Creating Underwater Filmmaking FX – WITHOUT WATER!

Using a simple Special FX technique to create underwater movie shots without using water! All made with just smoke, a projector and a miniature. Part 1 of InCamera’s Cinematic Submarine sequence where we show you how to create mind blowing shots in our practical fx tutorial series.

Kessler Cineshooter:

BMPCC 6K Pocket Cinema:

BMPCC 4K Pocket Cinema:

TILTA Tactical Cage:

Miller 3001 Tripod:

Canon 24-105mm EF Lens:

Samyang 35mm EF:

SmallHD Monitor:

00:00 Cinematic Sub Sequence
1:57 Intro
3:15 Shooting the Sub (Part 1)
8:42 Creating the Ocean Floor Set
10:45 Shooting the Sub (Part 2)
16:16 Cinematic Sub Sequence (cont.)
17:36 Outro
18:26 Post Credit Scene…

TIK TOK – @InCameraFX

– We post original content every two weeks.
– We have step-by-step, informative & entertaining tutorials on how to create amazing practical effects.
– Our videos are loaded tricks and tips for all filmmakers.
– We’re always engaging with our community across all social media platforms.
– We want to keep InCamera alive, so we need all the support possible!


  1. InCamera より:

    Thank you all for the support! PLEASE Like, Comment, Share the video everywhere as we’ve put so much time and effort into this series of videos, we’d love for this Submarine series to help our channel blow up! Let us know what you thought of this episode! Stay tuned next week for a Behind The Scenes video at our Film Studios!

  2. I AM HOP-FROG より:

    Your videos make me feel like I am part of a secret club. A club where I learn top secret effects. Thank you.

  3. Asher より:

    Gotta love practical effects, miniatures and bigatures.

  4. Kyle Sevenoaks より:

    It looks excellent. Really good work, I can’t wait to see how it all comes together over the rest of the series!

  5. Stephen Winsor より:

    1:28 Tommy being Tommy. 😀

  6. Jordan Wright より:

    Ok, this is the best video you’ve done by far. The standard of content on this channel is just INCREDIBLE. Bravo!

  7. Bradley Marks より:

    Funny thing … Fond and Adam Savage talk about filming an underwater scene just this way

  8. Cameron Gallagher より:

    What lens were you using to shoot?

  9. Andrew Glazebrook より:

    That episode was tighter than a U-Boat door! Fabulous work!

  10. Sameera Kutty より:

    They used similar practical effects to create the underwater effects for Tomb rider The Cradle of Life . My father was fortunate enough to work with the team (lighting department)

  11. Matthew White より:

    Great video guys. I don’t understand how your channel is still so criminally under-subscribed. This is my first comment on YouTube, but I’ve already given it a like and shared. Thanks for your hard work, your content is awesome.

  12. Daniel Broadway より:

    So cool how you only need to dress the miniature set for camera to make it look good. Don’t really have to worry about how it looks from other angles. Really helps save time and resources. Really cool.

  13. Brett W. McCoy より:

    I think it’s fantastic how it’s all done with pocket cinema cermas! I had purchased the original version of the BMPCC (1080p) a couple years back, only for the 4K version to be announced 6 months later. How annoying!

  14. mx472000 より:

    “Thunderbirds” were awesome!

  15. Liquid Flames より:

    The dry for wet technique? Okay, so, The Matrix did the opposite for me. I saw wet where it was dry. For the longest time I thought the ships in The Matrix were under water. The first few times I saw the first movie, when they show the ships from the outside and running away from squiddies, my brain took in that whole scene and automatically said “this is all under water” to me. I just automatically saw the ship as a submarine and the squiddies as …well, squids, and the whole thing was taking place under water inside abandoned sewers. I think it wasn’t until the second film when they park the ship and get out and walk around that it clicked for me that it was a hover craft and the squiddies could just fly somehow. So dry for wet but I saw wet for dry. Or..the other way round?

  16. Jay Erjavec より:

    Yeah, great and spectacular … but what happened to the sub guy? Did he grow back to 1:1 scale?

  17. Stephen Hornak より:

    The Phallic pillars reminds me of the item that Kirk is holding in that episode from season 1, That Are little Girls Made Of. Which I think is funny title.

  18. Graeme Willetts より:

    Excellent video as always!

  19. Stephen Winsor より:

    This was amazing! Can’t wait for the rest of the episodes. When the sets are real, your mind accepts the dangers as real which is why the suspense just isn’t the same with CGI. Congrats to the InCamera crew on the best underwater FXs in recent years.

  20. JYM より:

    Thank you ! I was thinking : “This submarine is awfully long. Are they trying to pull a Spaceball on us ?” And I saw the sign ! So great !

  21. Paul Stauffer より:

    Not to nit pick butt…the “Bermuda Triangle” is in the Atlantic Ocean. So you won’t find it in the “Depths of the Pacific Ocean”.

  22. Will DeFrangesco より:

    This is by far my favorite Youtube channel

  23. Slice Of Life より:

    Spaceballs!!! 😀 😀 Awesome!

  24. Author B.L. Alley より:

    The Jiaolong isn’t close to achieving the deepest manned dive. Even the Archimede went deeper in 1962, and James Cameron’s 10,908 meter record-breaking dive to Challenger Deep in 2012 has since been beaten by Victor Vescovo, who dove to 10,927 meters in 2019. The Chinese beat Cameron’s record by one meter a year ago, but came up short of Vescovo’s record.

  25. NK Films より:

    Excellent attention to detail. Every episode gets better and better. I love how each new episode will build on each other. Great Success! (in Borat voice)

  26. Max McCoy より:

    I love this channel! I think it would be really scary if when everything is dark, something violently jostles the sub…

  27. Sabastian Rodriguez より:

    That sign had me dying. You guys rock

  28. Прозор Килессо より:


  29. Bryan Babich より:

    How did you maintain consistent density of the smoke from shot to shot? That always seems to be the tricky part with dry for wet.

  30. Author B.L. Alley より:

    Why not use four angled suspension lines connected to the corners of a larger square panel for stability? Mount the panel to a rotating rig for the slow turn as it descends, then on a linear track for forward motion.

  31. The Explorographer より:

    For folks trying to make rock surfaces, try this hack. Grab some aluminum foil and crumple it up (not too much). Then open it back up and make a small ridge around the perimeter of your foil. Pour your plaster into that. As soon as the plaster dries…instant rocks. This way you can make many different variations to spread around quickly and easily.

  32. Drew Collins より:

    1:04 how did you guys black out the floor without light hitting it?

  33. xdanpaloozax より:

    this is so god damn cool

  34. October Fifteen より:

    This channel is such a godsend, I absolutely love it. Great advice on how to produce all these fantastic, old-school practical effects from an era of filmmaking that is sadly fading. As a fan of that era, and as a filmmaker who is always seeking to learn more techniques, I can’t thank you guys enough for providing content like this!

  35. James Plant より:

    Excellent job guys. Inspirational

  36. Phire より:

    This deserves more views.

  37. Paul McAsey より:

    Loved this episode. So much creativity and skill to make the footage look super realistic. Makes me think the Moon landings were faked. (only joking!)

  38. Deltarr より:

    Creds for the Cowboy Bebop Tshirt ! XD

  39. AnimaToy より:

    Big ups for Spaceballs reference 😀

  40. Paul Challis より:

    “Eddie, you b******d!” Nice little easter egg there 😀

  41. AnimationGoneWrong より:

    Looking great, guys!!! Some outstanding Dry-for-Wet shots! And nothing the average film-maker couldn’t pull off. I seriously cannot wait for the next installation of this series! How is it you guys only have 44K subscribers??? You should have at least 10 times that many!

  42. Laura and Edward Cannon より:

    With some of those shots such as the decent you actually can move the camera instead and leave the sub stationary which reduces wiggles significantly.

  43. Arun Kumar より:

    Aaaahhhhhh thank youuuuu…. 🙂 … I thought those were haze but you made the smoke look like haze… awesome… and which lens did you use?

  44. Midwest Documentary Center, Inc. より:

    I have to echo Daniel Broadway. It’s huge that you skillfully teach the skills involved. However, you also spell out where we can “cut corners” to save time, money and resources. The concept of “dressing to the camera” is a game changer. It’s a simple idea, but clearly rooted in experience. Thanks for this!