Light & Motion Bluefin

Manufacturer: Light & Motion Type: Underwater video housing Years produced: 2004-2011 For cameras: Sony VX2100, PD170, HDR-FX1, HVR-Z1U, HDR-HC1, HVR-A1U, HDR-HC3, HDR-HC7, HDR-HC9, HDR-SR11, HDR-SR12, HDR-CX550, Canon HF G10 Depth rating: 300-400 feet (model-dependent) Construction: Machined industrial-grade aluminum, anodized

Overview

The Bluefin was Light & Motion’s professional video housing line, produced from 2004 to 2011. It defined underwater video ergonomics during the era when dedicated camcorders dominated underwater filmmaking, before DSLR video made the format largely obsolete. The line was designed around Sony camcorders for most of its life, only adding Canon support in its final year.

The Bluefin’s signature innovations were its Smart Grip Handles with non-penetrating infrared (IR) transmitters and receivers for camera control, flip-down color correction filters, flip macro lenses, integrated external monitors, Easy Load camera trays, and near-neutral buoyancy design. These features collectively made underwater video more accessible and ergonomic than competing housings from Gates, Amphibico, and Sea & Sea, which relied on mechanical through-hole controls or external LANC grips (^[1]).

The line served professional and serious amateur underwater videographers including Shawn Heinrichs, who used the Bluefin HD extensively for shark filming, and Eric Cheng, who modified his Bluefin HD with ExpoDisc white balance filters and documented the process for the community (^[2]).

Design Philosophy

Non-Penetrating Electronic Controls

The Bluefin’s most distinctive feature was its electronic control system. Smart Grip Handles used IR transmitters and receivers to relay button presses to the camera without any mechanical penetrations through the housing wall. This eliminated the risk of leaks associated with traditional through-hole control shafts, which were the most common failure point in video housings (^[3]).

Controls accessible from the handles included: power on/off, record start/stop, variable zoom (double-tap for speed control), electronic manual focus, momentary autofocus on/off, manual iris and gain, shutter speed, manual push white balance, neutral density filter, and VTR playback for instant footage review (^[4]).

Drew Wong noted one concern with this approach in 2005: the IR circuit boards were exposed inside the housing, which he called “the Achilles heel for L&M.” While coated for protection, errant drops of saltwater during housing opening could potentially damage the electronics (^[5], ^[6]).

Flip-Down Filter System

All Bluefin models from the HD onward featured a mechanical flip-down color correction filter (red filter for correcting blue/green water color cast) and a flip macro lens that could be deployed or stowed at any point during a dive. This allowed videographers to switch between wide-angle and macro shooting without surfacing (^[7]).

Eric Cheng documented a community modification replacing the flip-down macro lens assembly with ExpoDisc white-balance filter material, enabling one-flip manual white balance underwater. The modification was pioneered by forum user Daniel Deck (videodan) and refined by Cheng into a photo tutorial (^[8], ^[9]).

Easy Load Tray

The Easy Load camera tray simplified setup: the camera attached to the tray, control and video cables were plugged in, and the unit slid into the housing with a positive snap for optical alignment. The rear plate then sealed with Self-Locking Rotary Latches over Double O-ring Seals. Shawn Heinrichs praised this design, noting he could have the entire system ready to dive in less than five minutes (^[10], ^[11]).

External Monitors

The Bluefin line offered integrated external monitors: initially a 2.5-inch color monitor back, later upgraded to a 3.5-inch high-resolution monitor, and eventually a 3.2-inch OLED display on the Bluefin2. Light & Motion discontinued their standalone external monitors in 2007 in favor of integrated monitor backs (^[12], ^[13]).

Models

Bluefin VX2100 (2004)

The original Bluefin, announced September 2004 for the Sony 3-chip VX2100 and PD170 standard-definition camcorders. It established the design language that would carry through the entire line. At DEMA 2004, an improved version was shown featuring a new electronic backplate with full camera control including menu access, plus a remote monitor with extension cable for remote placement (^[14], ^[15]).

Bluefin HD (2005)

Announced May 2005 for the Sony HDR-FX1 and HVR-Z1U HDV camcorders. This was the flagship model that defined the line, and the first Bluefin designed for high-definition video. Depth-rated to 400 feet. It was the largest of the electronic video housings shown at DEMA 2005 and included internal ballast weights on the sides for adjustable balance (^[16], ^[17]).

Shawn Heinrichs published an in-depth review praising the five-minute setup time: “Frequently I am rushed to get my video gear ready to go because of a late arrival, changes in dive plan, change in weather/light conditions or just poor planning on my part (took a nap at the wrong time). In less than five minutes, I can attach the light system and external 2.5in monitor, remove/position the adjustable weights, mount my cam and install the tray, and have the system ready to go” (^[18]).

A community member (Digizz) confirmed the quality in comments: “I’m now the proud owner of an FX1 Pro travel kit and UWA 100 Deg lens. This kit is top notch and incredibly well made” (^[19]).

Bluefin HC1/A1 (2005-2006)

For the Sony HDR-HC1 and HVR-A1U compact HDV camcorders. Based on the standard Bluefin compact housing design. The HC1 version lacked true manual white balance control, using a workaround instead. The A1 version had an assignable button that could be mapped to white balance, giving it proper manual WB control. This distinction made the A1 the preferred choice for serious videographers (^[20]).

Wetpixel user SomeAssembly reviewed the A1 variant: “The decision to get the A1 instead of the HC1 was made purely to get access to manual white balance through the assignable button. Early in my decision making I decided I wanted the ease of use of a housing with primarily electronic controls. I ended up with the Bluefin because it had the feature set I was looking for” (^[21]).

Bluefin HC3 (2006)

Announced May 2006 for the Sony HDR-HC3. Marketed as “the smallest High Definition housing available.” The HC3 model introduced touch-screen menu access through a glass side panel, enabling one-touch white balance, tele-macro mode, and smooth slow motion functions. MSRP $3,099 (^[22]).

At DEMA 2006, Drew Wong noted the touch-screen white balance required entering P-Menu mode which obscured the display picture, a limitation of the camera’s interface rather than the housing design (^[23]).

Light & Motion offered a promotional deal in early 2007: purchase a Bluefin HC3 and receive a free super-wide angle lens (^[24]).

Bluefin HC7 (2007)

Announced March 2007 for the Sony HDR-HC7 HDV camcorder. Standard features included Smart Grip Handles, underwater microphone, flip-down color correction filter, and an all-glass zoom-through lens. Touch-screen menu access provided one-touch manual white balance, independent aperture and shutter speed control, tele-macro mode, and smooth slow motion. MSRP $3,099 (^[25]).

In February 2008, L&M announced the Bluefin HC7 was fully compatible with the Sony HDR-HC9, extending the housing’s camera support without requiring a new purchase. The press release touted an “unrivaled reliability record boasting a warranty service rate of less than 2%” and noted all Bluefin HC7 housings shipped standard with a 3.5-inch color high-resolution monitor back (^[26]).

Bluefin2 (2008)

Shown at DEMA 2008 for the Sony SR11 and SR12 cameras. The Bluefin2 was a premium variant sold alongside the standard Bluefin at a $700 premium. Key improvements over the base model:

1. 3.2-inch OLED monitor back (described by Eric Cheng as “beautiful” and a “huge improvement”)
2. Flat port standard
3. Dual flip filters: red color-correction filter and 43mm screw-in macro filter

The Bluefin2 also featured new star-shaped knob designs, larger for easier manipulation, which became standard across all L&M housings (^[27]).

Bluefin CX550 (2010)

For the Sony HDR-CX550 AVCHD camcorder. This model represented the transition from tape-based HDV to solid-state recording. User peterbkk documented his experience upgrading from a Bluefin HD/HC3 setup, noting significant improvements: one-push manual white balance that worked at 30 meters depth (vs. 15 meters on the HC3), a large OLED monitor bright enough to check focus, LED lights with instant-on (vs. HID startup delay), and a manual control wheel providing easy access to focus, exposure, and white balance. The housing used remote control functions rather than LANC, and its modular tray design offered potential camera upgrade paths (^[28]).

A BS Kinetics Takla Makan review in 2011 compared it to the Bluefin Pro for CX550, noting: “the Sony/L&M, of course, is smaller and a little lighter… And the controls on the L&M are great. But the rich colors, quality codec, light sensitivity and manual controls of the XF100 put it into a different league” (^[29]).

Bluefin for Canon HF G10 (2011)

Announced May 2011. The final Bluefin model and the first to support a non-Sony prosumer camcorder in years. Light & Motion cited the Canon G10’s superior video quality as the reason for breaking from their Sony-only approach. The Canon HF G10 featured a large HD CMOS Pro 1/3-inch native 1920x1080 sensor, 8-bladed iris with manual control, and frame rates from 60i to native 24p.

Paul Barnett, Domestic Sales Manager, stated: “After several test dives it’s obvious the G10 produces superior video results we haven’t seen in a HD compact video system. The G10 is in a class by itself.”

Features included one-touch white balance control (the only housing to offer this), electronic controls, interchangeable bayonet lens system compatible with the Fathom 90-degree wide-angle lens, flip color-correction filter, and rugged aluminum construction depth-rated to 300 feet. MSRP $2,799 (^[30]).

Accessories

Pole Cam Mounting Kit (2007)

Field-tested by Shawn Heinrichs at Tiger Beach, Bahamas, filming tiger sharks, great hammerheads, lemon sharks, bull sharks, and reef sharks aboard Jim Abernethy’s Shear Water. The kit included a mounting plate, adjustable stainless steel pole head, standard hexagonal extension painting pole (allowing users to purchase poles of varying lengths cheaply), an Ultralight monitor mount, and connections for the Remote Monitor.

Heinrichs praised the system’s light weight, easy transport (collapsible standard paint pole replaceable at any hardware store), quick assembly, stability, and adjustability. The Remote Monitor was the standout addition: “for the first time I can remember, I was actually not in a hurry to dive because I was thoroughly enjoying shooting with the pole cam.” Cost was approximately $500 for parts, plus $1,799 for the remote monitor and $300 for a 10-foot extension cable (^[31]).

Fathom Optics

All-glass zoom-through lenses designed for the Bluefin’s bayonet mount system:

• Fathom 90-degree wide-angle lens — full zoom-through, no vignetting, anti-glare coating (^[32])
• Fathom 110-degree lens — ultra-wide option (^[33])
• Fathom 145-degree fisheye lens — maximum field of view (^[34])
• Fathom Wetmate 65-degree — press-fit wide-angle for flat ports, enabling macro-to-wide switching on a single dive (^[35])

Lighting Systems

The Bluefin was designed as an integrated system with L&M’s own lighting:

• HID lights — Early Bluefin systems used high-intensity discharge lights with 45-65 minute burn times
• Sunray 1000/2000 LEDs (2007) — Replaced HIDs with instant on/off, 65-75 minute burn times, no bulb replacement needed (^[36])
• SOLA video lights (2010+) — Compact factory-sealed LEDs for later Bluefin models

Competition

The Bluefin competed with several housing lines during its production:

• Gates — All-mechanical controls, considered the professional standard for broadcast work. More expensive but offered bulletproof reliability. Gates users valued the mechanical approach for its lack of electronic failure modes (^[37], ^[38]).
• Amphibico — The Phenom (for FX1/Z1) used a combination of mechanical and LANC electronic controls. Amphibico innovated with a prism viewfinder that used the camera’s own LCD, but had exposed electronics similar to L&M (^[39]).
• Sea & Sea — Combined IR grip (Sony LANC) with manual controls. Known for robust VF design with built-in lens shade to prevent sensor burn from sunlight (^[40]).
• Ikelite — Clear polycarbonate construction at lower price points, with threaded front elements for wide-angle adapters (^[41]).

Drew Wong’s DEMA 2005 HDV report concluded: “no one housing has a significant advantage. Some lead in optics, other in functionality” (^[42]).

Legacy and Decline

The Bluefin era coincided with the golden age of dedicated underwater camcorders (2004-2011). During this period, underwater video meant purpose-built camcorders from Sony and Canon in dedicated housings. The line tracked the industry’s transition from standard-definition (VX2100) through HDV tape (FX1, HC series) to solid-state AVCHD (CX550, Canon G10).

The Canon 5D Mark II’s introduction of full-frame HD video recording in late 2008 began a paradigm shift that would ultimately make dedicated camcorder housings a niche product. By 2011, many underwater videographers were moving to DSLR and mirrorless video, which could use still camera housings from Nauticam, Aquatica, and others. The Bluefin for Canon G10 was the last model announced, and Light & Motion subsequently focused its housing efforts on the compact SOLA light line and eventually exited the housing market entirely.

The Bluefin CX550 remained in active use well into the 2020s — forum classified listings show systems being resold as late as 2023, with users praising the one-touch white balance and autofocus performance through L&M’s optical ports (^[43]).

Notable Users

• Shawn Heinrichs — Used the Bluefin HD for shark filming; authored the Bluefin HD review and Pole Cam field test for Wetpixel (^[44], ^[45])
• Eric Cheng — Bluefin HD owner; developed the ExpoDisc white balance modification (^[46])
• Daniel Deck (videodan) — Pioneered the ExpoDisc underwater white balance technique in the Bluefin HD (^[47])
• SomeAssembly — Reviewed the Bluefin HC1/A1 with sample video clips (^[48])
• Nick Hope — Used L&M Bluefin system for his “Mucky Secrets” production (^[49])

Timeline

• 2002: Earlier Bluefin housing (for Sony TRV-900/950) available; community members report robust performance over extended use (^[50])
• 2004-09: Bluefin VX2100 announced for Sony 3-chip VX2100 and PD170 camcorders (^[51])
• 2004-10: Improved Bluefin VX2100 with electronic backplate shown at DEMA 2004 (^[52])
• 2005-05: Bluefin HD announced for Sony HDR-FX1/HVR-Z1U; depth-rated to 400 feet (^[53])
• 2005-10: Bluefin HC1/A1 and Bluefin HD shown at DEMA 2005 (^[54])
• 2006-04: Shawn Heinrichs publishes Bluefin HD review; SomeAssembly reviews HC1/A1 (^[55], ^[56])
• 2006-05: Bluefin HC3 announced, $3,099 (^[57])
• 2006-08: Eric Cheng publishes ExpoDisc modification tutorial (^[58])
• 2006-11: Improved Bluefin HC3 with glass LCD window shown at DEMA 2006 (^[59])
• 2007-03: Bluefin HC7 announced for Sony HDR-HC7, $3,099 (^[60])
• 2007-08: Shawn Heinrichs field-tests Pole Cam Mounting Kit at Tiger Beach (^[61])
• 2007-11: External monitors discontinued; Bluefin HC series switch to monitor backs only (^[62])
• 2008-02: Bluefin HC7 adds Sony HDR-HC9 compatibility (^[63])
• 2008-10: Bluefin2 shown at DEMA 2008 with OLED monitor and dual flip filters (^[64])
• 2010: Bluefin CX550 released for Sony AVCHD camcorders with one-push white balance (^[65])
• 2011-06: Bluefin for Canon HF G10 announced — first non-Sony support in years, $2,799 (^[66])

References