is all you are left with lacking any other options.
The Mark III adds a further stabilizer mode with additional crop that takes the lens to 96mm equivalent in video mode. This is well worth for super macro hand-held footage and effectively provides an option where you can either use the super steady shot and no clear image zoom when hand-held or leave on only the optical stabilizer and use clear image zoom. If you shoot macro on walls and not on flat sand this is a well worth feature.
Update 23 July 2014
Following a side by side comparison you can find on this link
It follows that there is really no 5 axis stabilisation and only an additional mode with more crop with correction for rolling shutter that anyway does not really work!
Full Sensor Readout Video
The mark III reads the whole sensor not just alternate lines when capturing video this increases should increase the resolution to a great degree and increases the perceived resolution and clarity of your videos. However this does not seem to correspond to real life tests. See this sample with a side by side comparison the Mark III looks visibly worse than its predecessor even on the higher bitrate XAVC!!!
The Mark II introduced a well welcomes 24 Mbps 24/25 fps mode now the Mark III introduces a 50 Mbps mode in XAVC (that can be rewrapped into normal MP4) that produces even better footage although it will be quite demanding on your workstation and most likely some of your home devices will struggle playing the files (my Apple Tv 3rd generation only plays up to 25 Mbps) when uploading files online this will downgrade to 8 Mbps so won’t matter unless you have a good player at home. improves nothing and requires manipulation as the files are actually not MP4 compliant as they have WAV audio (!) they are also inside the AVCHD folder which is painful. As seen above seems like the encoding has got worse on the AVCHD files and only the higher bitrate compares but still does not match the mark II at the lower 24 Mbps!!!
You can now connect the Mark III to an external HDMI recorder if you are into that kind of semi pro usage. For the normal user this is not relevant: if you are into spending that money probably you have already a DSLR or a Panasonic GH4.
Video Auto Focus
The auto focus in video has got worse you can see an example in the stabiliser test, and actually plenty of frames are blurred on the mark III. Awful!
Underwater Video Conclusion
The Mark I with only a 28 Mbps 50/60p mode is definitely a poor choice, the Mark II is acceptable to most users. and the mark III promises even better performance if you are a serious video user and have another camera to take pictures the Mark III may be well worth it.
The Mark III despite some useful feature is actually a let down and perform worse in practical terms than the mark II that remains my camera of choice.
If you have a Mark I camera and are frustrated with flash recycling you should be looking at a cheaper upgrade to the Mark II.
If you have a Mark II and your priority is photography upgrading is NOT recommended.
If you don’t have any RX100 get yourself a Mark II or wait for the new Panasonic as the Mark III is pretty much a pile of crap.
Is it the first time I am actually sending back a camera and invoking consumer rights but when I spoke to the camera shop they told me they had other returns and this is not really an upgrade!!!
The above image was shot at 100mm equivalent with one diopter with the RX100 Mark II. You won’t be able to fill the frame with the same close up lens and the Mark III camera
In one of my first posts on this blog I covered the subject of setting white balance with the Sony RX100.
It may be useful to have a quick recap on the topic:
For pictures setting a custom white balance is not useful if you shoot in RAW as the amount of correction in post processing is far superior*
For video (that is shot in compressed format) setting the appropriate white balance for your shots is essential
There are exceptions to this rule, some people like to set custom white balance even in RAW when they shoot ambient light pictures. This is because changing the white balance shifts the histogram and therefore if you had taken a shot with an incorrect white balance you may retrieve wrong information from the histogram. Personally I do not do this most of the ambient light shots I judge by eye and not histogram or are silhouettes anyway but may be useful to know.
The other exception is when you shoot a raw video format with bit rates in excess of 100 Mbps, in that case the footage is captured in a bland format lacking any real depth and contrast and things are corrected in post processing. This does not apply to any consumer camera that works in AVCHD or Mp4 with bit rate lower than 50 Mbps in any case.
It follows that setting the appropriate white balance for our videos is something that is important otherwise our clips will look dull, green or have some sort of color cast we do not like.
As many of you RX100 I have experience with the infamous Custom White Balance 9900K error. In theory if you set your custom white balance with the camera in P mode over a neutral target this error should only occur if the color temperature is out of range (>9900K) unfortunately this is not the case and you get this error pretty much always with our beloved camera. At the beginning I thought that this was due to my cheap PADI slate, but after various attempts against my hand, sand, buddy’s tank, the sun I have to think there is some genuine issue here.
So I got myself whibal card, that on my test on land performs amazingly well with both the RX100 and the Nikon D7100.
The first thing we can realize is that the auto white balance setting is rather cool in outdoor scenes, whilst it tends to be warmer in indoor scenes with artificial light.
When you take a custom white balance the colors appear warmer and the bluish cast departs and the yellows come back.
This is particularly bad news if you shoot underwater without a filter and think of using auto white balance as those results will be pretty ugly.
The whibal card has a specific black mark that if illuminated tells you the white balance reading is incorrect because of reflections. I thought this was the key to the 9900 Error, unfortunately I was wrong.
It just fails 100% reliably really painful so I could not get rid of my trusted red filter for the Galapagos trip. I even tried setting the white balance with the filter and it would fail as well.
So I went back to auto white balance and red filter and I am pretty happy with the results, many people have asked me if I have manipulated the footage in post processing as the colors look very deep and some have even said unnatural. Even so shooting at 1/50 means a relatively low ISO and in the specific trip another f/stop of aperture was not really significant but I would have like to have the option of working without the filter, sadly this was not an option.
For what concerns white balance just a few things I want to say:
1. At depth there is no color anyway so what your eye can see it is not what it is, the proof is when you use lights or strobes things look much better than the naked eye. Using your visual as a reference can produce dull results.
2. You have to set an appropriate white balance for your scene, this means removing the cast. If a scene has no cast and the colors look saturated this is not a white balance issue on its own but may due to the camera settings. The RX100II is one of the less saturated camera on the market. The mark I instead is pretty saturated take this into account.
3. Footage that looks dull IS in fact ugly. The fact you set custom white balance with or without a filter does not mean that results is the perfect result, there is no such thing in fact and as colors disappear at depth white balance is not that effective anyway
Nick Hope sometime ago published some interesting tests on wetpixel
It turns out that there is more than meets the eye.
Just to clarify the only color correction in my Galapagos clip is:
1. In the scene of the dolphins I was pointing the camera upwards and did not have time to take the filter off so ended up with a red cast, I performed a white balance adjustment in iMovie on the opposite value of the tint I was getting until I liked it.
2. In the scene where there is a group of Galapagos sharks and the close up of the eagle ray I have reduced the blue gain as it was over saturated
In all other cases the only changes were increase of contrast or reduction of brightness. When the water was green like at the end in the Punta Vicente Roca scene I did not touch it to make it look artificially blue.
Again for those who ask I use a deeproof push on filter for the Inon UWL-H100 this filter is my preferred for the only reason that is actually the only one available on the market that fits on the lens. Personally I would much prefer a plastic filter like the ikelite/URPRO but this one is glass. It seems to correspond to a deep sunset 2700K with magenta tint of +5 on the RX100 but I have no tools to measure it I can only say it works.
So my recommendation for the RX100 is to get this solution as the Inon lens has the best optical quality and a hood that comes very handy to reduce flare. There are other lenses that fit the RX100 but have no hood. Obviously an not even considering the fisheye style lenses as distortion is ugly and placing a filter under the lens is a very bad idea.
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
Questions will come about what I used etc etc so here is the list
Sony RX100II in Nauticam housing
FIx adapter for Inon LD mount
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.
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.
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.
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.
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
Similar situation with the pedersen shrimp where not everything is sharp in focus
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:
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
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.
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.