{"id":16393,"date":"2023-04-06T15:03:55","date_gmt":"2023-04-06T15:03:55","guid":{"rendered":"https:\/\/www.housingcamera.com\/blog\/?p=16393"},"modified":"2023-04-06T17:32:18","modified_gmt":"2023-04-06T17:32:18","slug":"shooting-video-and-stills-on-the-same-dive-guide","status":"publish","type":"post","link":"https:\/\/www.housingcamera.com\/blog\/underwater-photography\/shooting-video-and-stills-on-the-same-dive-guide","title":{"rendered":"Shooting Video AND Stills on the Same Dive [Guide]"},"content":{"rendered":"

Have your cake and eat it too. The best of both worlds. And so on\u2026<\/em><\/p>\n

Underwater photographers have long been frustrated by one big, giant challenge that top-side photographers don\u2019t have to deal with. The simple fact that we can\u2019t swap gear mid-shoot. Why? Because we are, you know, underwater.<\/p>\n

Want to switch from wide-angle to macro? From your 16-35 to your 24-70?\u00a0 From stills to video lights? Historically, you\u2019ve been out of luck.<\/p>\n

HOWEVER, technology improves every year, and every year we get closer to solving all the little things that drive us crazy. Wet lenses have made some previously-impossible things now possible in the last few years \u2013 for example, swapping wet lenses on and off now gives us the option to convert wide angle to macro, and now, even macro to wide angle. If you\u2019ve never seen the Nauticam EMWL and associated optics, check them out. While expensive, they are mind-blowing.<\/p>\n

But, what about lighting?<\/p>\n

The good news is that swapping different types of lights out is not nearly as complicated as swapping lenses out, because our lights are mostly self-contained and waterproof. But we don\u2019t all have personal assistants who carry different types of lights for us on every dive, as nice as that sounds. So, the question is: how do we prepare for a dive knowing we want or need to shoot BOTH stills and video at the same time?<\/p>\n

Let\u2019s dive in.<\/p>\n

Different options to for shooting stills AND video on the same dive<\/strong><\/h3>\n

If you\u2019re from a photography-only background, you may be only familiar with underwater strobes. We\u2019ve covered strobes in many ways here at Mozaik, and have great resources here<\/a>, here<\/a>, and here<\/a>. But, as you probably already know, most standard strobes fire when triggered, emitting a burst of light that illuminates your scene and freezes motion at one point in time. This doesn\u2019t do us much good in the video department. So, what can we do? With standard strobes out as an option, let\u2019s look at the alternatives.<\/p>\n

The first, most obvious option is to use constant light sources to shoot both photos and videos. Above water, this is relatively straightforward: with a strong constant light, like a Fresnel, we know we can probably get decent stills in most cases. Underwater, this is harder. Constant lights, also known as \u201cvideo lights,\u201d to the underwater community, have the added challenge of having to cut through all that H2O. For photos, this means we must be either: very close for them to work well or have EXTREMELY strong video lights. For reference, your typical strobe might be around 50,000 lumens, while the strongest video lights on the market are 15,000 to 20,000, mostly. Check out this article for tips on shooting stills with video lights<\/a>, here.<\/p>\n

\"\"<\/a>
A 15,000 lumen video light<\/figcaption><\/figure><\/p>\n

The second option is to use strobes for still images, and video lights for videos, and mount both types of lights on the same rig. In this scenario, we have the powerful strobes needed for photos and the constant light-producing video lights needed for video. However, this can be tricky, for several reasons. First, this will make your camera rig larger, and less streamlined. You\u2019ll need to determine how to mount as many as four different lights on one setup. Another option, although much less efficient, is to carry video lights in a catch bag or similar and swap them on and off your rig as needed. This, however, takes time to switch, is unwieldy, and probably not the best solution in most situations. We\u2019ll discuss better ways to achieve this, later on.<\/p>\n

The third option is to use a combined video light + strobe. Some (especially recent) strobes include a strobe AND a video light, built into the same light housing, in some configuration. This would allow you to toggle back and forth between video and stills on the same unit, in a streamlined configuration.<\/p>\n

The fourth and final option is to use no artificial light at all \u2013 and use only ambient light to shoot both stills and videos.<\/p>\n

Strengths and weaknesses of these three methods<\/h3>\n

Option 1: Shoot videos and stills with one pair of powerful video lights<\/strong><\/h4>\n

This is certainly a doable proposition, and many hybrid shooters (and some that only create stills) opt for this one. If you want to go this route, it\u2019s important to choose a strong, wide angle video light, like this one. Remember you are sacrificing a lot of power in using a constant light over a strobe, so choose carefully. When shooting stills with a video light, remember to watch your shutter speed carefully, as you will get blurry shots if you\u2019re shooting in Aperture priority mode in some low light conditions if you don\u2019t adjust iso and aperture around shutter speed.<\/p>\n

As mentioned above, you would need a pretty significant amount of lumens to get good shots this way.\u00a0 Probably a minimum of 20,000 total.<\/p>\n

See our ultimate guide to video lights<\/a> for examples.<\/p>\n

Option 2. Use strobes for stills and video lights for videos, on the same rig<\/strong><\/h4>\n

\"\"<\/a>
An example of video lights and strobes on the same rig via triple clamp.<\/figcaption><\/figure><\/p>\n

This is the option that will likely result in the absolute best quality, but with a few drawbacks. In principle, strobes will do a better job with stills and video lights obviously are better with videos. So, using each light for what they\u2019re designed for makes sense. However, this means instead of buying two (expensive) lights, you\u2019re buying four. That can be a big ouch to the bank account. It also means that you\u2019re going to have to push around a bigger, less streamlined camera rig underwater, and likely use more arm and clamp hardware to mount them.<\/p>\n

Option 3. Use a combined video\/strobe<\/strong><\/h4>\n

\"\"<\/a>
The Ikelite DS230 213Ws<\/figcaption><\/figure><\/p>\n

This is an exciting area of development in the underwater lighting world, and hopefully it will only get better. Some manufacturers are producing lights with both strobes and video lights in one integrated unit, offering the benefits of option 2, without the drawbacks of buying four lights and having to use extra arms and clamps.<\/p>\n

Currently, a great example of that looks to be the Ikelite DS230 213Ws strobe, which features an integrated video light around a GN32 strobe.\u00a0 The downside is that the video light is not as powerful as you’d want it to be, in Ikelite’s case 2500 lumens.<\/p>\n

Weefine will introduce to the market a strobe with a 3000 lumen light but this strobe will also have limitations (no TTL) and 3000 lumens is not that powerful.<\/p>\n

\"\"<\/a>
Weefind KRS07 Strobe and 3000 lumen video light – Will be released soon …<\/figcaption><\/figure><\/p>\n

Kraken also makes a variety of video lights with \u201cstrobe features\u201d, usually a fiber optic pulse mode that pulses a burst of light from the video light to simulate a standard strobe. While this sounds ideal, it\u2019s not perfect \u2013 it\u2019s not the same mechanics as a true strobe and doesn\u2019t the same typical power of a strobe flash. The video light component, so far, has been less powerful than standalone video lights.<\/p>\n

\"\"<\/a>
Kraken fiber optic triggered burst mode<\/figcaption><\/figure><\/p>\n

Option 4: Use ambient light and shoot both video and stills without any artificial light<\/h4>\n

It’s hard to get good shots with no lights but it allows for some creative photos like black and whites, we’ve written an article about how to get good photos with ambient light only<\/a>.<\/p>\n

Which do I think is best?<\/h4>\n

Personally, I prefer to use both video lights AND strobes on a single rig. How do I do this? Triple clamps. Triple clamps are a clever solution to mounting two lights on one strobe arm.<\/p>\n

\"\"<\/a>
A triple clamp<\/figcaption><\/figure><\/p>\n

This means that your rig only changes in adding an extra light on each arm instead of adding multiple arms.<\/p>\n

Some folks choose to use only one video light, in addition to their two strobes, and mount it centrally on a cold shoe mount on the top of their housing. This can certainly work, and saves some cost.<\/p>\n

However, the main drawback is that you have a lot less flexibility to position that video light out to the sides. This is a key component of lighting technique that minimizes backscatter, which we cover in many other articles, like this one.<\/p>\n

Have more questions? We\u2019re happy to help!<\/p>\n

\"\"<\/a>
OLYMPUS DIGITAL CAMERA<\/figcaption><\/figure><\/p>\n

In the above photograph, I use 2x Keldan video lights and 2X Sea and Sea strobes. When I want to shoot video, I use the Keldans. When I want to shoot stills, I switch to the strobes. The great thing about this setup is that I can position both strobes or video lights as I normally would, and I don\u2019t sacrifice anything. I\u2019ve tried the triple clamps at the middle arm segment, which looks kind of cool, but is much less functional.<\/p>\n

Conclusions<\/h4>\n

Of the four main lighting options for shooting stills and videos on the same dive, the least versatile but most inexpensive will be the simplest: don\u2019t use any artificial light at all. We have articles covering shooting with natural light, here.<\/p>\n

If you\u2019re needing more light and want better results, however: a step up will be using strong video lights to shoot both stills and video. We have articles covering that, here.<\/p>\n

The second best option for shooting stills and video on the same time is probably using hybrid lights, which are specifically designed for this. This is especially true as they continue to improve and develop \u2013 we expect more options from companies like Ikelite in the future.<\/p>\n

The best (but most expensive) option is to use BOTH strobes and video lights on the same rig, using triple clamps illustrated above. This doesn\u2019t compromise on quality, but is more bulky, less streamlined, and more expensive. There are variations on this depending on your budget and needs; for example, using one video light mounted on a cold shoe mount instead of two video lights on each of your strobe arms.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Have your cake and eat it too. The best of both worlds. And so on\u2026 Underwater photographers have long been frustrated by one big, giant challenge that top-side photographers don\u2019t have to deal with. The simple fact that we can\u2019t swap gear mid-shoot. Why? Because we are, you know, underwater. Want to switch from wide-angle<\/p>\n","protected":false},"author":726,"featured_media":16398,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"_rtcl_gb_attr":"","footnotes":""},"categories":[1],"tags":[],"ppma_author":[258],"class_list":["post-16393","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-underwater-photography"],"yoast_head":"\nShooting Video AND Stills on the Same Dive [Guide] | Mozaik UW<\/title>\n<meta name=\"description\" content=\"Have your cake and eat it too. The best of both worlds. 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