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{{Short description|Film technique}}
'''Dry for wet''' is a [[film]] technique in which smoke, colored filters, and/or lighting effects are used to simulate a character being underwater while filming on a dry stage. Fans and [[slow motion]] can be used to make hair or clothing appear to float in the current. In recent years, it has become possible to digitally add rising bubbles in [[post-production]], heightening the realism.
==History==
The technique was pioneered by [[Georges Méliès]] who would use a painted [[Theater_drapes_and_stage_curtains#Backdrops|backdrop]] to suggest an underwater environment. By the mid-20th century, it had become a reliable technique that was used extensively in productions like ''[[20,000 Leagues Under the Sea (1954 film)|20,000 Leagues Under the Sea]]'' and ''[[Voyage to the Bottom of the Sea]]''.<ref>Edwards, Bill. "Leviathan - we Go Under the Sea again!" ''American Cinematographer'', vol. 70, no. 4, 04, 1989, pp. 30-34.</ref>
==Examples==
* The underwater scenes featuring the monster in the original ''[[Godzilla (1954 film)|Godzilla]]'' (with this footage reused in [[Godzilla, King of the Monsters!|the Americanization]] that followed two years later) were filmed with a full aquarium between the camera and [[Haruo Nakajima]], the actor playing Godzilla.
* Guillermo Del Toro's 2017 film ''[[The Shape of Water (film)|The Shape of Water]]'' uses this technique throughout, the first instance being the introduction sequence of the film.<ref>{{cite web|title=Meet the 2018 DGA Nominees for Feature Film|url=https://www.youtube.com/watch?v=FNAFHMyXBNA |archive-url=https://ghostarchive.org/varchive/youtube/20211215/FNAFHMyXBNA |archive-date=2021-12-15 |url-status=live|website=[[YouTube]]|publisher=[[Directors Guild of America]]|accessdate=5 March 2018|date=6 February 2018|quote=[The Shape of Water is] a 19.3 million dollar movie. I couldn’t do tank work, and I remembered—I used it once on Hellboy—an old theatrical technique called dry for wet, and I decided that’s what I’m going to do. I’m going to puppeteer everything on the screen—wires for everything, open ceiling on the set—and I’m going to have ten to twelve puppeteers moving the objects in front of the camera.}}{{cbignore}}</ref>
* The technique is in use in the final scene of ''[[The Lord of the Rings: The Fellowship of the Ring]]'' when [[Samwise Gamgee|Sam]] sinks into the [[Anduin|River Anduin]]. It is also used in ''[[The Lord of the Rings: The Two Towers]]'' when [[Frodo Baggins|Frodo]] falls into the [[Dead Marshes]].
* In the underwater scooter scene in ''[[Lara Croft Tomb Raider: The Cradle of Life]]''.
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* Many underwater scenes in ''[[For Your Eyes Only (film)|For Your Eyes Only]]'' were shot this way due to a medical condition actress [[Carole Bouquet]] suffered that precluded her from doing any underwater stunt work.
* The exterior shots of the submerged [[Red October (submarine)|Red October]] in the film ''[[The Hunt for Red October (film)|The Hunt for Red October]]'' were also achieved using this technique, with a model hung by wires that could be tilted and turned in three dimensions.<ref>[https://www.imdb.com/title/tt0099810/trivia The Hunt for Red October (1990) - Trivia]</ref>
*[[Tony Scott]] hoped to film ''[[Crimson Tide (film)|Crimson Tide]]'' underwater but ended up relying on dry-for-wet for everything except torpedoes firing.<ref>Magid, Ron. "Diving Deep in Crimson Tide." ''American Cinematographer'', vol. 76, no. 7, 07, 1995, pp. 70-76.</ref>
* The technique was used in many underwater scenes in ''[[The Spirit (film)|The Spirit]]''.<ref>[https://www.imdb.com/title/tt0831887/trivia The Spirit (2008) - Trivia]</ref>▼
*[[James Cameron]] used the technique in [[Titanic_(1997_film)|Titanic]] to match the footage he had personally shot at the wreckage site with the submarine models that appear in the film.<ref>Magid, Ron. "[https://theasc.com/magazine/dec97/titanic/eect/pg5.htm Epic Effects Christen Titanic]." ''[[American Cinematographer]]'', vol. 78, no. 12, 12, 1997. pp. 62-64,66,68,70,72,74,76,78,80.</ref>
* Much of the model (and occasional puppet) work for Gerry Anderson's ''[[Stingray (1964 TV series)|Stingray]]'' TV series was done using the technique (''Stingray'' was a submarine, so many shots showed it underwater). Many scenes were filmed through a narrow fish tank containing small fish that would appear swimming in front of the model; bubbles could also be created in the tank to complete the illusion with no post-production effort required.▼
▲* The technique was used in many underwater scenes in ''[[The Spirit (2008 film)|The Spirit]]''.<ref>[https://www.imdb.com/title/tt0831887/trivia The Spirit (2008) - Trivia]</ref>
▲* Much of the model (and occasional puppet) work for
* ''[[Aquaman (film)|Aquaman]]'' relied heavily on this technique. [[Industrial Light & Magic]] updated their HairCraft software specifically to look like the actors were underwater.<ref>[http://www.hollywoodreporter.com/heat-vision/aquaman-james-wan-says-water-is-making-movie-complicated-shoot-1028417 Hollywood Reporter - James Wan on shooting water scenes for Aquaman]</ref><ref>{{Cite web |last=Failes |first=Ian |date=2018-12-30 |title=In 'Aquaman,' Underwater CG Hair Was Surprisingly One Of The Toughest Effects |url=https://www.cartoonbrew.com/feature-film/in-aquaman-underwater-cg-hair-was-surprisingly-one-of-the-toughest-effects-167947.html |access-date=2024-03-03 |website=Cartoon Brew}}</ref>
==See also==
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