News
Nauticam announce NA-Z7 for Nikon Z7 and Z6 Cameras
The Z7 and Z6, Nikon’s first full-frame mirrorless cameras offer underwater shooters the same legendary Nikon image quality with the versatility of an electronic viewfinder and the more compact form factor of a mirrorless system. The Nauticam NA-Z7 housing supports both the Z6 and Z7 camera models.
The Nauticam NA-Z7 Housing
The NA-Z7 inherits all of the key innovative features from Nauticam DSLR systems scaled into a smaller form factor built around the Z6 and Z7 cameras. Best of all, it uses the same N120 Port System!
Z and F Mount Support
The Nauticam NA-Z7 housing allows not only the use of the new Z mount Nikon glass but also the legendary Nikon F mount lenses with the Nikon FTZ Adapter. The N120 port system allows all compatible Nikon F-mount lenses to be used, providing underwater photographers with a world class lineup of fisheye, ultra wide, mid-range, and macro lenses that can be used with the NA-Z7 housing. Existing Nauticam DSLR housing owners will be glad to know that all of their ports, viewfinders, and Nikon lens gears transition seamlessly to the NA-Z7 housing, and support will be added for the exciting new Z-mount lenses as they are released.
The Nauticam NA-Z7 housing features two lens release buttons that correspond to either F or Z mount lenses, allowing lens swaps without having to remove the camera from the housing. A vacuum system reset switch is located below the tray as well so there is no need to open the rear of the housing during lens or port changes.
Intelligent Control Placement
Nauticam engineers are obsessed with functionality and this is evident in the location of essential controls. Regardless of where the control is located on the camera, the Nauticam housing puts them where you need them to be underwater. For those switching between photo and video modes, an easily reachable switch is located on the right rear of the housing. The right side double thumb lever, easily reached from the right handle features access to the AF-on and Record buttons respectively. Between the double thumb lever and the multi-stage shutter release is an ISO lever allowing quick changes to sensitivity.
The left double thumb lever accesses the DISP and Playback controls. The Zoom In and Zoom Out controls, located on the right rear of the camera body is relocated to the left side of the housing to a location more familiar to Nauticam housing users.
The switch that allows for switching between the LCD display and the EVF, a crucial and much used control with mirrorless systems is located close to the left handle within easy reach.
Front and rear control dials are readily accessible by the familiar large knurled dials at the right handle. The ergonomic housing handles are rubberized and feature stainless steel stiffening brackets to ensure a stable platform when using large strobes or video lights attached to the pre-installed 1″ mounting balls.
The Nikon Z7 and Z6 Cameras
For many full-frame Nikon shooters the appeal of a mirrorless camera had been tempered by the though of having to invest in and master a new system by moving to another ecosystem such as Sony. For those awaiting a mirrorless system that utilized Nikon imaging technology and ergonomics, the wait is over. The Z6 and Z7 cameras feature an identical body, differing only in their feature sets, an ideal feature when it comes to housing the camera for underwater use.
Both camera bodies are built around the new Z-mount. With an incredibly wide 55mm mount diameter (17% larger than F-mount) and very short flange distance, the Z-mount is able to offer a maximum aperture of F0.95. While the current range of Z-mount lenses is limited, almost the entire line of F-mount lenses is usable with the optional FTZ Adapter. When using the adapter, even non VR lenses benefit from the camera’s in-body stabilization. VR and Z-Mount lenses receive 5-axis stabilization whereas non-VR F-mount lenses have access to 3-axis stabilization.
There is also a dedicated e-VR (electronic VR) that combines optical and electronic stabilization for video shooting. Both the Z6 and Z7 are able to capture internal UHD 4K at 30fps or 1080 HD at up to 120fps at 144 Mbps. Capture uses the full-width of the sensor and both cameras are capable of outputting 10-bit N-log UHD 4K over HDMI that supports start/stop control.
The OLED electronic viewfinder (EVF) of both the Z6 and Z7 gives 100% frame coverage at Quad-VGA (3.69M dot) resolution. When triggering external flashes, both cameras feature a 1/200 X-sync shutter speed.
Nikon Z7 Camera
The Z7 features a high resolution 45.7MP FX-format sensor that can shoot at up to 9FPS. The Z7 features a wide ISO range of 64-25,600. Autofocus is achieved with 493 on-sensor AF points that cover 90% of the frame and the camera intelligently switched between contrast-detection and phase-detection points to achieve accurate focus regardless of light conditions.
Nikon Z7 Key Camera Specifications
- 45.7MP FX Format Sensor with no OLPF
- 9 FPS continuous shooting
- 64-25,600 ISO Range
- UHD 4K 30p recording with no FOV crop
- 10bit UHD 4K N-log output via HDMI with start/stop support
- 5-axis VR stabilization (with Z lenses)
- 8K time lapse with exposure smoothing
- CF Express ready (currently supports XQD)
Nikon Z6 Camera
The Z6 is equipped with a 24.5MP FX-format sensor capable of up to 12FPS continuous shooting with an ISO range of 100-51,200. Video is recorded internally at up to UHD 4K 30p with no field-of-view crop. 273 on-sensor focus points cover 90% of the fame and the Z 6 intelligently switched between contrast-detection and phase-detection points to assure accurate autofocus.
Nikon Z6 Key Camera Specifications
- 24.5MP FX Format Sensor with OLPF
- 12 FPS continuous shooting
- 100-51,200 ISO Range
- UHD 4K 30p recording with no FOV crop
- 10bit N-log UHD 4K output via HDMI with start/stop support
- 5-axis VR stabilization (with Z-mount lenses)
- 4K time lapse
- CF Express ready (currently XQD only)
Flash Triggering
The NA-Z7 comes with Nauticam’s self powered manual flash trigger preinstalled. The flash trigger plugs into the hot-shoe of the camera and uses LED lights recessed into each of the two optical bulkheads to trigger supported underwater flashes when used with the correct fiber optic connection. The flash trigger is powered by coin cell batteries that provide thousands of flashes per battery. The flash trigger can be upgraded to support TTL triggering (PN 2638 TTL Converter for Nikon).
Key Features
Patented Port Locking System
Unveiled on the very first Nauticam DSLR housing in 2009, this locking lever has become a signature of the Nauticam brand. No twisting or threading action is required to mount a port, and it locks securely in place with this lever. Nauticam also offers locking port extensions, meaning a dome will never twist, even when used with a long extension ring.
Housing Locking Latches
The industry’s easiest to use housing closure system, requiring very little hand strength to operate, secures the housing back in place. The latches are safely locked to prevent accidental opening, but are easy to open when needed for a quick battery or memory card change
HDMI Output Support
The Z7 camera supports 10 bit HDMI video output at UHD resolution (3840 x 2160) at up to 30p. An external monitor or recorder can be used with the optional standard M16 HDMI bulkhead (PN 25033), HDMI (D-C) cable in 190mm length (PN 25036) which come standard in any Nauticam monitor housing package.
What’s Included
- Nauticam NA-Z7 Housing
- 90122 Housing O-ring, lubricant and removal tool
- 25625 M16 Vacuum Valve II (pre-installed)
- CR2032 Battery (for vacuum system)
- Allen Wrench Set
NA-Z7 Recommended Accessories
- 25625 M16 Vacuum Valve II (Pushbutton Release)
- 32201 Nauticam 180 straight viewfinder
- 32203 Nauticam 45 viewfinder
- 26308 TTL Converter for Nikon
- 85201 0.36x Wide Angle Conversion Port with Aluminum Float Collar (incl. N120 to N100 port adaptor)
- 86201 Macro to Wide Angle Lens 1 (MWL-1) 150 deg. FOV with full frame 60mm macro lens
- Various electrical bulkheads
- 25033 standard HDMI bulkhead with M16 thread
- 25036 HDMI (D-C) cable in 190mm length
- (Both 25033 and 25036 are standard accessories in Nauticam monitor housing)
NA-Z7 Details and Specifications
- Depth Rating: 100m
- Weight: 3.02 kg
- Dimensions: 360mm(W) x 200mm(H) x 160mm(D)
- Battery for Vacuum system: CR2032
For more information visit the Nauticam websites:
UK: Click here
USA: Click here
News
Excerpts from Jeff Goodman’s Book Action Camera Underwater Video Basics, Part 1 of 6: Choosing a Camera
Unlike DSLR or dedicated video models, action cameras are far easier to choose and understand. One of the joys of these small devices is that they can produce excellent quality results in their full auto mode even if you have no prior knowledge about video or photography. Other than the positioning or mounting of the camera there seems to be very little else for you to do except press ‘record’ and sooner or later ‘stop.’ However, this does put the camera and the technicians who created it in full control of how it shoots the scene or action that you are filming. the camera is making the decisions for you. this can work pretty well, but does not always produce the best possible results. these cameras are remarkably clever, but alas not intelligent enough to know what it is exactly you are trying to achieve. So with just a little extra knowledge you will be able to choose the right gear, take control of the settings and create video and photos much more to your own design.
A very basic rule is that you get what you pay for. So the more expensive the camera then the more options and add-ons you would expect to be available. At the time of writing, top-of-the-line cameras can cost upwards of £300 (roughly $400) whereas a lower end model may come in at £20–100 ($25–130) and do the required job reasonably well. Let’s look at the basic requirements and discuss additional features which will make your video life far easier and more rewarding.
They will also govern the overall quality of your video. If you don’t already have a camera these are some of the optimal things to look for.
Screen
Most action cameras have a screen so you can see exactly what you are filming. Some do not. As we look to move forward from the basic point-and-shoot way of using action cameras, a screen becomes important. It gives you certainty that all the action is happening within your frame and you are not clipping off anything important. A screen will also show you how your lighting looks. this is especially important when mixing an artificial video light with ambient natural light.
If you have a camera without any sort of screen, I recommend practice and experimentation to get to know exactly what angle your lens covers at any given distance from a subject. Take a shot on land and when you play it back on an independent screen look carefully and note how much of the picture you thought you were taking is actually in frame. Try this for distance shots as well as close-ups.
Depending on what kind of optics your camera has, you will find that underwater the angle of coverage decreases by around one quarter. this is also affected by any additional lens you attach to the outside of your housing — see ‘Accessories: Lenses’ later in this chapter.
Depth rating and construction
Not all action cameras on the market are suitable for diving. Some are only designed to be water resistant, which is good for surface sports such as skiing, cycling or canoeing. Others are fully waterproof but only down to a depth of ten metres, which is good for snorkelling or surfing. For example, the GoPro or the Insta 360.
Be sure you pick a camera (or camera and housing) that has a depth rating suitable for your diving intentions. Most housings are guaranteed down to depths of 30m (100ft) or more, but do be sure and stick to the manufacturer’s recommendation.
Before buying, take a good look at how the housing seals are made and function. Are the closing clips flimsy, or substantial and well-made? The same question should be asked of the hinges.
Resolution and quality
Many cameras offer video resolution of 720p or 1080p. Most also do 2K and 4K. Starting at the lower end, 720p is ‘High-Definition’ (HD), but is only half the resolution of ‘Full HD’ 1080p. This means 1080p has twice as much image detail and produces images that are twice as large in terms of overall pixel count. However, 1080p also takes up twice as much storage space on your memory card. There then follows the issue of having enough computing power to play back the larger resolution files. This especially applies when filming 4K, which has four times the resolution of 1080p. Although you should be able to play these very ‘high-res’ video files on your TV through your camera, it is not guaranteed that your edit computer will have enough processing power to play the files smoothly.
This becomes particularly noticeable when trying to edit and add effects.
720p has 1,280 pixels displayed across the screen horizontally and 720 pixels down the screen vertically. this gives us 720 horizontal lines on the screen. Before HD came in the normal resolution was 480p, standard definition (SD). SD is now seen as very poor quality.
For most people 720p produces a very high quality image and is excellent for editing and posting e.g. on YouTube. If you are able to process and edit 1080p and have a good speed on your internet, then this is the best option for even greater quality. If you are able to process and edit 2K and 4K then the world is your oyster. In short, film at a resolution that you can edit. Do a test. Film something at 2K then try to play and edit it on your computer. If it works well without any pixelation, breaking up or freezing of the image then try 4K. If the 2K doesn’t work then go lower, try 1080p and so on.
However, although 720p is usable at the time of writing this book, technology moves so fast that it is probable this resolution will no longer be used in the near future and be fully replaced by the higher alternatives.
It is possible to edit 2K and 4K on low specification or old computers by using proxy files and online editing. This copies video files to a lower resolution which your edit software and computer can deal with. then before exporting the final edited sequence or film the proxy files are replaced with the original full resolution versions. But this is for those who are experienced with editing software and is beyond the purposes of this book.
An alternative solution is to film everything in the best possible resolution and archive those files for future use. Meanwhile, convert the files you want to edit now into low resolution copies with video converter software. Free versions can be accessed on the web, for example Any Video Converter and Freemake Video Converter.
When shooting at higher resolutions, the image size can be expanded or increased in the edit without too much noticeable loss of quality. This is particularly useful in re-framing your image or taking part of it to use as a close-up. Somewhere between 25–40% is usually as far as you can go before quality loss starts to become noticeable, but this does depend on the overall standard of the original frame where sharpness, contrast and image density are all factors. Higher resolution images are also better for extracting single frames to print out as photos or to use in publications.
NEXT WEEK:
Part 2 of 6 – Underwater Lighting
Action Camera Underwater Video Basics by Jeff Goodman is available now from DIVEDUP Publications:
https://www.divedup.com/shop/action-camera-underwater-video-basics-the-essential-guide-to-making-underwater-films/
About Jeff Goodman
Jeff is a multiple award-winning freelance TV cameraman/filmmaker and author. Having made both terrestrial and marine films, it is the world’s oceans and their conservation that hold his passion, with over 10,000 dives in his career. Having filmed for international television companies around the world and as author of two books on underwater filming, Jeff is Author/Programme Specialist for the Underwater Action Camera course for the RAID training agency.
Jeff has experienced the rapid advances in technology for diving as well as camera equipment, and has also experienced much of our planet’s marine life. He has witnessed, first-hand, many of the changes that have occurred to the wildlife and environment during that time.
Jeff runs bespoke underwater video and editing workshops for the complete beginner up to the budding professional.
In a video created exclusively for Scubaverse.com, Jeff Goodman reviews the Covert XT BCD from Zeagle.
Find out more abut Zeagle products at www.zeagle.com.
Sea & Sea is the home of Zeagle and other leading diving brands in the UK.
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