One of my challenges was the design and implement a fixed camera rig in our main three-man submarine. The sub only allowed enough space for the pilot (Buck Taylor), Liz Bonnin and one scientist or cameraman (me). The deepest dives were due to reach 1000m below the surface and would take up to 8 hours, so I had to design a fixed camera rig that could provide enough varied coverage for a whole sequence, and last for 8 hours both in media and batteries. Furthermore, the rig would need to automatically manage the change of light from direct sun at the surface to total darkness at 1000m down.

After much testing I went for a GoPro rig of 4 cameras, supplemented with an A7s and spare, independent GoPro.  The GoPros were modified for primes lenses so I could select shot size optically when designing the rig, allowing for enough visual contrast such that a whole sequence would cut together well and not be too ‘samey’. All camera recorded off-board to a central deck taking their HD feed, and applying timecode and audio.

Lighting was key and once in the Mesophotic zone the sub needed to be supplemented with internal lighting. I wanted a degree of shape and texture in the light. However, I was working with a tight space barely 1.5m across, while allowing good human low light vision and a safe working environment for the pilot.  I opted for small LED tubes which allowed soft, yet directional key light.

Capturing Liz’s adventures in the Galapagos was a mission all in itself. The array of filming techniques employed to be able to tell the story with the flexibility and production value required months of planning, testing and research. The most basic of kit was the F55 with a long lens for PTCs and wildlife. It was the all the other shots that would require considerable testing and innovation. Aerial and submersible filming; day and night scenes; slow motion and timelapse all had to be accomplished.

Submersible filming

Throughout the 5 weeks in Galapagos Liz and I were due to do numerous deep-sea dives around the Galapagos.

We had two subs for each dive; one presenter and contributor sub and one camera sub. Liz’s sub was piloted by Buck Taylor and had three seats, leaving one free for a scientist or myself. The sub is 1.5m across, so limits camera options inside so I opted to design a fixed rig enabling the extra seat to be free for a scientist to accompany Liz on the dives.

The camera rig had to record for up to 8 hours in HD without running out of battery or media. All cameras would need to be genlocked and able to manage their own exposure changing from sunlight at the surface to near complete darkness at 1000m below the surface.

Having tested many cameras I kept returning to the GoPro Hero 4. I had the cameras adapted with primes lenses to remove their native ‘look’ and powered all cameras externally and recorded them externally also. That enabled genlocking and sync with the radio mics, making ingest swift despite it being 5 cameras at 8 hours each.

The primes lenses on the GoPros enabled me to design a rig that would cut nicely between wides and mediums live, and they had a filmic feel which is what I was keen to accomplish despite the physical restrictions.

Aerial

Aside from our drone operated by James Blake, I shot aerials from the Alucia’s helicopter. I spent 4 days on the skids predominantly flying sideways while shooting out of the open door with a stabilised gimbal and A7s. The idea was to capture the angles that the drone was unable to reach, and also make the most of the range of the helicopter, meaning using the Alucia as a base we could get to islands that otherwise would be unobtainable.

Further reading