Chasing Nature: An Interview with Emmy-Winning Cinematographer Cristian Dimitrius

From the freshwater rivers of Brazil to the icy depths of Antarctica, Cristian Dimitrius has spent his career bringing the hidden corners of our planet to the screen. As an Emmy Award-winning cinematographer, his work has been featured by the BBC, National Geographic, and Discovery. On my recent trip to Antarctica, I sat down with Cristian to discuss his journey from a dive instructor to a world-class filmmaker, his artistic philosophy, and the tools he uses to capture nature's most elusive moments.

From Brazil to Hollywood: The Early Years

Inside Scuba: Let’s start at the beginning. Did you find photography through diving, or was it the other way around?

Cristian Dimitrius: It actually started with nature itself. Even as a young kid in Brazil, I was always in the mountains, rivers, or at the beach. While my friends were playing sports, I was hiking and camping. I discovered diving as a teenager and was immediately inspired by documentaries from people like Jacques Cousteau and Howard Hall.

I eventually studied biology and became a dive instructor, working across Brazil, the Dominican Republic, Mexico, and The Bahamas. My first foray into filming was actually shooting my students and clients during their dives so they could take the memory home. It was always a way to share my passion for nature.

Inside Scuba: You spent a significant amount of time in The Bahamas. How did that lead to working on major film productions?

Cristian Dimitrius: I spent three years at Stuart Cove’s in The Bahamas, where I did everything—I was a boat captain, a shark feeder, an instructor, and a cinematographer. Stuart worked on a lot of big films, including James Bond movies. That gave me the opportunity to work as a safety diver and assistant on Hollywood sets, which opened my eyes to the world of professional filming and documentaries.

Building a Career in Wildlife Filmmaking

Inside Scuba: Tell me about your transition into professional filmmaking. How did you actually fund and execute those first solo projects?

Cristian Dimitrius: When I decided to make this my career, I didn't have a formal plan. I just went back to what I knew how to do: I grabbed my camera, jumped on dive boats, and started shooting the people on board. I would contact dive operators and offer them a deal—they would give me the trip for free, and in exchange, I would act as the cinematographer for the group.

I’d give away some footage to the operators and then sell DVDs of the experience to the divers. It was a way to keep myself in the water while I began documenting my own stories on the side.

Inside Scuba: How did you transition from those early "gigs" to getting your first big break with National Geographic?

Cristian Dimitrius: It was very organic. After a sabbatical year where I reset my brain by rock climbing and hiking, I decided I wanted to make wildlife films my lifelong career. I decided to document a journey from Brazil through Mexico as a "backpacking diver". I filmed everything I found along the way—whale sharks in Holbox, the reefs of Cozumel, and the Sea of Cortez.

Because social media didn't really exist yet, I created a blog and a newsletter. Every day, I would edit a little piece of video, add subtitles to explain where I was, write a journal entry, and share photos. People got really engaged with the story. Most importantly, I had a list of emails for production companies I wanted to work for, and I just kept sending them my updates to see if anything would stick.

That “DIY” project got a lot of attention in a Brazilian diving magazine, which led to a job with a production company. My first big assignment for National Geographic was shooting pink dolphins for the series Untamed Americas. That production ended up winning an Emmy for Cinematography, which really set me up for the journey I’ve been on for the last 20 years.

Inside Scuba: You work with giants like the BBC and Nat Geo. Do they have different styles of storytelling?

Cristian Dimitrius: Definitely. National Geographic—especially since the Disney acquisition—tends to focus on popular, accessible storytelling that appeals to younger audiences and families. The BBC is the "high-end" or "blue chip" standard, focusing heavily on natural history and narrated by icons like David Attenborough.

Inside Scuba: How much creative freedom do you have on those big assignments?

Cristian Dimitrius: It can be frustrating because these productions are often very strictly storyboarded by people in an office. I remember filming anaconda mating underwater for the BBC—something that had never been shot in the wild before. I was so excited, but the director initially said they couldn't use it because it wasn't in the script. Eventually, they used a different shot of the anaconda moving through the sand, which was beautiful, but that unique mating footage was lost for years. That’s why I love our own productions—we handle everything from the concept to the final edit.

Art, Equipment, and the Future

Inside Scuba: You do both topside and underwater work. What is the split?

Cristian Dimitrius: For general productions, it’s usually 80% topside and 20% underwater. However, in my personal projects, I try to push for more underwater content—sometimes 60/40 or even a film I'm working on now that is 99% underwater. I have a deep passion for aquatic environments, especially rivers and freshwater.

Inside Scuba: You are primarily a cinematographer, but you also take still photos. How do you decide which medium to use, and do you carry separate kits for both?

Cristian Dimitrius: It’s a bit of a constant conflict, but my mind is definitely wired for video. When I’m underwater, I am almost always filming; that is my main focus for telling a story. I’ve actually been trying to "train my brain" to stick to video because I’m moving toward a more artistic, high-energy style of filmmaking that requires total concentration. If I stop to take stills, I feel like it moves me away from that creative flow.

Inside Scuba: So, do you ever find a use for still photography in your work?

Cristian Dimitrius: I do! Like here in Antarctica, I tend to switch to stills when I’m on a Zodiac cruise or topside. High-end filming often requires heavy stabilization systems and a lot of setup time, whereas stills allow me to capture a memory quickly. Plus, it’s much easier to share a single photo than a produced video.

Inside Scuba: Does that mean you’re hauling twice the gear underwater?

Cristian Dimitrius: Not exactly. My camera body can handle both, but I don’t carry traditional photography strobes. If I decide to take a still photo while diving, I just use my video lights. I keep telling myself that one day I’ll dedicate a trip entirely to stills just to develop that side of my brain, but every time I get in the water, I end up doing video. I feel like there are so many people doing great still photography, but what I can do with video is unique.

Inside Scuba: Many of our readers are "gear heads." What are you shooting with these days?

Cristian Dimitrius: * Cameras: I use RED cameras for big productions. For diving trips, I currently use the Canon R5 C, though I’m looking at the Nikon Z9 because of its integration with RED technology.

• Housings: I exclusively use Nauticam housings.

• Lighting: Mostly Keldan lights, but I also use Backscatter lights with color filters when I want to be more artistic.

Inside Scuba: You mentioned a "new genre" of wildlife filmmaking you are developing. Tell us about that.

Cristian Dimitrius: I’m trying to move beyond just "scientific lessons". I want to create a visual experience that connects to the soul—combining art, music, and nature to make people fall in love with the planet again. I use different lenses and color filters to create something more unique and "plastic". We also run workshops in Brazil and the U.S. (like the Digital Shootout) to teach young filmmakers how to connect with nature first and then tell their own unique stories.

Inside Scuba: How can people keep up with your work or join your workshops?

Cristian Dimitrius: Instagram (@cdimitrius) is the easiest way to find me, or people can sign up for our newsletter to see when the next small-group workshop is happening.