thanks!
what case are you using?

thanks again. I couldn't seem to find a price for that, do you know how much it costs?

look here
http://www.fotosub-shop.it/

@telesteric

Nice video. Reminds me of the Red Sea. I've been using the GH1 hacked underwater in a converted Subal Procase (mainly 7-14mm lens) for over a year now. You can see some frame-grabs on my website.

(My edit)

http://www.hdvseatek.com

@telesteric

Thanks for the info. I did not understand how the manual focus works with your Samyang. Did you build a custom ring?
I saw the Diveross website but I don't see any ring for m43 lenses.

LongJohnSilver
yes i made my own custom ring, in most of cases you need to adjust all housings, as when they leave factory they are preasure tested but they do not test the controls levers.

I had the version with motorized zoom, and by enlarging the ring was enough, as there is no zoom to control on the samyang. BTW not easy.

But after all work, i played with focus barrel in the lens, to achieve closer focus, and by closing to F7,2 i dont care any more, everything is in focus.

You need to contact Diveross for rings, they supply with the housing one for 14-140

i just posted new video in 3d anaglyph, shoot with 2 oly epl1, please check, you need red/cyan lenses

lovely footage, same color cast, typical panasonic blue/green. What about WB?? any problems??

impressive creature, cant wait to see other footage

in my case i only put tests and humor shorts in youtube

@telesteric

Many people seem to think the Pana has a "typical" blue-green colour. I disagree. On the same dive I, my wife and a friend often use GH1/Sony/Canon...very same color results. Also when I used the Canon 5D2 I compared it carefully with my Pana SD700 camcorder...no difference above or underwater (of course must be same situation for a meaningful comparison). I don't mind a blue or green water background...as long as the subject is correctly exposed and color balanced. The difference is that the human eye/brain can compensate for such differences...a camera, any camera, will provide a more limited rendition of the total scene.

My philosophy on White Balance is simple...I preset to Daylight (6000k) and NEVER bother with WB. This worked for 30 years of film photography (35mm and 16mm) and works for video...IF you also use powerful lights. I never dive without two powerful video lights.

The way I see it, constantly doing WB underwater creates more variability in the color of clips taken during a dive. This variation makes color correction during editing much more difficult. Using daylight balanced lights means that most of the closer subjects (i.e. say 3 metres) will have correct color balance (and natural colors). Even for further distance, using WB to somehow "compensate" for the blue/green natural color of the water is, I feel, the wrong tool for the job. WB is for the kelvin value of the ambient light...NOT for the color of the water. Yes, sometimes constantly doing WB will help correct for excessive blue...but it also creates a lot of other complications. The same with using "Magic Filters"...they help in deeper water, but they really mess up the color in shallow depth. Nothing new or "Magic" about them...we were using CCM30's in the 1970's for color balancing daylight film UW.

One dive buddy who is probably one of the most financially successful (multi-millionare!) and experienced underwater cinematographers in the world (many feature films; several IMAX and many BBC productions including Blue Planet and Oceans ) laughingly says " amount of white balancing underwater is inversely correlated with experience". I agree.