Underwater

Most of what makes swimming legible happens below the surface, and most of it happens fast. Underwater is where I have spent the most camera time: a housing at speed with Caeleb Dressel for the dolphin-kick and sprint episodes, the sequences that carried the Phlex athlete stories, the textures in the teaser that announced the company, and the one held underwater beat that ties a gym piece back to the pool.

The rule from my own edit language applies here more than anywhere: imperfect-but-alive beats sterile-but-static. The housing goes where the stroke is, and the stroke does not slow down for you.