最近最新的Sony專業錄影機A7s3, 標榜超低光源,以錄影為專業取向的單眼相機, 而且有標榜大動態範圍的拍攝模式 Slog3, 我們使用Tamron 17-28 F2.8 超廣角, 把它放進去專業的 Nauticam 潛水殼去測試水下拍攝狀況.
一般在水下拍攝廣角畫面,一定需要打燈,不然畫面會色偏, 有時在大白天之下,打燈也沒有用,這時就需要使用紅色濾鏡, 但是單眼的大廣角,在潛水殼裡面,常常無法使用紅色濾鏡.
我們特別方向台灣專業的濾鏡公司 STC, 訂製了一片水中紅色濾鏡, 在不打燈的狀況下, 使用自然光線, 又使用Sony Slog3 422 10 bit Xavc S 4K 30P 下去拍片, 如此的畫面, 挑戰性高, 拍攝和後製,對相機,還有調色和後製的電腦消耗的功夫和時間,都是一項新的挑戰和嘗試.
使用自然光,不打燈,這種拍法,對水下畫面而言,是個很大的挑戰, 影片裡面的畫面大部分都是自然光之下,加上STC紅色濾鏡,再加上後製調色還原, 所拍出來的畫面. 基本上他的高感光度,應付白天水下拍攝的畫面,應該是沒問題. 有機會我們將再做更多不同的拍攝模式的測試和比較.
Our this film may be the first A7S3 film shot underwater in Taiwan. There are still many people in the world who have not been able to get the camera. We have already been to Green Island to test it.
Recently, the latest Sony professional camera A7s3, which advertises ultra-low light capability , is a professional-oriented mirrorless camera for recording, and has a shooting mode Slog3 that advertises a large dynamic range. We use Tamron 17-28 F2.8 ultra-wide angle, and put it in Professional Nauticam diving housing to test underwater .
Generally, when shooting a wide-angle picture underwater, you must turn on the light, otherwise the picture will have color shift. Sometimes it is even useless to turn on the light in bright daylight. At this time, you need to use a red filter. But when the DSLR wide-angle lens is in the diving housing, you won’t be able to use the red filter.
We specially ordered STC, a professional filter company in Taiwan, to order a red underwater filter .Without lighting, with ambient light and use Sony Slog3 422 10 bit Xavc S 4K 30P to shoot. The way we work, the challenge is high, shooting and post-production, the time and effort consumed by the camera, as well as the computer for color correction and post-production, are all new challenges and attempts.
We show the original picture in the video. The original material taken by slog is the general gray, low contrast, low color, compressed, unpleasant picture. Most people don't know what is wrong with this. How could it be? This kind of picture is actually not the case. It has retained a considerable amount of high-contrast data. As long as the image is restored through an appropriate method, most of the details can be preserved, which means that it takes a little more post-processing time. But also because it is a 10-bit footage, it also retains a considerable degree of color correction and post-production space.
Use ambient light instead of lighting. This shooting method is a big challenge for underwater pictures. Most of the pictures in the film are under natural light, plus the STC red filter, plus the post-modulation color correction, the picture taken. Basically, his high sensitivity can cope with the picture taken underwater during the day. It should be no problem.
We will have the opportunity to do more tests and comparisons of different shooting modes. Welcome to subscribe to our channel, remember to turn on the little bell. Thanks.里奧影像YouTube頻道