Camera in waterproof housing submerged. Red wavelengths absorb immediately, artificial lighting becomes essential. Colors desaturate with depth — lighting must be precisely planned beforehand.
Technical Details
Professional underwater housings like the Hydroflex Epic cost 45,000-60,000 Euros and are waterproof up to 150 meters. Standard housings from Ikelite or Nauticam cover depths up to 60 meters (2,500-8,000 Euros). Underwater, the refractive index increases from 1.0 to 1.33, making objects appear 25% larger and 33% closer. Special dome ports with a 230mm diameter correct wide-angle distortions. From a depth of 5 meters, auxiliary lights with at least 10,000 lumens are required. Underwater follow focus systems operate with enlarged gears and waterproof motors.
History & Development
In 1916, biologist Ernest Williamson shot the first underwater sequences for "20,000 Leagues Under the Sea" using a self-built glass sphere camera. In 1954, Henri Broussard developed the first professional underwater housing for 35mm cameras. The breakthrough came in 1977 with "Jaws" – cinematographer Michael Ballhaus used the revolutionary Elemack underwater housing. In 1989, "The Abyss" introduced CGI underwater worlds, and in 2003, "Finding Nemo" combined fully digital underwater worlds with photorealistic light refraction effects for the first time.
Practical Application in Film
"Life of Pi" (2012) used 85% tank shots in the 1.7 million-liter tank at Pinewood Studios. "Aquaman" (2018) shot close-ups in 4-meter tanks with blue/green screen extensions for wide-angle shots. Typical workflow: Pre-dive with camera dummy, maximum dive time 45 minutes, immediate rinse with fresh water. Continuous communication is via underwater radio (Ocean Reef GSM G.divers). Disadvantages: Reduced depth of field, color loss from 3 meters onwards, risk of corrosion, limited battery life.
Comparison & Alternatives
Dry-for-wet technique simulates underwater scenes in air through slowed movements, flowing hair, and particle effects – 70% more cost-effective than actual underwater shots. Partial submersion is limited to shots near the water surface without full sealing. Virtual Production with LED walls is increasingly replacing water tanks: "The Little Mermaid" (2023) used 90% virtual sets. Real underwater shots remain indispensable for authentic light refraction, bubble formation, and natural water dynamics in close-ups.