Salomon used three cameras in watertight housings that were specially designed. Another special housing was designed for scenes that went from above-water dialogue to below-water dialogue.
The filmmakers had to figure out how to keep the water clear enough to shoot and dark enough to look realistic at 2,000 feet (700 m), which was achieved by floating a thick layer of plastic beads in the water and covering the top of the tank with an enormous tarpaulin. His work on the film earned Salomon a nomination for an Academy Award for Best Cinematography.