Read the story and view the source footage at I’ve used so many different codecs over the years, and I was never able to capture what I was seeing in the water, until now.” And with Blackmagic RAW, it’s nice to finally shoot what you are actually seeing. The thing about shooting waves, is there are so many interesting colors to capture. You're shooting in the craziest most unpredictable environment, where moving waves cause the light to change all of the time. “Being above and below the water all the time, you need phenomenal dynamic range. By using a V-Lock battery plus the internal battery gives me about 2.5hrs shooting in the water, which is pretty good!” And certainly helps when shooting with bigger EF lenses, which can be a bit front heavy. Having more centered weight like this, makes it neutrally buoyant. I also run a V-Lock mounted Powerbase Edge battery that mounts under the bottom of the camera. “The Salty underwater housing is machined from a block of aluminium, which makes it super tough. It’s super important to be able to tuck the camera into yourself, so you can pull back underneath the wave instead of being sucked over the top!” With a smaller camera like this, you can really get into the impact zone. “What I really love about the BMPCC 6K, is how compact this setup is. I’ve had some really scary moments being sucked over large waves with cameras being ripped from my hands, in the past.” I’ve had all sorts of cameras in much larger underwater housings, which were a problem because of their extra buoyancy and lack of manoeuvrability. “The biggest game changer with surf cinematography, is being able to shoot RAW in a small package like the Blackmagic Pocket Cinema Camera 6K and Salty underwater housing. Adrian shows footage from his latest bodysurfing safari film called ‘The Chase’.

Blackmagic Pocket Cinema Camera 6K “The Chase”ĭOP, Adrian Emerton talks about his underwater shooting experiences with the Blackmagic Pocket Cinema Camera 6K and Salty underwater housing.

Black magic pocket camera