Manvydas Klumbys is a diving instructor, producer, and founder of “Cinedive”, the first Lithuanian company that offers underwater and above-water film shooting services. His crew often works in extraordinary conditions: he’s had to dive to a depth of up to 40 meters, has captured several mock-drowning scenes, and routinely helps actors complete complex and nerve-racking tasks. In this interview, Klumbys tells the Vilnius Film Office about his special equipment, preparatory training that takes several days, and his ambitious plans.
Let’s start from the beginning. How did a professional diver come up with the idea to combine this activity with cinema?
I have been diving for 14 years since I was twelve. When I came of age, I became a professional diver, at about the same time I started taking photos, going to the theater, and got interested in cinema. In 2020, I entered the Lithuanian Music and Theater Academy, where I specialized in production. In the first year of my studies, I felt this was not exactly my cup of tea, and I wondered what I would like to do in the film industry. Two industries that I like came together in my mind – cinema and diving. At that time in Lithuania, people had no clue what underwater shooting was. I saw the difficulties producers were facing when it came to planning underwater shooting, so I started developing this idea because I was already familiar with cinema and had extensive experience underwater. I had worked with cameraman Jokūbas Miškinis, and I suggested he and Vytenis Kriščiūnas join “Cinedive”. I recruited my fellow students and music performers for the first projects, so my connections at the Lithuanian Academy of Music and Theatre gave me a great start.
Where does underwater shooting usually take place? Are we talking about natural reservoirs or swimming pools?
We started shooting in swimming pools and needed a pool at least three meters deep. Since the Lazdynai swimming pool in Vilnius had not yet been completed, we discovered the Vilija swimming pool in Kaunas, and later, the pool of Elektrėnai. We shot our first music videos and a short film here. Besides, we also shot one project in Lake Galvė – since I used to dive there a lot, I was familiar with many locations. We met with the creative team, and then I would dive underwater, film and photograph, and show a certain part of the lake to the director – that’s how we selected suitable locations. We’ve also done some shooting in the Baltic Sea, at a depth of 40 meters, as well as in the “Vichy” Aqua Park. In the winter, we plan to try shooting under ice with a movie camera.
What is the most important thing when shooting underwater? What should you pay attention to, how do you prepare?
Safety is the key in this activity, everything else comes later. To ensure safety, we use professional equipment, in addition, we always have rescuers – safety divers on the set. Many people are not aware of the fact that hypothermia is a risk. We give off heat 20 times faster in water than on land. So the actors can quickly freeze and then would be unable to work for a very long time. We are always looking for solutions. Hydro and dry suits, a hot tub for warming up, etc. come to the rescue.
Usually, a diving coordinator is involved in larger projects. This person is responsible for the actors’ and crew’s safety in the water. There is also an underwater cameraman and a camera case technician who prepares technical matters. If we are shooting more actors, more safety divers come on board. According to UK HSE standards, each actor in the water must have a separate safety diver.
Don’t the actors feel afraid when shooting underwater? What reactions and emotions do you get when working on complex scenes?
We recently shot several underwater scenes in Kazakhstan. According to the plan, we were supposed to film a 9-year-old girl who had previously said she loved plunging into water. It turned out that she basically couldn’t swim. Therefore, during casting it is important to keep in mind that there may be underwater scenes, and to imagine who could play a certain role.
It all depends on the situation – if an actor is needed specifically for a specific underwater shot, casting professionals should choose someone who feels comfortable in the water. However, if an actor plays throughout the film, we almost always encounter fears and anxiety. Then we discuss everything with the director, and cameraman, listen to their idea, and plan a training session with the actors before the shooting begins. They learn the theory of freediving and we explain how everything will go, and discuss safety. We practice with the team in the pool without equipment or cameras, so the actor already knows what he or she will need to do and gradually gains confidence.
Can you tell us about the most memorable, most complex projects you have implemented?
The most complex we’ve done so far was in Kazakhstan, where we shot 3 scenes and had very little time to prepare. For example, we had to lower an 11-year-old girl to a depth of four meters, and the operator had to descend with the camera simultaneously. Due to their body weight difference, their speed was significantly different, so we had to look for various solutions. We shot both a swimming actor and a drowned girl from a boat – the actress who played her stayed underwater without breathing for as long as 2.5 minutes!
What kind of equipment is used for underwater shooting?
Our most important equipment is housing, which allows us to install various Arri film cameras such as Alexa 35, Mini LF, and others and their optics, which can be used to film both on the surface and underwater. We also have a scubacam splash bag suitable for all cameras; it protects them from moisture. This is convenient when shooting on the water, on the surface, or during heavy rain, as it prevents the camera from getting wet.
Underwater communication is also extremely important so that the director and the main cameraman can talk to the cameraman without him resurfacing. Using underwater communication, the cameraman hears everything, and comments can be made to him. This communication is very valuable, as it saves a lot of time.
Of course, we cannot do without wet suits, they are necessary for filming in the water. Dry suits are useful too, for example, when wading in a swamp, since their fabric is waterproof. We also have special cases for film lamps, diving equipment, balloons, pontoons for the crew to walk on the water, and other means that allow us to shoot in the water. Our latest purchase is a speedboat that can be used on all lakes. It is very convenient for shooting on the water and transporting a team.
What are your other dreams? What would you like to accomplish in the future?
My dream and ambitious goal is to build the first water tank in Lithuania, a 5-meter-deep underwater film studio, where it would be possible to shoot sunken cars and make other directors’ ambitions come true. Speaking of Europe, most big-budget films were shot in England, in the “PineWood” water tank – this includes “Harry Potter”, “Mission Impossible”, and other films that contain shots underwater. However, we do not have such infrastructure in Eastern Europe. The studio would allow us to use various effects, waves, and artistic highlights and we would no longer have to film in natural water bodies. At the moment, our possibilities are limited – for example, if we received an offer to film a sinking ship, we would not be able to implement the idea in Lithuania. With a studio, everything would be possible.
