PHOTOGRAPHY 81
focus manually, then zoom out and compose the shot.
However, focusing under water is best achieved manually
because on auto-focus the focusing system tends to
‘hunt’ or be forever adjusting itself as particles in the water
column go past the lens. The lens should be set to a
wide angle for maximum depth of field. The optimum
method is to point the camcorder at something with
some contrast (e.g. another diver) at the average distance
required for the shot and to then press the auto-focus over-
ride button. The camcorder will then remain focused at
that distance. It should not be necessary to adjust the focus
during the shot, or even during the dive once the aver-
age camera-to-subject distance is set. If the distance is
altered significantly, then refocusing will be necessary.
Sound recorded under water usually comprises the
cameraperson’s bubbles. On the surface, especially when
interviewing, find a quiet spot. If this is not possible, try
to use an external directional microphone with a wind-
shield held close to the subject.
Many of the same rules apply as for still photography
under water (see above). In addition, consider the follow-
ing points.
Diving technique: Perfect buoyancy and fin control
are essential to prevent disturbing the visibility. Other divers
should be briefed about what the film crew are doing, espe-
cially if they are in shot, so they do not disturb the visibility.
Shooting technique: Under water, avoid the use of
zoom; stay wide-angle and physically move in. This is
required because of the limitations of visibility and in order
to maintain depth of field and, therefore, focus. A test run
can be done to check that the shot can be completed from
the chosen dive position and that the planned camera
movement can be achieved without snagging. To preserve
continuity of screen direction, take consecutive shots
from only one side of an imaginary ‘line of action’. Do
not cross the imaginary line. Use only one movement at
a time (e.g. do not pan and zoom together). Record sev-
eral seconds at the beginning and end of each shot, with
the camera held still, before moving. By doing this three
usable shots are created which are easy to edit – the hold
at the beginning, the move, and the hold at the end. For
each part of the sequence, take a series of shots that can
be easily edited together to present that part of the story.
For example, a wide establishing shot, to set the scene,
followed by mid or closer shots to show more detail and
identify the main character (or actions), and finally
several close-up shots of some detail.
Taking additional shots that ‘cut in’ or ‘cut away’ from
the subject is crucial in producing enough material to make
a fluently edited final piece. A cut-in is a shot that shows
the action, or a part of the action, in closer detail. Moving
from a relatively wide shot showing a diver recording
a grid square to a close-up of his/her pencil drawing a
feature would be a good example of cutting in. Often, to
minimize jarring, a cut-away is used as well. This could
be a shot of the diver’s face looking down, and when this
shot is inserted between the wide and close-up shots of
the action, a smooth and pleasing progression is shown.
Cut-aways are also very useful when moving from one
‘scene’ to another. Shots of things such as fish, waving sea-
weed, divers’ bubbles or sunlight filtering through the water
can all be used to break away from one area of interest
and move easily and naturally to the next. Shots like this
can be collected at any time, and having a good stock of
them will make editing much easier. A well-edited piece
of video, like a well-written story, should have a begin-
ning, a middle and an end, and should flow smoothly in
a ‘grammatically correct’ way. When properly made, cuts
should be virtually unnoticeable and the video should lead
the viewer through the story without distraction.Lighting: Under water, hold the light source away
from the lens, at around 45 degrees to the subject, to
minimize backscatter and flaring. Think of the light as
mimicking the sun – 1 to 2 metres above and to the side.
Alternatively use a lower-wattage lamp, mounted on the
housing, and use another diver with a more powerful
lamp as the lighting person. In this situation the lighting
person points the light to where the light on the housing
is pointing.Documentation: It is very important to include this in
the editing process, in particular to find good footage on
a tape quickly. Shots can also be classified by their con-
tent and quality or usability (e.g. good, average or poor).Video Editing
Editing is the skill that lies at the heart of video making.
In its simplest form, it refers to the order and length
of shots in a programme. At its most creative, it will
determine the audience’s response to the subject. The
final video should consist of a series of linked shots,
which will tell a story, so the sequence of images needs
to make sense. A commentary or voice-over can be
added, which helps to provide structure as well as conti-
nuity, and provides information that is not evident from
the pictures alone. However, the test of an effective video
is whether it could stand alone and tell a story without
being enhanced by dubbing. Background music can be
added in the later stages of editing. While most music
is copyright protected, it is possible to buy royalty-free
music to use for video editing.
There are several methods of editing. These include
tape-to-tape, using a video editing controller and