Photo / Video News & Reviews
A Guide to Underwater Wildlife Video & Editing: Part 2
Read Part 1 here.
A part serialisation of a book by Jeff Goodman
PART 2: How to choose the right camera and housing
Choosing the right camera can be an absolute minefield so it is worth looking closely at various models before parting with your hard-earned cash. Not all cameras have a suitable housing made for them although this is becoming less the case as time goes on.
Let’s first of all think about what your expectations are.
Are you thinking of becoming a professional or would you simply like to make extremely good videos yet remain an enthusiast? Are the films you are about to make for TV broadcast, for home movies, or something in-between? Either way, the product wants to be aesthetically good and often could be shot on a range of camera types. But when it comes to technical quality and versatility, then you simply get what you pay for. A camera with enough specifications for TV broadcast is going to cost anything between £6,000 to £60,000. The underwater housing on top of that may cost up to £20,000 extra. A good amateur camera is going to cost somewhere in the region of £150 to £1,000. There are then good semi professional cameras that fall in between..
Let’s have a look at a few choices.
Video really has come into it’s own over the past few years. Even your mobile phone is capable of taking fun images. But as we are going to take the art of underwater filming a little more seriously let’s start by looking at some serious equipment that will give us a degree of control and flexibility
Choosing your camera really is difficult as there are so many different types in the market place. As well as the standard dedicated video cameras there are also now excellent video capabilities on SLR’s such as the Canon 7D. I am sure that as this book goes to publication, there will be new models of cameras out that do even more amazing things. But what ever they do and how ever they do them, the basic principles of good videography remain the same. This also applies to editing software which we will cover later.
In general video cameras with underwater housings come in three very broad categories. At the lower end there are the ‘easy shot’ consumer cameras such as the Canon Ixus, which are pretty well fully automatic with a few manual menu driven choices. The quality of this small camera is excellent.
Next are the middle range such the HDR-XR550 or the HDR-CX730 with the Gates housing which will give more manual control over things such as exposure and focus, although it must be said that in this middle range of housings not all camera functions may be available through the housing controls. Finally semi professional rigs such as the Gates housing for the Sony PMW-EX1R. Now we are getting towards fully functional cameras and housings with very good through housing access to all the camera features.
I won’t be able to cover all cameras and how their functions are accessed, but generically they are mostly the same. This book will go through that generic camera and leave the individual reader to consult their owners manual for precise layout and functions.
Just as a guide for you, the camera and housing I use when teaching students is the Sony HDR-XR550 in a moulded metal Gates housing. (At least it is at the time of writing this. It’s not possible to keep up with new products for the purposes of a book, but on-line reviews or specialist magazines will certainly be doing this.) With this camera/housing combination, I get a very good quality camera with a good range of manual/auto controls through the housing. Having said that, housings are very personal things and I highly recommend you to get your hands on a few before buying.
Camera Format – Tape or hard drive?
I have always loved shooting on tape. It is a solid tangible piece that I can physically hold and know with confidence that all my hard earned material is on it and in my hands……safe!
The quality is good and reliable, images and sound transfer easily to any edit software, and I always have a physical backup to put away in the filing cabinet. Tapes are small and are no real problem to carry. In an emergency, most countries have a shop somewhere that will sell them. Should the real horror happen and the housing flood, then the tape inside is still retrievable.
Hard drives however, are taking over and it’s no good burying my head in the sand and trying to ignore the digital take over, so I will embrace it with good grace. Probably the most common format used by the non professional is AVCHD (Advanced Video Coding High Definition). I must confess that the quality of the newer cameras using this format is amazingly good and the playback through the camera results in some very fine images. The hard drive on the Sony HDR-XR550 which I’m using for the purposes of this book, is to say at the least, big. The 240GB’s give around 101 hours of full HD movie. That is a lot of movie. It is also a lot of movie to loose should your hard drive go down. So the most important thing when using none tape formats is to make sure you download to a separate hard drive after each and every dive. Not to do so is foolish and may result in tears.
Hard Drive or Card Capture means you need to take a laptop or backup device on location with you. Not such a big problem really but then again it all depends on the local electricity supply. But, as most people take laptops with them everywhere now………..
The AVCHD format is good but difficulties can occur when trying to play and edit the material on a computer or laptop that is not fully up to spec. Dual drive and plenty of memory are essential. With older laptops the files do not readily play well and are prone to crash or jitter.
Things are getting better but if you are having trouble, keep the original AVCHD files in backup and trans-code them to something like mpeg4 for easy editing. This still gives good quality especially if you are uploading to the web. As technologies change and advance so quickly, I can only say that a web search on how best to deal with your video and audio files is always crucial.
Which Housing?
Just because you have a camera you like, doesn’t mean that there is a commercially built housing available for it. You can build your own, but that’s for another book. When looking at cameras, look to see what housings are available. OR, do it the other way round and look at housings and see what cameras they facilitate. Often companies such as Cameras Underwater will sell a package of camera and housing together. This in fact is probably the better way of doing it because you can rely on the knowledge that a manufacturer has built a housing for a suitably good camera.
Three main types of housing are acrylic see-through housings, moulded metal ones and circular tubular ones
The acrylic types have the advantage of letting you see into the housing to make sure that all the controls are working, as well as being able to see if there are any leaks. The moulded metal types are robust and pleasing to look at. The cylindrical ones have been the most common type over the years as it is easy to adapt the internal controls to many types of camera. As long as it fits inside of course. All of these types should be able to take interchangeable ports which we will discuss later on.
There are pros and cons to all these housings, but one important factor to be considered is, how much control you have of the camera through the housing. Some housings will only give you on/off and zoom control and leave all other functions to automatic settings. Others will give a much more comprehensive range of manual/auto controls such as focus, exposure, white balance, zoom, on/off and more. Decide carefully on your wants and needs before falling for any luring sales pitch that may leave you frustrated later on.
Mechanical or Electrical Housings
Let’s look closer at the way in which you can operate the camera controls through the housing. The Gates housing I am using for this demo has mechanical controls. This is where a control rod passes through the body of the housing itself and directly makes contact with the camera controls. This is a very reliable system and easily maintained or repaired in the field. The slight downside to this is that on the bigger housings the push rods or gear wheels can become loose and not engage fully. So, a bit more maintenance is needed.
The other type, such as the Amphibico, uses the camera electronics to operate the functions, removing any need for holes or control rods in the housing. I find this type of control very good and precise, until that is, some sort of electrical fault manifests itself through salt corrosion. It must be said that most units are very well sealed against this happening, but, you are working in a marine and salt environment and electronics do suffer. As with the mechanical controls, regular maintenance is essential.
Next time we look at Underwater Camera Monitors and how to minimise the risk of leaks in your housings.
News
Meet Insta360 Ace Pro 2: Redefining Action Cameras With Unrivaled 8K Image Quality & Smarter AI
Insta360 is thrilled to announce the latest addition to its Ace series, Insta360 Ace Pro 2. This groundbreaking wide-angle action camera delivers unparalleled image quality, smarter, easier capture powered by AI, upgraded audio, and an improved rugged design made for action at its most extreme.
Co-engineered with Leica, it delivers serious performance upgrades with the industry-first dual AI chip and state-of-the-art imaging courtesy of a new 1/1.3″ 8K sensor and Leica SUMMARIT lens with a 157º field of view. Creators can experience smoother videos with higher frame rates at 8K30fps and 4K60fps Active HDR, PureVideo for excellent low light performance, a bigger 2.5″ flip touchscreen and more.
The action camera utilizes Insta360’s advanced AI technology to offer a smarter experience from shooting to sharing. Innovative functions like the option to pause or cancel a recording, gesture and voice control, Auto Edit, and AI Highlights Assistant completely transform the experience for creators. With no more complex workflows, anyone can experience a simpler way to film and spend more time immersed in the moments they love.
Insta360 Ace Pro 2 significantly improves on its design, offering a more rugged, reliable action camera. Its waterproofing has increased to 39ft (12m), and it offers crystal-clear audio with an integrated Wind Guard and a removable Lens Guard to handle whatever you throw at it, providing full flexibility for action and sports enthusiasts.
“Our goal was to refine and enhance the groundbreaking features of the original Insta360 Ace Pro to deliver an unparalleled experience,” says JK Liu, founder of Insta360. “We are confident these upgrades establish a new industry standard. Not only do they bring significant advances in AI, they empower creators to capture what was always impossible with other action cameras, opening the door to unprecedented creative potential.”
Insta360 Ace Pro 2 is available to order today worldwide via Insta360.com, as well as trusted retailers and select authorized partners.
Unparalleled Image Quality, Day and Night
The Leica SUMMARIT lens immediately sets it apart from competitors with its state-of-the-art image quality. Combined with an upgraded 1/1.3″ 8K sensor offering 13.5 stops of dynamic range, Insta360 Ace Pro 2 delivers simply breathtaking visuals in situations other action cameras simply can’t handle.
Further contributing to its image quality and performance is the industry-leading dual-chip design. Insta360 Ace Pro 2 is the first action camera with a dedicated Pro Imaging Chip that handles image processing and noise reduction, while a separate 5nm AI Chip handles further image processing and overall camera performance, providing a smooth, seamless user experience. The dual chip also enables more shooting modes and higher specifications, such as 8K30fps video, 4K60fps Active HDR (High Dynamic Range), and upgraded PureVideo. Even in fast-moving motion and high-intensity action, creators can enjoy smooth, sharp videos thanks to the higher frame rates or slow it all the way down with crisp 4K120fps slow motion.
A complex, custom-trained AI neural network underpins PureVideo, a specialized shooting mode that drastically reduces noise and enhances details in real time for cleaner, brighter images, even in extreme low light. Whether it’s twilight strolls or evening rides, creators can record what they never could before. For the daytime, upgraded 4K60fps Active HDR brings out all the details in intense highlights and shadows for more vibrant footage. Meanwhile, a wider 157° lens FOV captures more of the surroundings, perfect for vlogging or when the scenery really matters.
Exclusive Leica-engineered color profiles infuse footage with their signature aesthetic, adding a touch of elegance to every shot. Insta360’s devotion to color accuracy is seen elsewhere with Insta360 Ace Pro 2’s ability to retain rich and precise colors, even underwater.
Ready for Action Anytime, Anywhere
The upgraded design proves to be even more rugged, ready for when you ramp up the action. Waterproofing has increased to 39 feet (12 meters) or 197 feet (60 meters) with the Dive Case, and it handles temperatures as low as -4ºF (-20ºC) with ease, perfect for winter sports and extreme climates.
The new, removable Lens Guard provides greater all-around protection, meaning creators can feel confident to push the limits further and capture the impossible, knowing their action cam is up to the challenge.
An all-new Wind Guard keeps wind and noise at a minimum during those peak moments, ready to snap on and off as you need. With refreshed audio algorithms bringing professional-grade clarity to your content, you can immerse your viewers like never before. What’s more, the magnetic mounting system lets you seamlessly switch between accessories. Less time spent unscrewing and screwing your camera and mounts, more time in the moment.
Insta360’s leading FlowState Stabilization technology ensures videos remain incredibly smooth no matter what, while 360º Horizon Lock, now applied automatically in-camera, keeps everything perfectly level. Prioritizing performance and convenience, Insta360 Ace Pro 2 sports a bigger 1800mAh battery and a new Endurance Mode that offers a 50% longer runtime at 4K30fps than Insta360 Ace Pro. Fast charging powers the battery to 80% in 18 minutes or 100% in 47 minutes, so you can get back to the action quicker.
Insta360 has expanded its compatibility with several top third-party sports accessories, allowing action and sports enthusiasts to add a new level of detail. For data-rich videos, overlay real-time stats from third-party sports brands, including Garmin, Apple, COROS, and more. Alternatively, users can add stats from their phone directly in the Insta360 app without any extra gear or use the GPS Preview Remote for easy live preview, remote control, and real-time GPS data. For moto vloggers, pair Insta360 Ace Pro 2 with your motorcycle helmet headset from Sena, Cardo, and more for clear dual-track audio and hands-free control every ride.
Made for those who demand the highest standard of action capture, Insta360 Ace Pro 2 offers the perfect combination of durability and high-quality performance to capture life’s thrills with confidence.
Smarter, Easier Capture & Editing
Insta360 Ace Pro’s flip touchscreen proved an essential and convenient tool for creators and has been further upgraded to 2.5 inches. With a 70% increase in pixel density, a 6% increase in brightness and a 100% increase in flip durability, it allows for perfect framing and easier preview for vlogging, selfies, and difficult angles, all while remaining visible under bright sunlight. Instead of guessing if your shot looks perfect, you can shoot with confidence, knowing it is.
Internally, Insta360 Ace Pro 2 offers innovative solutions to problems that have hindered action enthusiasts for years:
- 4K Clarity Zoom – Want a close-up but the image quality becomes too grainy? Zoom in and out 2x without losing quality.
- Pre-Recording – Never miss a moment with up to 120 seconds of footage saved before you even hit record.
- Gesture & Voice Control – Use quick hand signals or verbal commands to control the camera, such as start/stop recording or take a photo, ideal if it’s mounted out of reach.
- Pause/Resume Recording – Got time between shots? Hit pause and continue recording when you need to keep everything in one continuous file for easier file management and editing.
- Timecode – Seamlessly synchronizes multiple cameras for an efficient editing workflow.
Insta360’s revolutionary AI features demonstrate a commitment to making shooting and editing as accessible as possible. Anyone, regardless of their skill level, will be amazed at what they can create. For those who aren’t confident editing, AI Highlights Assistant automatically finds the best moments from a video and delivers the highlights for review, all in-camera. Creators can merge every thrilling moment into one incredible recap or choose the ones their favorites and delete any unwanted clips to save storage.
The Assistant also helps craft your next reel from your adventures and pushes it directly to your smartphone via the Insta360 app. Look back on all your Memories and share those unforgettable moments in seconds.
Acting as a full editing suite in your pocket, the Insta360 mobile app fully embraces the game-changing possibilities of AI with advanced Auto Editing, one-tap templates and creative Shot Lab effects. Instead of spending hours learning complex tools and editing workflows, AI does it all for you, bringing your clips to life with dynamic cuts and transitions. Creators can even achieve the infamous Invisible Selfie Stick effect with the AI Selfie Stick Eraser in the app for third-person views. Looking for a real twist? AI Warp uses preset or custom keywords to bring your wildest ideas to life.
Available Now
Insta360 Ace Pro 2 is available to purchase today worldwide via Insta360.com and select retailers. The Standard Bundle retails for US$399.99 and includes a Wind Guard, Battery, Standard Mount, Mic Cap, and USB-C Cable. The dual battery bundle includes the same accessories and two batteries for US$419.99.
The SMC-3
Nauticam is proud to introduce the SMC-3, the latest evolution in our line of water contact optics! Designed as a renewed version of the acclaimed SMC-1, the SMC-3 boasts a lightweight build—now only one-third the weight of its predecessor—without compromising on optical performance.
SMC-3 Specifications
| Dimensions | OD 70mm x H 32mm |
| Weight in Air | 307g |
| Weight in Water | 215g |
| Max Magnification (*1) | 2.4x (lens dependent) |
| Working Distance (*1) | 51-103mm |
| Lens Construction | 3 elements in 2 groups |
| Lens Coatings | Anti-reflection Coating |
| Mount Thread Diameter | M67 |
| Depth Rating |
100mm |
Tested with Nikon AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED
Key Features
- Ultra-Lightweight Design: Weighing in at just one-third of the SMC-1, the SMC-3 offers unparalleled portability for on-the-go use.
- Superior Optical Performance: Enjoy the same exceptional clarity and precision you’ve come to expect from the SMC series.
- Increased Working Distance: The redesigned lens allows for a greater working distance, meaning it’s easier to use and provides enhanced versatility.
- Premium Materials: Crafted with advanced materials to enhance durability while minimizing weight.
- Cost-Effective: Slightly more affordable than the discontinued SMC-1, the SMC-3 delivers exceptional value.
Uncompromised Optical Quality
The Super Macro Converter 3 is constructed from lenses that are precision crafted of specially formulated low dispersion optical grade glass, ground to the most demanding standards. These exceptional measures, enhanced by broadband anti-refective coatings effectively reduce common optical issues such as chromatic aberrations, coma, spherical aberration, and field deformation associated with underwater macro photography using traditional magnifying lenses. These optics are assembled in a rugged hard anodized aluminum housing, and nitrogen purged during assembly to eliminate fogging.
Stunning Magnification
When combined with a full frame camera and a 100mm or 105mm macro lens, the device converts the optical system to provide a maximum of 2.4X magnification factor. In other words, a subject area of 15.6mm X 10.4mm will fill the whole frame of a 36mm X 24mm sensor.
Improved Sharpness and Contrast
As the Super Macro Converter 3 is optimized explicitly for using together with a macro lens underwater, images captured exhibit exceptional sharpness compared with conventional magnification lenses. Thanks to the broadband multi-layer anti-reflection coating on each surface of the lenses, images also exhibit higher contrast.
Superb Light Transmission
All the lens elements installed inside the SMC are optically optimized to appropriate diameters so as to provide maximum light transmission. The SMC doesn’t suffer from vignette issues under even the most extreme conditions. The broad band multi-layer anti-reflection coating on all surfaces also greatly improves light transmission.
Optimized for Autofocus
By utilizing a specially developed algorithm in the optimization process, the SMC renders superior image quality over the full focusing range of the camera lens (which becomes ~50 to ~100 mm in front of the SMC). Also benefitting from the high brightness and contrast of the image, the autofocus system of the camera usually works acceptably well within this range.
Ample Working Distance
Even at the maximum 2.3X magnification, there is still more than 50mm of working distance between the front element and the subject with 100/105mm macro lenses. This working distance is crucial when capturing behavior with skittish subjects.
Resolution
High resolution was a primary design goal of the SMC project. This has been achieved using computer aided optimization and high grade optical glasses with unique refractive and dispersion properties. Images taken with this new system exhibit very high resolution and quality. Results have exceeded expectations, and these images rival the quality of the macro lens in air.
Smooth Bokeh
The Converter retains the optical properties of the macro lens for the whole system underwater, resulting in a blurred (out of focus) background that has a pleasing smoothness and creamy look, without the normal purple and green fringing.
Avoiding Diffraction
Due to the overall superior optical performance of the SMC-3 it is possible to shoot larger apertures with excellent image quality. This avoids reaching the diffraction limit of high resolution sensors, and allows selective focus effects with narrow depth of field in super macro images.
For more information about the Nauticam Super Macro Converter 3, which ships in November, click here.
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