Photo / Video News & Reviews
Make The Most Of Your GoPro
Jeff Goodman is not someone to shout about his achievements from the rooftops, in fact I can’t imagine him shouting at all. But beneath the serene, almost unnaturally calm exterior, there lies a spirit of adventure that has seen him spend over 30 years travelling and filming on every continent, much of the time beneath the water. He has won many awards, been twice nominated for a BAFTA, and worked with everybody worth knowing in the business. He never name drops though, with one notable exception. He becomes uncharacteristically excited when recalling his filming exploits with his childhood hero, John Craven!
I first met Jeff a couple of years ago on a local dive trip, a time which coincided with the meteoric rise of the GoPro camera. Originally developed to film its inventor’s surfing exploits, this amazing piece of kit has now been used to capture thousands of hours of adventure footage and all in a package no larger than a match box. So when I discovered that Jeff was running GoPro filming and editing courses here in Cornwall, it would have been rude not to sign up.
A hot Saturday morning found us meeting at the Atlantic Scuba dive centre near Falmouth, where Jeff bases his UK courses. We were joined by fellow participant Nic Weeks of Holborn BSAC. This was the introductory weekend course but, as we soon discovered, it’s far more than a taster session. We were soon chatting about long, mid and close up shots, and how to alter the settings on the camera to achieve optimum results. That was the first epiphany: small it may be, but the GoPro is far more than a point and shoot camera. With the ever-tactful Jeff gently pointing out that knowing how your camera works is rather important, we eagerly gathered our kit together, and headed to Mylor to board the dive centre’s spacious RIB, Stingray, for the first dive.
Dive 1: The Outer Bizzies Reef.
This dive was originally to be in the East Narrows, closer to Falmouth, but a yacht race directly over the site forced a rethink. So we rounded St Anthony’s Head and were soon over the reef. We dropped into about 20 metres onto a series of rock pinnacles and sandy gullies, well stocked with invertebrate and fish life. We had no concrete plan other than to do some filming of whatever we could find. And with that came the first increase in the gradient of the learning curve. Video is dynamic, so simply filming a stationary urchin is unlikely to secure you a contract with the Discovery Channel or the BBC. Nic and I were also surprised to discover that when our footage was reviewed, neither of us had a single shot that lasted more than three seconds. Patience, it seems, was a virtue that we would both need to work on.
Dive 2: The Andromeda.
This four masted barque has long been a favourite wreck of mine. It’s shallow, colourful, easy to get to and a joy to film. We were briefed to include some of the structure of the wreck to frame divers or fish. The visibility was uncharacteristically poor for this site at around five metres, and the kelp had certainly reached its full Summer growth, but there was still ample scope for filming. We experimented with lighting and perspective and whilst I can’t honestly claim to have been ready to jump on the next flight to Hollywood at that point, I did at least manage to take one or two of the shots that I intended, rather than relying on good luck or panic to attempt a sequence. We could now identify a subject which might be worth filming. Next we needed to know how to film it.
Dive 3: Shore’s Rock.
This was another site which I know well, having spent many dives trying to locate an elusive wreck in the area. Our task was more specific, namely to film a sequence featuring long, mid and close up shots of a diver, as well as a POV (point of view) shot to illustrate what they were looking at. It sounds straightforward, but this was the point at which Jeff wanted us to move up a notch in terms of the quality of our work. Unfortunately this was also the point when I realised why blind photographers are something of a rarity, as I mistook the stills icon (a tiny red blob according to my eyesight) with the video icon (another tiny red blob) with the result that I presented Jeff with 300 still shots of his legs. As always, he was the very epitome of diplomacy, but I could tell that my avant garde approach to film making was unlikely to earn me as many BAFTA nominations as Jeff had received. Another lesson was learnt too, as a seal and a barrel jellyfish popped up next to the boat just as we had de-kitted. Wildlife will never miss the opportunity to taunt you without mercy if it knows you have no camera. As you will see, that particular lesson was to be reinforced on the next dive.
Dive 4: the East Narrows.
With much lighter boat traffic than the previous day, we headed back to this site, which is a sloping bank on the eastern side of the shipping channel into Falmouth. The pressure was really on here. As the person supposedly with local knowledge (never admit to this) I was chosen to pick a specific subject to film. This site is normally a good spot to see various species of Ray so that was my suggestion. Jeff took us through the sequence of shots which would work best with this animal. The seabed is unusual in that it is composed of fragments of maerl, or calcified sea weed. We drifted North in the light flood tide until Jeff spotted a beautiful Thornback Ray, and we gingerly gathered round to film it. I switched my camera on and… nothing happened. I tried again, still nothing. It had gone into sulk mode. One of my regular buddies, Paul Freeman, who had been watching us film, felt my pain, as he had lost his stills camera on the previous dive! So with Jeff and Nic having the only working cameras, Paul and I headed further North to cut our losses by practicing our skills at locating wildlife. Need I tell you what happened next? The wildlife, sensing our inability to immortalise it on film, began to show up in droves. We counted twenty Rays, both Thornback and Blonde, and a stationary John Dory which didn’t move an inch, no matter how closely we approached. Two other divers on the boat told us that they had witnessed the amazingly rare spectacle of a huge Bull Huss giving birth in a small cave! Of course they didn’t have a camera either.
When we returned to the dive centre, the mystery of my malfunctioning camera was humiliatingly solved by Jeff, who discovered that during the surface interval I had changed batteries and put the new one in upside down. I was utterly mortified. Having sorted out that little problem, we looked more at editing techniques, and software choices available, as well as discussing continuity issues and how to overcome them (the fish will do it for you if you ask nicely). We concluded with some valuable information about the use of music and narration in our soundtrack.
All too soon the course was over and my head was reeling with all the new information which had been stuffed into it. If this much knowledge had been imparted during a weekend course, I can only imagine how much more one could learn during a week’s tuition. Even now, several days later, I find myself framing shots and contemplating composition as I stroll along the sauces, pickles and condiments aisle of my local Sainsbury’s. And my GoPro camera, up until then, an accessory on a dive, had been elevated to the actual purpose of the dive.
Jeff Goodman runs a variety of courses based not only in Cornwall, but also in Portugal and the Red Sea. Whilst the warm water courses were very tempting, I found the appeal of getting to grips with filming our own wildlife and its environment much more challenging and enjoyable. It was a real pleasure not only to learn so much about the GoPro camera, but also to witness the deep respect that Jeff has for the sea and its inhabitants.
So when my friends ask if I have any plans for the forthcoming week, I can casually announce that I’m doing a spot of filming with Jeff Goodman without being accused of name dropping, because given my inability to read my camera’s screen, or insert the battery correctly, I feel confident that he’s already been talking about me.
Course information and booking: www.jeffgoodman.co.uk
Atlantic Scuba/Stingray Charters: www.atlanticscuba.co.uk
*Top 5 GoPro filming tips*
1. The GoPro can be a point and shoot camera but it can do so much more. Learn how to set it up correctly for the best results.
2. If your GoPro doesn’t have a screen, you will struggle to get decent results. The back screen is a must have feature.
3. Hollywood may be beckoning but you are still a diver. Don’t let filming distract you from monitoring you and your buddy.
4. Have a shooting plan in your head, it will make editing much easier later. Having said that, stop filming a blenny if a basking shark turns up unexpectedly.
5. Know how your chosen subject characteristically behaves. Successful wildlife filming comes, in part, from predicting what the animal will do next.
Find out more about Nick at his website: www.nicklyon.co.uk
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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