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
Nauticam entered the wet lenses market with their SMC close up wet lens that was optimized for DSLR.
Then it released the CMC compact macro converter for compact cameras and micro four thirds and finally the Wet Wide Angle Lens I that is compatible with compacts, micro four thirds and also full frame cameras with 28mm equivalent lens.
Up to now all lenses were using the traditional M67 mount as most of the lenses, even the close up ones, are pretty heavy this means going for the dive with the same lens. Nauticam has developed the flip diopter adapter for flat ports to overcome this issue.
The flip diopter is a good solution for micro four thirds and DSLR but looks rather cumbersome on compacts as the image shows.
I asked Nauticam for a bayonet adapter and specifically if they could develop something for the Inon LD bayonet system that so far has been the reference for wet lenses for compacts and micro four thirds cameras.
Edward told me that due to the fact that the WWL-1 lens rear element is so large the Inon LD system was not an option so they went off and developed their own system.
I would like to thank Nauticam again for making those parts available before general availability.
Looking a bit closer to it you can see that due to the specific construction with two concentric rings you need a special tool to apply the adapter on the port.
Obviously as the Nauticam lenses use an M67 thread new adapter needed to be developed.
Nauticam does not use ABS plastic and uses aluminum for all their parts.
Now that the items have a bayonet adapter there is a need for a lens holder to put on the arms.
The lens holder is too big for a standard 5″ segment but looks in proportion with a longer segment.
The adapter is larger than the LD mount and a bit big for compacts to the point that even with a tray the adapter tips the rig back.
Another challenge is that this system is designed for Nauticam lens that have protruding rear element so when used with standard lenses there is a gap between the port and the wet lens that can be counter productive, not the end of the world and frankly the Inon system has the same problem. This however means that if you wanted to use this system with a different wide angle wet lens this would be suboptimal.
I am waiting for Nauticam to ship me back the WWL-1 so I can show how that lens performs on this system.
Another observation of course is that if you use this system for wide angle the super heavy WWL-1 and the fact that the adapter only works on a normal segment means your rig will be very heavy in water. I am going to discuss with Nauticam the possibility to have the adapter on a float arm however their carbon arms do not have any mounting point to be used.
Stay tuned for a full review of this adapter with the new 29 macro port that looks very promising for video.
Following the previous review that was dedicated to still images we now go into the subject of 4K video with the Panasonic LX100 and related Nauticam LX-100.
Currently there are only two compact cameras that produce 4K video the Sony RX100 and the Panasonic LX100.
The housing for the Sony RX100 has a traditional M67 port whilst the LX100 uses the N50 compact port system.
This means you can use all your wet lenses with the RX100 without specific adapters. The LX100 has however a number of benefits.
This table compares the field of view of the two cameras in 4K video mode.
When the camera shoots in 4K mode the focal length remains the same however the camera uses a smaller part of the sensor. A normal micro four third sensor measures 17.3×12 mm whilst the 1″ sensor of the RX100 is 13.2×8.8 mm. Note that the LX100 does not use the whole sensor due to the multi aspect format that keeps the diagonal field of view unchanged regardless of the image format.
What we can see in the LX100 table is that although the focal length in 4K is 26mm the horizontal field of view is the same of a full frame camera with a lens of 23.86mm this means the field of view in 4K should be slightly wider than a picture taken by the LX100 in 4:3 format.
I put the camera on a tripod and took two sample shots, this is the first at 24mm in 4:3 format that I then cropped to 16:9.
This other shot is from exactly the same position taken extracting a 4K frame from a small video.
As stated the horizontal dimension is just a few mm wider in 4K 16:9.
What this means is that this is the same that any normal camera with a 24mm lens that then is cropped to movie format in terms of field of view.
The Sony RX100 does not have a multi aspect sensor and therefore the horizontal field of view drops more.
With the short port on the LX100 using a wet lens like the Inon UWL-H100 we can achieve more than 97° horizontal which is very wide and zoom all the way to 79° and if we use a wetmate or the mini dome cover the other range between 72° and 50°.
Practically the LX100 with wet lenses and wetmate or minidome gives you access to focal lengths between 15.5-21mm and again 24-35mm is like having an 8-18mm lens on a micro four third which is good for whale sharks and mantas this is even wider than the 7-14mm lens on a Panasonic GH4 in 4K and the LX100 has a (weak) optical stabiliser on the lens.
The RX100 mark IV instead can only cover between 96° and 90° before the wet lens stops working properly and we jump to 68° if using a wetmate.
This shot taken at around 15cm shows a nearly rectilinear and very wide image.
In short if you are after some super wide angle in 4K the LX100 is definitely the way to go.
From an ergonomic point of view I shoot video in shutter priority and let the camera work out ISO and aperture, this is relatively easy to do with the LX100 although the absence of custom memory modes on a mode dial is painful.
A control that can be quite useful due to the tendency of the LX100 to go focus hunting is to set the ae/af lock button to af-on. This requires the shutter to be set in release priority with this control you can use manual focus and force the LX100 to refocus when you hit the af-lock. This is a very useful feature.
Update 28 September the method described to fight focus hunting does not work in 4K. There is going to be another post with the best settings for 4K video for the LX100.
For what concerns macro both the LX100 and RX100 present their challenges due to the short zoom lens, the LX100 more so due to the horrible rectangular port. It can be argued that you can’t shoot wide and macro with the LX100 whilst you can do that with the RX100 however the strength of the LX100 is certainly in its very wide lens and the short port that combined with a flat wide angle lens can produce an extremely wide field of view able to cover practically almost any wide angle scene.
For macro the GH4 and upcoming GX8 are probably going to be better placed due to the higher crop factor giving focal lengths in excess of 100mm using the 14-42mm lenses.
If you want to get into 4K video and your focus is primarily wide angle the LX100 is an excellent device.
Nauticam has given me the opportunity to test the housing for the Panasonic LX100 priced at $1,200 or £922 in UK.
As anticipated some time ago this housing features the new N50 mini port system for compact.
The housing comes with the rectangular port as a standard, as the LX100 has a 24mm equivalent lens and the lens extends quite a lot between the shortest and longest focal length it is not possible to use an M67 long port or there will be vignetting.
In order to install the camera you need to set the aperture to f/16 and the aspect ratio to 4:3 with focus mode in normal and lift the zoom lever. Likewise to take the camera out of the housing.
Unfortunately as mentioned several times on this blog pincushion distortion severely affects the image at focal lengths shorter than 35mm equivalent as our in water test shot demonstrated. If you zoom in the corners you can see also extensive blur and chromatic aberrations.
Furthermore the lack of an M67 port means you now need the Nautical flip diopter for rectangular port that costs $220 or £170.
When you eventually get to put a diopter on the lack of zoom means that magnification with traditional lenses is quite limited.
The frame width is 62mm with a single Inon UCl-165 and goes to 5cm when we stack another UCL-330.
Image quality is ok except some blue fringing at the borders.
A single UCL-100 gives a frame width of 42mm.
Apparently the Nauticam CMC ($320 or £240) gives 32mm frame width that is adequate for macro.
So if you are into macro you need to invest $1,200+$220+$320=$1,740 to have some decent magnification.
If you possess many clamps and cold shoe ball mounts you can buy an Inon M67 lens arm and use the lenses you have saving some $$$ but the magnification is limited unless you get the CMC.
For semi-wide angle a mini dome port is available at $280 or £216.
This restores the field of view in air however you can only zoom to 40mm before the camera can’t focus anymore. I have even tried with dry diopters on the camera there is no improvement.
Optical quality is great.
Probably the most useful port is the N50 short port that has an m67 thread and allows to use wet wide angle lenses.
I went to Swanage but got the tide wrong visibility was shocking still gives an idea of the image quality of the LX100 with the Nauticam WWL-1 wet lens.
If you have a Nauticam wet mate you can also use it with the short port and achieve the same or better sharpness than the minidome thought with some residual chromatic aberration.
The big benefit is that if you find that your wet wide angle lens is too wide for what you are shooting you can change lens without changing the port.
For what concerns the ergonomics of the LX100 they are quite intuitive on land.
One of the characteristics is the lack of a mode dial.
You have an auto position for shutter speed and aperture and if you leave them as such the camera shoots in program mode.
Once you move the aperture the camera goes in aperture priority mode. Probably the worst situation is the shutter dial that once touched has to come down all the way from 1/4000 to whatever you need it to be.
Also you don’t have thirds of exposure for the shutter dial and for example to get 1/50 you need to go to 1/60 and then use the rear dial.
I found the ergonomics of the camera in water particularly annoying as I was shooting with gloves. I did like the nauticam trigger system for the shutter however the amount of hardware of the nauticam tray and its weight are not really an option for me.
The Panasonic LX100 is a very interesting camera on land but in water ends up quite uncomfortable and expensive. The housing with the 3 ports comes at $1,200+$180+$280 if you add the Nauticam CMC and the WWL-1 you end with a whopping $3,195 the camera costs another $800. Total investment $4,000.
This is a lot of money in my opinion considering that with another $300 you can get a Panasonic GX7 with GX7 housing, an Olympus 60mm with 65 macro port and a Panasonic 8mm fisheye with 4.33″ dome. The LX100 and GX7 share the same sensor but there is no doubt that the macro performance of a dedicated lens as well as the fisheye of the 8mm lens have no comparison.
In conclusion the Panasonic LX100 with NA-LX100 is a bit of a flop for stills the only use that I can think of is wide angle 4K video with the short port and a wet lens but other than that I don’t see how Nauticam is going to sell many of those units.
Micro Four Thirds camera have become increasingly popular for underwater photography especially for macro and close up subjects in the last years.
The micro four thirds standard is shared between Olympus and Panasonic however in terms of underwater use Olympus is on the forefront and in fact it produces their own poly-carbonate housings for all new models.
Nauticam has their own N85 port system for micro four third that as of today has 10 different ports, two extension rings and a large number of focus and zoom gear. You can also buy cheaper 3D printed gear to save a few bucks for majority of lenses.
The other interesting characteristic of the micro four third market is that since the introduction of the 16 megapixels sensors, there have not been any substantial improvement in image quality among the various model, we will have to see what the 20 megapixels sensor of the Panasonic GX8 will bring but all in all the camera choice is mostly one of ergonomics and features.
Olympus is quickly clearing stock but you can still found the OM-D E-M10 out there for £478 with kit lens. The might Panasonic GX7 is now £433 with kit lens. In US you can find both the Panasonic GX7 and the Olympus O-MD E-M100 for $599 with kit lens.
The Panasonic LX100 sets you at £589 in UK and $698 in US really if you are into photography and want a micro four third it is a no-brainer you get a previous version GX7 or OMD EM10 (as you can’t find an EM5 new) and happy days.
Now that you have committed to the camera you are into lenses and ports for underwater use. The Olympus housing costs on average 25% less than Nauticam and has less choice of ports for me really is not appealing so let’s assume we are into Nauticam. What lens or port to choose?
Both the Olympus 14-42 EZ and the Panasonic 14-42 II fit in the Nauticam 35 port and require 3D printed gear to operate. The flat port will be OK for fish portrait and if you already have wet lenses it is definitely recommended to buy the 35 macro port first especially if you shoot video.
Both lenses do need a wet diopter to shoot small subjects in water as the smallest frame is around 7-9 cm width otherwise.
If you come from a compact camera most likely you have wet lenses and therefore you can re-use them for close range work.
Obviously a flat port for a 28mm equivalent lens is not a solution for wide angle.
First of all at the wide end due to water magnification the angle of view is the same of a 37mm lens which gives a field of view of just 60 degrees. The other point is that you really want to shoot at the tele end to avoid cluttering the background too much and typically in water those kit lenses work only at over 25cm from the port which means they are only good for medium size fish portraits.
The sequence of shots shows that even if the size of the cup is pretty much the same it looks much better at long focal length.
At 28mm you can see the glass in the frame on the right side and the window in the background.
At 50mm with similar size of the cup the glass is half gone and the cup looks nicer less of the window is showing.
at 42mm the glass is nearly out of the frames and the windows in the background is gone.
If you did not have any wet diopters the first additional lens and port to get will depend on your subjects, if you shoot macro you need a macro lens, if you shoot close focus wide angle you need a fisheye lens it is as simple as that.
The Olympus macro 60mm is the preferred lens combined with the Nauticam 65 port (or 35 port plus 30 extension). This lens can focus 10cm from the port and therefore can be used also in low visibility. Really there is no reason to use the more expensive 45mm Leica lens. The 60mm is great also for portrait work of small fish.
The same shot of the cup at 60mm means we now say goodbye to the glass due to the reduced angle of view. The increased working distance also means a more pleasant perspective.
I hope this explains why for underwater macro we want to shoot with long focal length as this helps us to get rid of the background so a longer lens will always be better than a zoom lens with a wet diopter and it will also give more magnification in case you have really small subjects.
If macro is not your priority and you are happy with kit lens and diopter for wide angle the first option is the Panasonic 8mm fisheye, that since the introduction of the Olympus 8mm pro fisheye has also reduced in price.
This lens works best with the Nauticam 4.33″ dome port. If you shoot in 3:2 format you can also try the Nauticam 3.5″ wide angle port that makes the set up even smaller however there are no substantial improvements on how close you can get as the strobes will fail to lit properly anything that is right on the port without risking to see the strobe lights in the frame. The 3.5″ port will vignette in 4:3 image format though some users report success.
EDIT 7 September 2015
The issue of the 3.5″ port has been put forward again with the argument that it allows you to get closer than the 4.33″ dome with the Olympus EM5. I do not have an EM5 but I do have a Panasonic GX7 the end of the dome is 9 cm away from the focus point and this means that the dome allows you to get closer than the minimum focus distance of the lens of 10cm. As the dome is shorter than the minimum focus distance on the GX7 the 3.5″ port does not bring any benefit. Furthermore as trays are in general around 30cm you need to be around 15 cm anyway to be able to illuminate the subject properly with edge lighting, in virtue of this I remain convinced that the 3.5″ port does not bring any real benefit except is a bit cheaper and may vignette.
So your starter kit if you upgrade from compacts of you own a close up lens is Macro 35 port followed by Olympus 60mm and mini extension ring 30 or Panasonic fisheye 8mm with 4.33′ dome for wide angle.
Wide angle zoom lens are less of a priority but the choice is between the Olympus 9-18mm and the Panasonic 7-14mm bearing in mind that if you had a wet wide angle lens you may not even bother getting an intermediate wide angle zoom lens.
That’s all for now hopefully this will cover most of the ground for all new micro four third underwater shooters with kit lenses!
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!
The Lumix G X 14-42 Power Zoom lens is designed for video with a silent motor zoom controlled by a slider that is quite effective to use.
The focal range in 4:3 format is 14-42mm which corresponds to 29-87mm in the standard 35mm format (the crop factor is 2.08 36/17.3 and not 2 how commonly thought in the classic 3:2 aspect ratio).
This lens is not exactly a best in class in terms of performance especially considering quite a bit of vignetting at wide end and distortion that anyway gets corrected nicely in camera for most. A detailed review is here http://www.photozone.de/olympus–four-thirds-lens-tests/765_pana14423556hd
You can see that this is lens is quite sharp at 2868 LW/PH to give you an idea the much more expensive Lumix 12-35mm reaches 3110 LW/PH though sharpness drops at corners to around 2100-2200.
Another interesting characteristic is that this lens performs best at f/3.5-f/5.6 which is close to the widest aperture as we will use this lens with the Nauticam flat port 35 this is all good news.
The lens fits very nicely inside the port leaving space for small filters and close up lenses but not really a lot.
The lens does not really move much between 14 and 42 mm and reaches his longest at 14mm.
I have tried using a set of Inon diopters to see the degree of magnification you can get.
This shot is with an Inon UCL-165 +6.06 diopter.
The smallest frame width with this lens is 42mm however in video mode using the ex tele converter option this becomes a much smaller area achieving in fact super macro easily with the added benefit of larger depth of field.
If you are into pixel peeping you can see some chromatic aberration on the edges this is a combination of the lens and the wet diopter.
I also tried stacking an UCL-165 with the UCL-330 this achieves a capture width of 32mm so we are in super macro zone.
Image quality does not get much worse but there are some internal reflections here on the white surface as the Inon lenses are not coated externally.
Finally I wanted to see if the Inon UCL-100 would work and it does achieving super macro without any fringing. If you want to use this lens for pygmy sea horse photography and do not want to get an Olympus 60mm this or the sub see 10 are the close up lenses to get, also the nauticam SMC is in the same range.
Now onto what is really good of this lens port combination and this is the versatility as you can attach the Inon UWL-H100 and get a very wide 18mm flat wide angle that is very sharp indeed as per previous images
Consider that this image is taken at f/3.5 and the ruler is in the corner at ISO 1600 and you can see that sharpness is more than acceptable.
More interesting is that for some reason with this lens you can fully zoom through even down to 42mm without soft corners.
I have no idea how this is possible but it works just fine.
So if you are a video junkie you can cover the whole 100 degrees wide to super macro with this lens the Nauticam 35 Macro Port the Inon UWL-H100 and the UCL-100. For video it gets even cheaper with the UCL-165. You can of course use the flat port to do nice fish portrait in the mid-range of the zoom.
I forgot to mention the zoom gear which is actually pretty expensive because of the complex spring design.
The total cost for the Nauticam 35 with zoom gear is $510 plus of course the lens itself $290 total of $800.
Inon UWL-H100 + LD adapter = $654
Inon UCL-100 = $282
Inon UCL-165 = $205
Wet Lenses Still total = $936
Wet Lenses Video total = $859
Let’s compare to getting an Olympus 9-18mm with 4″ wide angle port and the Olympus 60mm with 30 extension ring total price $2129.
Price gap for stills $393 but you now also have a mid range lens for portraits, personally I don’t really like the Olympus 9-18 behind that port comparing side by side images taken with the 14-42 PZ and Inon lens I am not sure the Olympus is any better and definitely needs diopters due to mushy corners. For macro the 60mm Olympus lens has the advantage of increased working distance but is a very specific lens that you would only use for really small stuff.
For what concerns video you would probably look at the Panasonic 7-14 and forget the Olympus 60mm the combination is worth $1800 which is a difference of $636. Again the issue with rectilinear lenses and dome ports is there and the 7-14 does not take diopters.
So if we were to use the lenses on land no doubt you would need additional glass but in water wet lenses can be quite cost effective especially if you use a micro four third camera for video.
Peter Rowlands uses a Panasonic GX7 with Inon UWL-H100 and dome successfully and I am joining that club now.
Stay tuned for more tests next to come will be the Panasonic Fisheye 8mm with the 4.33″ dome which is another essential buy for the micro four third cameras underwater, obviously for pictures and not video.
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
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.