Obtaining high-definition images in marine life documentaries depends on a combination of professional underwater equipment, specific techniques, and controlled proximity to the animals.
Although the cameras used are similar to those employed on land, they are adapted with specialized lenses and custom sealing. Additionally, lens and lighting systems specific to the aquatic environment are necessary.
When diving to record videos, cinematographers must apply a technique distinct from that used on land. According to Fabi Fregonesi, an underwater photographer, water directly impacts light because it absorbs certain colors and scatters light due to suspended particles. This phenomenon reduces contrast, sharpness, and saturation; red tones, for example, are among the first to disappear with increasing depth. The use of lighting systems helps compensate for this light loss, restoring detail and contrast in the scenes.
To ensure sharp images, it is essential to stay as close as possible to the subject being filmed, minimizing the amount of water and particles between the camera and the animal. However, this closeness must always respect the well-being of the living beings.
The photographer emphasizes that proximity should never be prioritized over the animal itself. Instead of chasing it, the professional must seek to understand its movements and, when appropriate, position themselves naturally in its path, waiting. It is crucial to know the species' behavior and identify any signs of stress, as every animal has a safe approach distance, requiring the filmmaker to move away upon noticing any sign of disturbance.
Another common practice involves fixing the equipment and letting it record for a prolonged period. This allows the animal to be recorded without direct human intervention, which is feasible considering that dives have limited time and humans have a safe limit for remaining at great depths.
In situations of extreme depth, remote operation technologies are frequently implemented. In these cases, the cinematographer does not need to be physically underwater, controlling the camera remotely, although the fundamental technique remains the same.
