Cinematographer Franz Pagot is not
surprised to see so many films containing an
underwater sequence, “there is magic in the
water” he says, “an underwater sequence
adds value to a film, it adds danger, tension
and excitement”.
This undeniable beauty however, comes
at a considerable cost. The rule of thumb
employed by award-winning Pagot is
“multiply by three; you need three times
the equipment, three times the budget
and it takes three times as long to execute
a shoot”. “Never an issue for big budget
productions, it is struggling smaller
operators who try to cut corners by
compromising safety, but that is something
no respectable cinematographer will ever
agree to; safety comes first”.
Sentiments echoed by fellow
cinematographer, Mike Valentine BSC who
swiftly declares “safety, safety, safety” as
paramount.
“There is absolutely no compromising here”,
Valentine says resolutely, “if the shoot calls
for twenty safety divers, then this is the
number of divers there will be in the water.”
Good safety divers who are familiar with
the filming process make all the difference,
“experts at keeping themselves out of a
shot without compromising safety. Take
the Skyfall scene we filmed as an example,
where Daniel Craig is fighting and a wide
angle lens was used; the safety divers
are out of the shot but still offering 100%
safety”.
I catch up with Valentine just as he has
finished speaking to Sofia Coppola about
a future underwater shoot. With credits
including The Beach, Casino Royale, Indiana
Jones and The Hitchhiker’s Guide to The
Galaxy among a long list of others, the film
industry has come to associate Valentine
with the underwater realm. “I’ve worked on
82 feature films and plenty of television,” the
award-winning cinematographer explains.
“From EastEnders and Dr Who to Pirates
of the Caribbean, commercials to music
videos. My role is to bring expertise and
ease to the underwater experience, look
after the lighting, safety crew, make-up,
building sets under water if called for,
both in the tank and in the sea. We solve
problems and accommodate needs that
arise, whatever they may be, including how
to place a baby underwater safely, film a
dance sequence or even stage explosions.”
Communication is key
Both cinematographers stress the
importance of clear communication and
a thorough understanding of underwater
lighting. “The director must be able to
communicate directly with the actor,”
explains Valentine, “not just to get a great
performance but also to calm tense nerves.
A former BBC sound man, he can recall
reassuring both Sharon Stone on the set
of Basic Instinct II (when she was inside a
sports car that was sinking to bottom of
the river Thames) as well as Eva Green in
Casino Royale.
When it comes to lighting underwater, “you
Britain’s film and TV industry can praise itself for its skills, knowledge and facilities when it comes to
underwater filming, and producers the world over flock to the UK to complete their projects here. From Eon’s
Casino Royale and Skyfall to ITV’s Emmerdale and Kudos’ The Tunnel, all contain scenes filmed underwater.
With more projects lined up to start shooting soon, we take a look at what it takes to film while floating.
By Hannah Gal
You need three times
the Equipment, three times
the budget and it takes
three times as long to
execute the shoot
Underwater Filming:
Beyond thesea -
today’sworldof
underwater filming
need to think structurally and conceptually
very differently from dry filming,” says
Pagot. “Moving lights around and
keeping them steady underwater is not as
straightforward as on dry land.” He goes
on to praise Arri’s new range of LED lights;
lightweight, high-power, daylight-balanced,
low voltage underwater lighting which was
first tried, tested and approved by Valentine.
Richard Stevenson of DMS (Diving and
Marine Solutions) shares the pair’s passion
for the underwater world. After 15 years
of diving however, Richard’s desire was to
also offer the logistical support that often
surrounds underwater filming. DMS now
owns and operates its own boats, cameras
and diving gear and has full time team
members; a one-stop shop that makes the
whole underwater filming process much
easier for production. “We rarely have to
hire in from elsewhere,” explains Stevenson.
“We carry professional insurance and
indemnities which we provide as part
of the package, so it’s simply a case of
agreeing rates and getting on with the
job which saves production companies
vital time and money.” The Exeter-based
company will mobilise and supply any of its
comprehensive equipment to any part of the
world, making it ideal for filming away from
its 3000 sq ft south Devon centre.
DMS is one of several UK underwater
facilities offering expert technical advice,
be it at a studio tank or in the deep ocean.
Depending on the individual facility’s
capacity, all offer production advice, HSE
divers, diving co-ordination, equipment
hire and often, portable tanks and boats.
They cater for feature films, wildlife
documentaries, commercials and music
videos and range from the small scale
operator to the mighty Pinewood Studios,
whose exterior tank carries the largest
green screen backing in Europe measuring
240 x 60 sq ft (73 x 18 m).
A magical appearance
Pinewood’s underwater filming stage
is permanently filled and heated to
temperature of 30°|C (87°F). The studio’s
Diving Services underwater operator counts
Gravity and Les Misérables among other
films, TV, commercials and pop promos to
its credit.
One set-up which offers a unique facility is
Basildon-based Action Underwater Studios,
boasting a one of a kind removable roof.
“The whole building covering the tank can
be lifted off by a crane and placed next to
the stage” explains Geoff Smith, “it is the
only underwater stage in the world with a
removable roof, allowing productions to use
it as an enclosed or open air facility.” Film
and TV productions attracted to this studio
include Tomorrow Never Dies, The Bourne
Supremacy, Top Gear and EastEnders.
The studio also has different sized glass
tanks - used for still photography, special
effects and product shots - a large 22 acre
lake and a hovercraft lake.
“Preparation is key” says Smith, “and
artist training is vital: artists have to be
able to perform underwater with their eyes
open. For the best shots actors remain
underwater, breathing on air supplied by
the divers during takes, and that requires
training.”
Actors learn to breathe on the scuba
mouthpiece as well as trust the safety divers
to supply them with air. Preparation is key
and there is a great deal to consider from
access for boats to diving permissions, and
a multitude of permits and technicalities
in between, but the stunning results are
well worth the extra effort. “Water gives a
magical appearance to shots” concludes
Smith, highlighting the UK’s superb choice
of talent and facilities to support any
production imaginable.
Moving lights around and keeping them steady
underwater is not as straightforward as on dry lanD
Productions
which shot
underwater
Television
• The Tunnel – Kudos
• Emmerdale - ITV Studios
• Fleming - Ecosse Films
Film
• Black Sea - Film4 Productions
• The Whale - BBC Drama
• Skyfall - Eon Productions Ltd
Still from The Whale, a BBC Drama production -
image courtesy of the BBC
Above: Shooting Burton’s Dark Shadows. -
photo courtesy of Mike Valentine
Right: Franz Pagot in full diving gear
during an underwater filmshoot
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Cameras and Camera equipment
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