BENEATH THE SURFACE PRODUCTION
the fluorescent qualities of coral. “Zooxanthellae, the symbiotic algae of coral, react particularly well to UV light and then become fluorescent,” he explains. “Coral fluorescence is a visually fascinating universe; it was important to address this dimension in this film.” Granjon deployed a combination of cutting-edge equipment to meet the technical demands of underwater and topside cinematography. The primary camera for underwater filming was the RED HELIUM equipped with Nikon, Canon and Laowa macro lenses – protected with housing by Subspace Pictures. “We used the Nikon 14-24mm and 24-70mm, Canon EF 100mm macro and Laowa 24mm macro for underwater shots. The Laowa allowed us to capture landscapes within the macro universe,” he elaborates. For time-lapse photography, the team also used the Sony A7S III. This camera was paired with various macro lenses – including the Sony 90mm and Canon 16-35mm – and housed in Subspace enclosures as well. Time-lapses enabled the team to show the slow, deliberate movements of coral and its polyps. “We shot photographic time-lapses in Raw recording, with the possibility of lowering the shutter speed to values greater than one second,” Granjon adds. This slow exposure allowed the team to capture light changes and intricate details in a way rarely seen in documentaries. For topside sequences, Granjon chose a RED HELIUM and Canon C70, supplemented by various lenses for both cinematic and documentary-style looks. The DZO Pictor Zooms offered a cine aesthetic, while the Canon RF zooms were utilised for gimbal work. He also incorporated Sony A7S II cameras for time-lapse shots using a Laowa probe lens, allowing for a more intimate exploration of small-scale marine life. For lighting the topside sequences, the team used natural light as much
WAVE RIDER Salma Shaker (right) discovered freediving at 19 and quickly embraced the sport
as possible – except for the shots in the lab. “Labs are pragmatic spaces where actual lighting is made to be efficient and comfortable for work – not nice on a screen! I added some light elements to increase the backlight and bokeh effect in my footage,” explains Granjon. While shooting underwater during the day, they also worked a lot with natural light. “We only used artificial light for macros as it’s easier to control the light in a tiny space,” Granjon continues. “For night sequences, I used UV light and daylight artificial sources. This enhanced the beauty of coral through its natural fluorescence, providing a surreal atmosphere for the scientists’ night work. “I was proud to find the right balance of documentary and fiction cinematic,” concludes Granjon, “and of my team – especially the first AC and diver in a shoot requiring ample technical intelligence.”
CORAL FLUORESCENCE IS A visually fascinating UNIVERSE”
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