Intro to filming 360 video underwater

1. Ultimate Immersion
Filming Underwater 360

2. Why 360?
The most powerful way to share Underwater World
without getting wet
VR-Pro VR-YL3 array

3. My path
• Certified to SCUBA dive 1990
• Documenting shipwrecks - changes over time
• Sharing underwater world with non-divers
• Environmental filmmaking 2004
• In 2014 it became clear that 360 was perfect medium to capture
underwater storm drains
• 360 video returns sense of transparency to environmental
storytelling and outreach (viewer can look around and come to their
own conclusion)

4. What it takes
Capturing underwater 360
VR-Pro VR-YL6 array

5. Diving
• Underwater camera operator must be a skilled diver
• Proper equipment
• Environment
• Local knowledge

6. Camera/housing
• Crisp focus
• Neutrally buoyant or slightly
positive
• Balanced
• Easy to access cameras
• Proper camera system for job
VR-Pro VR-YL6 array

7. Stable shots
VR-Pro VR-YL6 array

8. Monopod
• Static
• Comfortable for most viewers
• Establishing shot
• Close focus wide angle
• Often easier to stitch

9. Monopod
Negatively buoyant

10. Diver handheld
• Dynamic shot
• Pelagic animals (whales, dolphins, sharks, snorkel, etc..)
• Motion sometimes less comfortable for viewers
• More challenging stitch due to motion/variable distances
• May need stabilization in post with MochaVR
• Be SURE to respect the distance all around, I have tendency
to swim too close to bottom which will impact ease of stitch

11. Diver Handheld
T-handle can be helpful for stabilizing shot
Boxfish Research array

12. DPV mount
• Additional diver skill set needed
• Not always available at destination
• Very stable moving footage
• Dynamic shot

13. DPV mount
Neutrally buoyant, stiff monopod/pole

14. Sled
• Useful for stereo180
• Adds stability and inertia
• Ability to mount lights

15. Lighting
• Ambient
• On array
• Off Axis - staged
• Off Axis - available
• Off Axis - choreographed

16. Lighting
Ambient
VR-Pro VR-YL3 array

17. Ambient lighting
• 10m or shallower
• Often needs color grade in post
• Keep sun position in mind for exposure and lens flare
issues

18. Lighting
On array
VR-Pro VR-YL3 array

19. On array
• Challenging
• Issues include
• Exposure
• Lens flare
• Backscatter
• Light placement

20. Lighting
Off Axis, Staged
50m depth ambient and staged lighting, 10 sony SONY UMC S3CA

21. Off Axis, Staged
• More set up time
• Larger team to coordinate
• Exposure issues if you do not have camera controls
• I refer to this as “museum lighting”

22. Lighting
Off axis, available
VR-Pro VR-YL3 array

23. Off Axis, Available
• Good results
• Coordination with lighting team
• Foreground lighting
• Lighting points of interest (artifacts, critters)
• Backlighting

24. Lighting
Off Axis, Choreographed

25. Off Axis Choreographed
• Most challenging
• Done right = great results
• Team effort / skilled divers
• Light beam management (use body as flag to prevent lens
flare)

26. A few more tips

27. Distance matters
1.5 meter for monoscopic
3 meter for stereoscopic
If you shoot closer, plan for stitch lines

28. Primary subject in one lens

29. Shooting sequence
• modified BBC 5 shot technique to help ensure story from footage
• Wide (establishing)
• Close focus wide angle subject
• Close focus wide angle diver
• Over the shoulder of diver
• Unusual shot
• Interview (many underwater stories benefit from topside footage)
VR-Pro VR-YL3 array

30. Trends

31. Trends
• Housings for existing unibody design cameras
• Stereo 180
• Larger sensor camera arrays
• 10 X SONY UMC S3CA
• 3 and 4 Sony A7s2 and Panasonic GH5 array with
Entanyia 200/250

32. Trends
Serial content
Narrative Story
Documentary
Additional user base coming from consumer space
Education / Conservation

33. Thank you!
Questions?