Photo / Video News & Reviews
A Guide to Underwater Wildlife Video & Editing: Part 5
Read Part 4 here.
A part serialisation of a book by Jeff Goodman
PART 5: Focus
Most cameras will have an auto focus mode with the option of switching to manual if desired. Unfortunately not all underwater housings will have the controls to let you access this. Some give you a choice of being able to manually change either focus or exposure. If this is the case then I would highly recommend leaving focus on auto and having full manual control over exposure.
Focus is critical to get right.
Sharp – in focus
Soft – out of focus
A picture can be a little too dark or a little too light, or even a little oddly framed, and still be acceptable to most audiences. But a picture that is even slightly out of focus is very hard to accept.
Auto focus
Professional cameras don’t have this option but most others do. Auto focus is a wonderful piece of technology, but no matter how wonderful, it still doesn’t know what you, as a camera person, actually want to focus on. It will take its ‘best guess’ as to what’s right and that generally is what is biggest and most central to your picture frame.
Let’s look at an example of when auto focus can really mess up your videoing.
You are in open water with a dolphin or two. There are no well defined images in the water except the dolphins themselves. Unless the dolphin is large in the frame the auto focus will have a terrible time trying to find an image to resolve itself on. Without the dolphin as a reference in your monitor you may notice that the auto focus is ‘hunting’ in and out trying to find a subject. Often it will settle on focusing on the small bits of dirt or bubbles on your lens port. (Note – always keep your port clean and check it constantly.)
Then a dolphin comes into frame. Will it be sharp? Who knows, it’s pot luck. If you then stay framed on the dolphin long enough, maybe just a few seconds, the auto focus will recognize the image and be happy. Sadly in those first few seconds of video, which may be the most important, the dolphin may not be sharp. Then as soon as the dolphin leaves frame the auto focus will become worried again and may start looking for a new focal point.
This may seem only a minor problem at the time, but believe me, when you get back into the edit room and look at the video, the first few seconds of out-of focus images will drive you crazy. Hence the advantage here of manual focus which you can set yourself.
For this type of shot with the dolphins it usually works out that wide angle framing is best and thus will have a good depth of field. Preset the focus to around 1 to 2 metres. This will generally give sharp images from the lens port to infinity. A point of reference for the pre-focal point could be one of your fins. Simply point the camera down to you feet and focus on the tip of your fin. A brightly coloured one would be most effective. Perhaps use your dive buddy’s bright tank. This pre focus trick can also work quite well for the auto focus especially if you do it moments before the dolphin enters frame.
With manual focus, although you do have greater control over what is sharp, the difficulty arises when you want to zoom in and alter the frame size. Now the 1-2 meter focal point won’t have enough depth of field and so you will have to adjust your focus to compensate. On zooming in the focus becomes much more critical and will have to reflect the true distance of the subject as the depth of field will now be quite small. We look at depth of field later.
With auto focus, zooming in, as long as you remain on the subject, can be very good, but if you are not already framed up on the subject the auto focus will have a devil of a time trying to resolve the image.
Ideally your image should be crisp and sharp. Even if the visibility or light values are bad.
A ‘hunting’ auto focus may give you a ‘soft’ unusable image while all the action is going on regardless.
Here, the auto focus has almost resolved the image for you but not quite in time.
A clown fish in an anemone
Here again, as with the dolphin, the auto focus would work very well in a wide angle shot, but as soon as you zoom in to get some close-ups and the depth of field becomes very small, then the clever auto focus is not going to know which part of the frame needs to be kept sharp. The constantly moving fish and also the tentacles of the anemone could keep the auto focus ‘hunting’ throughout your entire shot. Here certainly, the best option is manual focus. If you do not have the option of easily adjusting focus through the housing controls, then keep to the manual option and move the camera in and out slightly as the fish moves, thus keeping it at the correct focal distance. i.e. sharp. There will be many occasions when the auto focus will work just fine and do a brilliant job, but, you are giving over control to an electronic chip. Know it’s limitations.
Not all housings allow you to have full manual control of focus and many don’t allow you to have any control at all. If you only have the auto focus option it’s no problem as long as you are aware of what is going on. With a good clear monitor you can see when a shot is losing focus or not and if it is, then re-think what you are doing and perhaps something as simple as adjusting your shot size will cure the problem.
As we will see later when we discuss editing, it is often desirable to let your subject leave or enter your frame, in this case the clown fish. The downside to this with auto focus is, that as soon as the fish does leave frame, the focus will start hunting for the next best thing to be sharp on. This ‘searching’ even be it for a few moments can look awful and is very different from deliberately changing focus.
So all in all, auto focus is generally very good but can occasionally cause problems which may be acceptable in an amateur video but certainly not in a professional production.
For the lucky ones, some cameras and housings will allow you to change from auto to manual and back again with the flick of a switch or press of a button. Here you have the best of both worlds. Let’s suppose we are filming a turtle on a reef. The first shot you may want to do could be a wide angle and then, adjust shot size, for a close up or two. If there is time, try to zoom right into the turtle and let the auto focus do it’s thing, then flick over to manual focus. The focal distance of the lens will then be locked in place. Now zoom out to the shot size you want and you can be confident that the picture is as sharp as it can possibly be. As the turtle moves you can occasionally, momentarily, flick the auto focus option just to ensure that all is well. How many times you do this is entirely down to your discretion, and lots of practice.
With a very small depth of field, the focus is critical
This wide angle image of a reef is spoilt because the auto focus concentrated on the background reef. The red foreground coral is out of focus, even though it is in the key part of the frame.
In the previous example of the coral wide angle, it isn’t of course the fault of the auto focus that the foreground coral is not sharp. You are in charge. Look carefully at what the auto focus is doing. If you don’t like it then turn to manual, re-frame, or don’t do the shot. In this instance it would have been better to have had the red foreground coral sharp, at the expense of the background
Pulling Focus
Pulling focus from one subject to another can be very dramatic, but is mostly effective on long lens shots or at the longer end of your zoom. As we are underwater and most of our videoing is done with a wide angle, pulling focus is not something that is used much at all. However, it can be effective when shooting in close up or macro mode. Here auto focus is next to useless as the shot size and framing will remain constant throughout and the auto focus has no idea that you want to alter the focal point from one part of the frame to another. We definitely want the manual focus option, which needs to be very smooth in its operation, otherwise it will look amateurish.
With small subjects the point of focus is critical for a good image.
Next time we look at Lenses, Depth of Field and Angle of Coverage.
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.
-
News1 month agoIconic SS United States to become the World’s Largest Artificial Reef
-
Blogs3 months agoNovoScuba’s Game-Changing Approach for Dive Store Owners: WE PAY YOU!
-
News2 months agoBook Review – 52 Assignments: Underwater Photography
-
Gear News2 months agoDYNAMICNORD – New German diving brand enters the British market
-
News2 months agoExploring Cenote El Pit: A Diver’s Dream
-
Gear News2 months agoTry BARE drysuits (and maybe even win one!) this Friday with Sea & Sea at North West Dive Fest
-
News3 months agoComing Soon – 52 Assignments
-
News3 months agoSave £200 per person per week at Pole Pole Lodge with Dive Worldwide