A broadnose sevengill shark (Notorynchus cepedianus) misses underwater videographer Mean Mora by a mere 12" during a dive in the kelp at Pyramid Rock (she never saw it). It is amazing that something so large can get so close without a diver noticing, but those of you out there who are divers understand that this happens all the time. I have been rammed by a 30-foot whale shark without seeing it before it hit me! :)
Shot with GoPro HERO3+ Black. August 6, 2014, Pyramid Rock, Simon's Town, South Africa
Schooling gray reef sharks (Carcharhinus amblyrhynchos) at Fakarava's south pass (Tomakohua) in French Polynesia. This is likely the best pass in the world to see aggregating reef sharks. We normally dive the south pass on the incoming current. In the strong current, the sharks enter a sort of a dormant state, circling in place in order to pass water over their gills with the minimum effort. On a typical dive, one might see upwards of 650 sharks in 3 big "walls." I've been to the south pass of Fakarava three times now, and it is one of my favorite dive destinations in the world.
Video shot with Blackmagic Design Pocket Cinema Camera, Panasonic 8mm fisheye lens, Nauticam underwater housing. CinemaDNG @ 24fps.
This is a 2D (left eye) from 3D teaser (vimeo.com/75123447) for Sea of Love 3D IMAX film, which is currently in development.
The entire footage was shot with two 3Deep housings that won the top international award for innovation earlier this year in the USA.
Up until now, capturing cinema-quality images underwater, especially in 3D, has meant large, cumbersome and expensive equipment, large camera crews, and images dramatically degraded by the underwater optics available. It’s made it almost impossible for film-makers to get close to the very creatures they’re trying to film. And it’s never been possible to capture images that match the quality you can get above water.
Our inventions change all that. Instead of following the tradition of using large glass plates or domes in front of lenses designed for use on land, Achtel has adapted the latest digital cameras and used lenses designed specially for the very different optical conditions underwater. As a result, for the first time ever, the images from our camera systems produce pin-sharp, undistorted images suitable for the biggest cinema screens in the world.
Unique custom optical filtering was applied to achieve improved water clarity as well as better blue colour definition.
The teaser was conformed, 3D aligned, colour matched and graded at Sound Firm in Sydney (at Fox Studios) using the first 4k Mistika system in Australia.