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
I thought the Red Sea workshop with Alex Mustard was brilliant to I thought of writing down my notes and sharing them with you.
This final post is a general one and has my lesson learned from attending the workshop, those that follow are generic tips that I think would be beneficial to anyone wanting to attend a similar experience.
Before the Workshop
The experience actually starts before you even attend the sessions key points for me include:
Ask questions about the workshop and how it works
Know your equipment
Take all the gear you have
Be fit and self reliant
Set your self objectives
I did not really ask many questions before going as Dr Mustard sent a very comprehensive document however this is not standard and it is better to ask in advance about the conditions, the dives, the type of training and generally how the workshops is organized. Some have talks, other have one to one, other are just dive trips where you ask when you need. Not all types fit everyone so better to make sure you go to one that matches your need.
Sadly even this time like in every trip I have come across people using their equipment or part of their equipment for the first time. The end results is wasted dives and opportunities, I cannot stress enough that testing your rig in a pool before going allows you to familiarize with it and make any corrections you need.
Also take all the possible lens, ports, parts that may be useful. Once you are there you don’t want to have regrets about something you have left home. In my case all was there but I did not know about remote strobes otherwise I would have got myself a trigger as I have 2 Z240s.
In most of those workshops buddy system does not really apply so make sure you are self reliant and fit as the conditions allow to avoid embarrassing or even dangerous incidents. Once there dive within your comfort limit and if you don’t really have a buddy dive with a guide.
It is useful to know before you go what your objectives are, for example what type of shots you want to work on. This means you have something to do over and above the assigned tasks.
During the workshop
Once there you need to stay focused on your performance. Those are additional points to think about:
Deliver the assigned tasks
Go off the beaten track
Learn from other participants
Sometimes during those workshop there are challenges or set shot that are suggested, this is your opportunity to compare your work with others and therefore you should make sure you deliver those also to find out if there are limits with your equipment.
In the Red Sea workshop were given the task of taking pictures of cardinal fish with eggs in their mouth. I realized I could not fill the frame because I lacked a mid range close up lens and my camera would not focus closer.
In addition to the suggested shots you should make changes to those and try something different even if not totally different.
There are many landscape split shots but not many portrait so why not try one results can be excellent and it is easier with a small dome.
Other participants also will give a go to the same shots or have better editing skills it is worth to watch and learn.
My buddy was setting up a remote strobe I fired a few shots (unintentionally of course) so I got my own shot!
Finally take notes of what you did right and wrong and if you missed anything.
After the workshop
After the sessions are over still there is work to do over and above going over your pictures again.
Write down your lessons learned
Look at other people images
Order any equipment that you missed
Well it goes without saying that I put the notes together and summarized them here.
I also found great to connect to other people and then look at their gallery for other shots that we had not discussed before.
Finally I ordered myself an Inon UCL330, funny I had this lens and sold it not realizing the real use which is fish portraits!!!
That’s all for now if you go on a workshop soon I hope you find this useful.
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.
I have mentioned the conditions we found in Galapagos in the previous post so no need to repeat myself.
One of the things I was told before going is that the last dive of the day tends to be pretty dark so not good for video, therefore I used this for photos were I was expecting to use strobes at all times.
I made a mistake as I should have taken the still rig also on the second cousins rock dive anyway I am quite happy on how things turned out considering I did only 4 dives and took 117 photos I am pretty happy I could pick 20 that I consider decent.
The whole set is here
The rig I decided to pack at the end had 6+8 inches segment so it looked pretty cumbersome on land.
In water the setup looked like a glider with a significant wing span
The reason why I took arms so long is that I was expecting sharks to be 4-6 feet away and quite a bit of particles in the water.
I was right. Just have a look at the following two shots, the first taken with a Canon S95 and a single 8″ arm.
You can see the considerable amount of backscatter despite the 1/1600 shutter speed.
This is another turtle on the same dive
This time two strobes on the longer arms are used, even at 1/320 this looks neat. The turtle looks bigger as the lens is not as wide as the previous, shooting distance is the same.
The arms proved to be good for the sharks as expected, I used aperture of f/4 for most shots, ISO 100/200 and shutter 1/60 to 1/125
This is emotionally the best shot
Later on in the snorkeling trips I took couple of split shots.
Unfortunately the weather was not good and the sky cloudy so I had to play with the graduated filter.
The purist will notice that the water line is not neat, as I am shooting with a wet lens the back of the lens has water as well so to avoid to see that I shoot portrait with the back of the lens in the water, which is a limitation but on a good day will produce interesting shots regardless, also the lens is only 9cm diameter and is flat (Inon UWL-H100)
I took some close ups but even the sea horses were huge so no need for close up lenses.
Funny enough I took this at f/5.6 1/60 after reading on DXOMark that the RX100 resolution is actually better at f/5.6 than it is at f/11.
The lens is at 35mm equivalent at the shooting distance I used the depth of field is only a couple of cm and as the background is quite plain I did not bother trying a black background that I could possibly not even achieve. This was a TTL shot whilst all the sharks and wide angle were taken with the strobes in manual.
Another great feature on land of the RX100 is the panorama, which I used in Bartolome and other places
In general the conditions were very difficult and I am happy with what I could achieve in just 4 dives.
I will be taking the same arms and strobes configuration to the Red Sea in a few weeks but with the Inon UWL-100 with dome. I expect better results as the conditions are usually fabulous in comparison, probably I could do with shorter arms but once in water the set up is not heavy so I will keep it like that
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.
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.
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.
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.
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.
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.
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.
In this post I will investigate for your enjoyment the bulkhead connector available for the Sony RX100 Mark II and will see why this is unfortunately an accessory that is not worth buying. There are other ways to put the M16 port to use for example with a leak detection system but if were thinking of firing strobes using electrical sync cords then think again.
I was today at the London International Dive Show where I met Dr Alex Tattersall of Nauticam UK that also introduced me to Catherine Lai, daughter of Edward CEO and founder of Nauticam and herself operations director.
I felt a bit sorry when I had to explain why the bulkhead was not a workable solution and if you have a look at the youtube video you will understand why, this has been shot by my fiance’ on an iPhone so apologies for the portrait format and occasional shake.
Right so if you didn’t manage to hear the audio or understand the subtitles here is the plain text explanation.
The bulkhead has a single X pin that connects to the center of the RX100 multi-shoe, now this is the same interface that is on the newer Nex and on the A7. The Sony multi-shoe has a complex 21 pin interface that used with compatible accessories can trigger an external TTL flash.
In order for an external device to be recognized the interface of the connector need to connect to the 21 pin slot not just to the center. Nauticam bulkhead adapter is not so complex and only connect only on the center pin.
So the result is that the external connection is not recognized and if you leave the flash set to fill flash, as you would do with an optical connection, the internal RX100 flash pops out and fires away negating the benefit of the electrical connection.
So in order to make it work you need to set the internal flash to OFF. As the pin on the multi-shoe is always live this works perfectly so when you press the shutter the nikonos interface triggers the external strobe which is what should happen.
The little but significant inconvenient is that if you set the flash to off the LCD goes pretty much black as the RX100 has live view on the LCD and only lights up when you half press the shutter. This means is practically impossible to compose any shot unless you have a really bright focus light or there is sufficient ambient light. In any case for a close focus wide angle shot that you will take with this camera with apertures between f/8 and f/11 the screen will look pitch black as in the video even if you set the LCD to sunny weather.
Whilst the A7 and Nex have an option to disable live view in the LCD, the RX100 does not have such option so you are pretty much done and this accessory is not worth buying as it also introduces an additional point of failure for the housing and one for each strobe.
So the supposed big advantage of the Mark II goes out of the window, time to despair? Not at all!!!
I had the impression that the internal flash was recycling much faster than the original RX100, well I have done some tests and I can confirm what imaging-resource has measured: the flash recycling time at full power goes from 7.2 sec of the RX100 down to 4.4 seconds of the Mark II.
Now this is significant because after your shot you need anyway 2 seconds to recharge the strobes and look at the image preview after the shot and probably another 2 seconds to recompose the shot, at that time the RX100 Mark II will be ready to shoot again at full power.
The improved CIPA rating of the Mark II also means well in excess of 200 shots at full flash before having to change the battery so there is no big deal that the electrical option is not workable, get yourself a twin set of Inon Z240 (my current favourite) or Sea and Sea YS-D1 and you will have no issues compared to any other compact as the RX100 Mark II has the highest CIPA rating of all compacts on the market that are good underwater.
In fact the most significant improvement of the RX100 Mark II in addition to the better performance in low light is certainly the strobe recycle time, from 7.2 to 4.4 is nearly a 40% improvement and the Mark II is faster to recycle than a Canon S120 although not as fast as the G15 or as fast as the Panasonic LX7 or Olympus XZ2. However we are talking about 1.2 seconds difference I doubt that is such a big deal
Clearly the RX100 Mark II is the best compact camera for both still and videos and I look forward to shooting more stills with it.
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.
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.
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.
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:
Metering Mode – Always on evaluative
DRO – I set it to auto
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.
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.
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.
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.
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.
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
Audio recording ( I do not like bubble sound)
Wind Noise Reduction
The following are only relevant for still but I like them off regardless.
As we know the Sony RX100 cameras, we will refer to both Mark I and II as the lens is the same, do not offer the best out of the box super close up performance.
To be clear no compact camera really does macro, as no compact can capture an area 36×24 mm in size without being on top of the subject and having a shadow cast on it.
The RX100 however are particularly unexciting as the capture area is pretty large at 76x51mm at the minimum focus distance of 5cm. This means a reproduction factor of less than 1:2 so things are half life size in traditional terms.
In water the minimum focus distance increases and so does magnification so performance is all in all the same.
This means that a typical small subject like a medium size nudibranch measuring 4cm will fill a bit more than half the frame, not great.
The problem can be addressed by close up lenses that have a set power that determines the focal length and working distance where we can use the full camera zoom.
So the close up lens sets the working distance whilst the camera zoom sets the magnification.
A typical close up lens will have a power of 5 or 6 diopters with a working distance in water of 200 or 165mm, what does it mean for the RX100?
I have done some testing in water using a ruler and an Inon UCL165 this is the result:
Our capture width is now 46mm so our 4cm nudibranch will nearly fill the frame. The working distance of this lens is 165mm so this is a very versatile solution as most critters have no problem being approached so close.
What happens with a +10 close up lens with a focal length of 100mm, this is another test
A +10 diopter like the Subsee or Inon UCL100 achieves exactly 35mm so life size macro. However a lens like this will not focus at longer focal distances without zooming out, furthermore there are plenty of subject that do not need this magnification.
Close up lenses can be stacked so this is the result of two + 6 diopters
The width is now 32mm which is 1.1:1 so more than macro. This is adequate even for pygmy seahorse and with the incredible resolution of the RX100 cropping is not a big issue. Working distance is around 8.5cm which is still tolerated by small critters.
For completeness I have also tested a +16 combination
At around 26mm this is 1.4:1 so real super macro, the working distance is however only 6.25cm which is really close and will scare most critters away.
Without any close up lens the RX100 can only capture 5cm objects without extensive cropping
A close up lens with a working distance of 165mm allows for most of the critters we consider small but without super macro effects unless cropped
Two stacked +6 diopters offer super macro and can also be cropped for more suggestive effect
A single +10 close up lens achieves real macro however it is not versatile enough for every day usage
Stacking lenses does introduce chromatic aberration but this can be eliminated in photos and is barely noticed in video
Pay attention when you select your close up lenses that the focal distance that is in the specification is measured in water otherwise you will find yourself with a useless purchase
Tip & Tricks for Compact and Micro four thirds Cameras Users