LIGHTING UNDER WATER
IT’S IMPORTANT TO KEEP THINGS as lean and as minimal AS POSSIBLE, simplicity IS KEY” Working closely with the Underwater Lighting Company, Keating developed waterproof housings for Astera’s Titan and Helios Tubes. “They’ve definitely been a game changer – fully controllable underwater LEDs in every colour of the spectrum, plus all sorts of fancy effects.” They also have inherent safety benefits: “If there’s a blackout on-set, these lights remember their last order,” explains Keating. “They’ll stay on.” Seabrook also opts for LEDs, using Creamsource’s ‘compact and powerful’ Vortex fixtures for surface illumination. it’s submerged under water, with all the associated complications.” Keating trained at Lee Lighting, with the Harry Potter films making up the bulk of his early career credits. He recalls his intrigue during Harry Potter and the Goblet of Fire , which features a lengthy lake scene – one of the Triwizard Tournament challenges and an integral plot point. Following that, Keating set his sights on becoming a commercial diver. “Focusing on that took priority over all other aspects of the industry. In time, it started paying off,” he states. In those days, Keating and his crew used Kino Flo’s fluorescent tube lighting. “You had two settings – high or low – and it was one colour,” he recalls. “If you wanted a different colour, you had to break open the underwater housing and start again – a time-consuming process.” Now, modern LED technology makes underwater lighting much more efficient, enabling gaffers to make ‘last-second changes’ during shoots.
“I have some preferred equipment, some of which I’ve used since I started shooting films,” he says, “in addition to new innovations, as lighting for cinema has evolved.” He continues, “Lighting requirements vary from project to project. The set-up should be tailored to the specific needs of the shoot, be it narrative, documentary or advertising.” Seabrook touts Astera products as being “perfect for confined spaces,” while “traditional large sources such as 18K lamps are still used for daylight simulation.” Many underwater filmmakers also use filters, typically to restore correct colours or – in outdoor shoots – match the ambient light spectrum. Fischer turns to KELDAN, a manufacturer of filters for lenses and light sources. “KELDAN have a unique system of filters for in front of the lens, but also in front of the light, ensuring that the colour temperature is consistent throughout the whole picture.” CHALLENGE ACCEPTED Besides colour accuracy, there are plenty of other par-for-the-course challenges when working in water. Firstly, every submerged cast and crew member produces bubbles when breathing. “It’s one thing you definitely don’t have to deal with on land,” Keating points out. “You’ve got to watch that your bubbles aren’t getting in the way of any light coming through.” Rapid movements can also pose a problem, according to Keating: “It’s a constant game, being a bit
of a lighting ninja,” and swimming without causing too much of a stir. Outdoors, filmmakers are at the mercy of local weather conditions, which often change without warning. Seabrook stresses the importance of preparation – and considering logistics more generally. “What illumination is required and how will it be powered? Will there be a second vessel, separate from the camera boat?” In a water tank, there’s also the issue of overcrowding. Certain people – like the talent, the camera operator, the gaffer and any safety personnel – need to be in the tank, while the director, producers
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