UNDER WATER LIGHTING
Kicking up a storm B uilt for extreme environments, the Aputure STORM 1200x is an IP65-rated, five-colour LED which promises precision control at any brightness level, including on the extreme low end. Sealed from head to toe, the STORM 1200x is fully weatherproof and ideal for outdoor use, especially near water, and its BLAIR (blue, lime, amber, indigo, red) light engine creates a rich colour spectrum, replicating the UV rays of real daylight.
and other crew members usually stay dry, observing from above. “Before you know it, you’ve got 20 people in one little area, all trying to stay out of each other’s way,” Keating shares, with this happening more often than not. “It’s important to keep things as lean and minimal as possible. Simplicity is key.” Finally, underwater lighting (and filming altogether) requires a combination of water and electricity, introducing further risks – namely safety, but also kit failure. “When things go wrong, I’d say the biggest thing, which you address in prep, is getting things so dialled in that spares are ready to go straight away,” Keating states. “You completely minimise any hold-ups; you don’t want people waiting on you.” ONE WITH THE WAVES Keating and Seabrook worked together on blockbusters like Indiana Jones and the Dial of Destiny , and documentaries like The Rescue . “Being invited to photograph underwater sequences for Indiana Jones and be part of its legacy was a high honour,” Seabrook admits. During The Rescue , he swam alongside the cave divers who actually saved the trapped children in Tham Luang Nang Non. “Gaining theirs and the director’s trust was a truly fulfilling assignment.”
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Keating has also worked opposite top talent, sharing the set with Tom Cruise on the Mission Impossible films. “There’s zero room for anything but your A game on a production like that,” states Keating. “I like the level of professionalism; that fine line between being on the ball and having a laugh where possible.” Fischer’s recent credits include Netflix documentary The Deepest Breath , the story of a champion freediver, and a range of shorts for Behind the Mask, swimming alongside dolphins, crocodiles and killer whales. “We travel around the world,” he says, “and we try to speak for this group of people who make images underwater. We believe these people are ambassadors for the ocean; they take pictures in environments that most people can’t access without certifications, education and technical equipment. It all helps create awareness.” Underwater filmmaking occupies its own production niche. It requires a unique skill set, whether in a studio or at sea. While distinct, both demand a love of water – or at least the grit to get wet.
TAKING THE PLUNGE Underwater gaffer Aaron Keating has contributed to blockbusters such as Harry Potter and Indiana Jones
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