Red Sea Careers
Just the job
An underwater videographer in the Red Sea for the past fi ve years, Tom Osborn shares his view of what it takes to make
a real living behind the camera.
From leaving the jetty in the morning, equipment set-up and diving backwards into the blue, to clownfi sh, stingrays,
coral reef and more - each event and encounter both above and below the water is fi lmed, edited, put to music and
presented on that very same day. As everyone settles down in the cabin to watch this aquatic feature, a guest turns and
says: ‘Wow! You have the best job in the world. It must be easy doing what you do.’
Diligently, I smile and nod my head. ‘Easy’ is a relative term. The job of an underwater videographer is so wide that I can
only begin to touch on the truths of working behind the camera.
Starting out
underwater sequence can be captured. Obviously, equipment has its
limitations. But it is not all about the money. You would not give a wildly
It seems an obvious point to make, nevertheless, to be an underwater
expensive IMAX 3D camera to an elephant and expect to get good
videographer you have to be a very competent diver. Most videographers
footage back!
I know are at PADI Divemaster level or above with well over 500 dives
under their belt. That isn’t to say that people with less dives can’t be good
The thorn in every videographer’s side is their equipment. It has an
at fi lming underwater. After all, it is pretty straight forward - point the
amazing ability to be both a best friend and enemy all in the same day.
camera in any direction you want and record. Swimming slowly towards
Here is a list of a few of the many problems I have had in the past:
the delicate coral reef you can capture some great shots, such as an
*Running out of battery at the worst possible moment, such as when an
anemone swaying in the water or a clown fi sh rapidly swimming in circles.
eagle ray swims directly towards the camera.
But, what happens when you realise, too late, the current is pushing you
toward the reef? Like a bull in a china shop you frantically manoeuvre to
*Accidentally recording over 16 minutes of an incredible whale shark
avoid crashing into the world’s most fragile eco system. Or perhaps you
encounter at 30m.
suddenly fi nd yourself at 25m with just 40 bar left in the cylinder. Filming
*A stomach-churning moment when my housing fl ooded because of a
should never take over your awareness of your surroundings.
microscopic working part.
Equipment
The frustration of such problems is threefold. First, you usually lose or are
unable to get the shots you feel so passionately about. Second, you can’t
It is not the camera but who is behind it that is important. I have seen
make any money for that day of work. Third - if the equipment needs
three short fi lms made with the same camera and housing, but you
repairing it usually means a week (or more) with no money being earned
could easily see the diff erence in quality and creativity between them.
to pay for the repairs.
No matter what equipment is used, in the right hands an excellent
28 www.cdws.travel
Issue 5 March - April ‘10
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54