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The Gentleman's Underwater Bubble Blower Thread

Björn Benckert said:
Here comes probably a really stupid question...
Anyone using a terradek bolt with your UV housings? I guess the metal casing would shield the camera a bit but some have carbon housings.. and I guess the water will bring down the range quite a bit but i figure you guys could give me a firm answer, like "forget it" or such :).

We are about to shoot a really cool commercial both on a reef and then also chroma key elements (probably we do redscreen) in big cristal clear tank in LA. So any advices for such setup is greatly welcome.

The client wants to use a alexa specific housing with video tap and FF on surface. I think I would prefer epic (they got a housing for that aswell) but then they do not have any electronic / on surface FF system. But I figure that they will be on super wide lenses and shot quite large / no macro anyway so focus is not that critical as the composite elements are quite big (about human size) I would think you shoot with something like the tokina 11-16mm or such.

or?
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Bjorn:

Are you trying to do wireless video or control from underwater? If so, I don't think anything is going to work for that as the water does massive attenuation of RF signals - particularly the high frequencies required for video transmission. You will probably need to be wired for surface monitoring.

The underwater wirekess communications we use for voice is based on modulating acoustic signals.

The navy must use extreme low frequency to communicate via text messages with submarines at about 40 characters per second
 
Rudi Herbert said:
Bjorn,

Red screen underwater is not a good idea, unless you shoot it in very clean, clear water with tons of light, the red channel is too dirty otherwise. But you'd be surprised how well greenscreen or blue works.

Of course Epic is better for chroma work, resolution makes a big difference, I don't have to explain that to you. Gates (www.Gateshousings.com) has a remote controller for focus that works with their Epic housing, and an HDI video feed as well of course, so you can control all that stuff from the surface. John Ellerbrock, the president of Gates, posts on this thread regularly, you can ask him about it directly.

I would recommend the Nikon 10-24 over the Tokina 11-16. Not only is it wider but its corner sharpness is much better than the Tokina's, which is a factor underwater.
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Thanks for that Rudi,
We will be in a special water tank in LA they call "gin clear" the amount of light should be no problem. I was thinking green screen as well as well but then the water is usually very blue/greenish. So better then to do red screen as our forground object has no such color in them selfs. And the amount of light is very controllable, we get what ever lights we want basically. But again I might go with green in the end, even though I would like to do thest with both red green and blue.
 
Ooops,I did not realize I am not in the list. Cheers Greg add me in. Want to help anyway I can.
 
Done.

If it was to do with lens and I would say highly unlikely that would be the case for magenta cast, I have used Ultra primes, Arriflex superspeeds, Red primes and Arri macros. No problem with colour. Gin clear or not so crystal clear water. Shallow water.

cheers
David
 
Ron Lagerlof said:
Just trying to keep it alive. Here's a short from the last couple of weeks in Bonaire. Enjoy...
http://vimeo.com/69850600

PS - shot entirely using the Zeiss Distagon T* 15mm, f2.8 Canon mount lens - and, yes, perfectly rectilinear and sharp edge to edge.
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Amazing how you got it so sharp with the lens behind a dome Ron! ;-))
Great film !!
 
Ron Lagerlof said:
Just trying to keep it alive. Here's a short from the last couple of weeks in Bonaire. Enjoy...
http://vimeo.com/69850600

PS - shot entirely using the Zeiss Distagon T* 15mm, f2.8 Canon mount lens - and, yes, perfectly rectilinear and sharp edge to edge.
Click to expand...
Gorgeous images Ron I to am amazed your images are so sharp edge to edge with no distortion the wonders of modern technology.......
 
I could always post this that I redid the other day.

removed all vignetting, cropped stuff, redid timing and few other color adjustments, added a few clips.

 
Michael Maes said:
Amazing how you got it so sharp with the lens behind a dome Ron! ;-))
Great film !!
Click to expand...

Yeah Michael, and i'm surprised, the housing is actually made of regular aluminum and not some cylindrical fancynanium metal LOL!

@ Ron, always great seeing you and Erin.
 
Guys,

I have a music video shoot next week which is shooting at 120 fps in a pool, I am going to light it from surface with a couple of 2K's plus underwater with a couple of Sola 4000's and a custom 10,000 lumen light. It will only be a couple of metres underwater do you reckon that will be enough lights for exposure @ 180 degrees shutter
 
Jon Shaw said:
Guys,

I have a music video shoot next week which is shooting at 120 fps in a pool, I am going to light it from surface with a couple of 2K's plus underwater with a couple of Sola 4000's and a custom 10,000 lumen light. It will only be a couple of metres underwater do you reckon that will be enough lights for exposure @ 180 degrees
Click to expand...
Are you going to set up a floating scrim on the surface of the pool?
 
Hey Jon,
The Sola 4000s produce a very narrow beam, so may be OK for spot lighting but probably not so good for wide angle. You might try some diffusors but then you'll lose some light. It really depends on how wide your shot is. Also, matching the color temp may be an issue. I'd try to get four or more of the same type of light. If you can get your hands on four VL24s that would be pretty great.
Just my opininon...
R
 
Jean Bruneau said:
Yeah Michael, and i'm surprised, the housing is actually made of regular aluminum and not some cylindrical fancynanium metal LOL!

@ Ron, always great seeing you and Erin.
Click to expand...
Next time make one in "unobtainium" Jean ;-)
 
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