Zac Macaulay is an underwater cameraman and photographer
Zac likes to use a strong graphic element in his filming and underwater photography, using design, colour palette and good composition as a thread that runs through his work.

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Arri Alexa Mini and Arri Alexa Mini LF and Nauticam housing

Arri Alexa/Nauticam Combination

Ownership we own all the kit listed on this page, allowing deals to be struck in some circumstances.

We shoot with the latest Nauticam housing designed for both the Arri’s Alexa Mini and Arri Alexa Mini LF cinematic cameras.

LCS or Lens Control System from the Surface Complete total surface control is a key need of many productions and this system achieves that.

The Nauticam housing will allow manual operation of the Arri Alexa Mini and Arri Alexa Mini LF camera underwater OR you can have complete surface control over focus, iris and zoom with the reliable and rugged Arri cforce motor system, accessing the cameras controls via the Arri WCU4 lens control system fed by a 30 meter or 100 foot cable from the camera to the surface and on to the Arri compact Unit 3 axis handset.

Video Out Live View Feed This system also comes with a Video Out cable which allows live view feed fed by a 30 meter or 100 foot cable to the surface via a BNC connection to the directors monitor.

The Arri Alexa Mini and Mini LF Cameras The Mini and Mini LF work really well for underwater production because of their compact size carbon-fibre housing, integrated sealed electronics with both sensor and PL mounts made from titanium.

The Alexa Mini and Mini LF integrates very well into the Nauticam Cinema System. The 4:3 Alexa sensor, complete with anamorphic de-squeeze, ARRIRAW, and ProRes recording in camera to CFast 2.0 cards in an underwater system captures footage that cuts seamlessly with other Alexa cameras on set, with the same workflow. The Mini LF records to ARRI’s Codex SSD drives.

Optically Coated Glass Dome Port We shoot with a 250mm optically coated glass dome port optically as good as it gets with most lenses. The 250mm dome port diameter – 10 inches – is key for good wide angle imaging performance with many cinema lenses underwater. Because of the longer minimum focus distance in the .35-.40m (14-16″) range of most cinema lenses the 250mm dome provides superior results, with much less corner softness than smaller domes.

 

 

The glass dome is rugged, and extremely resistant to scratching. Broadband Anti-Reflective Coatings eliminate flare, reflections, and ghosting from the port optic. A robust machined aluminum shade protects the dome, and provides additional flare resistance.


Red Epic Dragon (6K) and Red Helium (8K) & Gates housing

Red/Gates Combination

Red Epic Dragon (6K)  We own and regularly shoot with the Red Epic Dragon (6K) cinematic camera.

Lenses We have the Red 17-50 F2.9 and GL optics 11-16 F2.8 cinematic lenses.

Gates Deep Weapon Housing We have the fabulous and reliable Gates Deep Weapon housing designed for the Red Epic Dragon (6K) and the Red Epic Helium (8K) cinematic cameras.

LCS or Lens Surface Control Follow focus is enabled through the reliable and rugged Arri WCU4 system and the Arri CForce Mini RF motor units. The WCU4 system is connected through 30 meter or 100 foot long hard wired cables from the camera to the surface and on to the Arri compact Unit 3 axis handset.

Video Out Live View Feed The Video Out cable allows live view feed via a 30 meter or 100 foot cable to the surface via a BNC connection to the directors monitor.

Optically Coated Glass Dome Port Our 8 inch glass dome port is very good optically for most cinema lenses, optically coated to eliminate flare, reflections, and ghosting from the port optic. A robust machined aluminium shade protects the dome, and provides additional flare resistance.

Optically Coated Flat Port This optically perfect flat port can be used for surface shots or half in half outs and has a front diameter of 8 inches.


Panasonic GH5 (4K) & Seacam housing

Panasonic GH5/Seacam Combination

Panasonic GH5 (4K) We own and shoot with the new Panasonic GH5 which competes with some pro movie cameras in terms of quality. Shooting 4K at 25, 30, 50 or 60p also in 1080 at 100 or 180p. It has a built in image stabiliser, for smooth shooting. This kit is available with the following options:

Video Out Live View Feed  The GH5 / Seacam combination live view feed is fed from an umbilical cable 30 meters or 100 feet long from camera to the surface and up to the directors monitor via an HDMI connection.

Focus The focus on the GH5 / Seacam is operated by the camera operator, surface follow focus is not possible with this system.

Size It is about a third of the size and weight of the Red / Gates combination and can therefore shoot in smaller spaces than larger camera / housing options. Very good for sports.

V-Log 
V Log is installed offering exceptional flexibility in the colour grading process. Dynamic range is increased from 10 stops to 12 stops.

This wonderful camera makes it more affordable for some productions without compromising much quality.

Optically Coated Glass Dome Port This system has an 250mm glass dome port, very good optically and coated to eliminate flare, reflections, and ghosting from the port optic. A robust machined acrylic shade protects the dome, and provides additional flare resistance.


Additional Information

Communication to underwater crew This is normally done through an underwater speaker operated by production at the surface from where precise direction can be given to all the crew underwater. Sounds travels very well underwater.

Alternatively we can use full face masks for more complex jobs with built in communications. 

Tripods / legs
 All the above rigs can be supplied with an underwater grip package consisting of tall and / or short legs and a dampened tripod head for smooth panning for locked off shots.

Float Board – For some surface shots where stability is required we have a height adjustable float board which sets the frame at your desired height in the water on or around the surface for your shot.

Shooting Simon Neil from Biffy Clyro’s music Video Space

Zac Macaulay Underwater DOP www.zacmacaulay.com

Zac shooting Anthony Joshua with the Red Epic Dragon (6K) system for Sky Creative.

To see the ad and full credits visit ‘Ready to Rise’ on the Films & Ad’s page. Broadcast in December 2019. Stills credits Neil Blackman and Holly Tarplee.

CONTACT
e: zac@zacmacaulay.com
t: +44 (0)799 059 2000
 
 
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