MARK SHARMAN CASE STUDY
requires neutral buoyancy to be relearned in a new way. “Latterly I’ve qualified as a drone pilot so that I’m able to fly and film aerial sequences, and these skills need constant refinement and practice to be able to perform and deliver on demand when the action is happening. I own a DJI Phantom 4 Pro and also fly the Inspire 2, and this particular skill is now something that more and more clients expect you to have. It’s completely changed the landscape, and where once you would have had to hire in a helicopter to get a shot now you simply put a drone up in the air and you can have the footage you need in a matter of minutes.” Underwater filming is still very much Mark’s speciality however, and his kit has evolved over the years to take account of the changing face of technology. “When I was starting out around the turn of the century, the hardware required for underwater filmmaking was hugely bulky and ultra-expensive,” he says. “Now kit is much more affordable and easier to work with and it makes life easier for those looking to specialise in this area, while it also means that I’m continually checking
out what’s available to see if it can add something to my business.” At the heart of Mark’s current outfit are two Sony FS7s, chosen for their relatively compact size and weight combined with quality of output. “The reason that I’ve got two of these is that one of them is for topside filming while the other is pretty much permanently encased in a Sealux housing, and it would be time-consuming and fiddly to take it out and then put it back in again.” The housing, which was initially purchased at the start of a five-week filming job in Oman, is a crucial part of the entire operation, featuring levers on the outside that can control all the FS7’s operations underwater, while there’s also a separate housing for an Odyssey 7Q+ monitor/recorder. The set-up is fairly compact and is beautifully balanced, meaning that it’s straightforward to use and doesn’t feel unwieldy. Interestingly Mark has decided to work extensively with zoom lenses both underwater and topside, chiefly because it allows him to react quickly to his subjects, while changes of viewpoint underwater would clearly be impossible without
“I’mcontinually having to developmy craft and push new boundaries as an all-round cameraman, both on land and underwater”
TOP AND ABOVE A sequence, including footage of a male cuttlefish displaying, shot in the beautiful clear waters around Malta. Meanwhile Mark Sharman is equally at home filming larger creatures such as a killer whale.
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AUTUMN 2018 PRO MOVIEMAKER
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