This document discusses techniques for filming underwater 360 video. It describes the filmmaker's background in scuba diving and environmental filmmaking. It then covers the equipment, skills, and techniques needed to capture stable underwater 360 footage, including using a camera array, monopod, diver handheld, or DPV mount. It also discusses lighting considerations like using ambient light, lighting mounted on the array, or coordinated off-axis lighting. The document concludes with tips on distance, subject placement, shooting sequences, and emerging trends in underwater 360 video equipment and applications.

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?