Dry for wet is afilm 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 andslow 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 inpost-production, heightening the realism.

The technique was pioneered byGeorges Méliès who would use a paintedbackdrop to suggest an underwater environment. By the mid-20th century, it had become a reliable technique that was used extensively in productions like20,000 Leagues Under the Sea andVoyage to the Bottom of the Sea.^[1]

• The underwater scenes featuring the monster in the originalGodzilla (with this footage reused inthe Americanization that followed two years later) were filmed with a full aquarium between the camera andHaruo Nakajima, the actor playing Godzilla.
• Guillermo Del Toro's 2017 filmThe Shape of Water uses this technique throughout, the first instance being the introduction sequence of the film.^[2]
• The technique is in use in the final scene ofThe Lord of the Rings: The Fellowship of the Ring whenSam sinks into theRiver Anduin. It is also used inThe Lord of the Rings: The Two Towers whenFrodo falls into theDead Marshes.
• In the underwater scooter scene inLara Croft Tomb Raider: The Cradle of Life.
• InA.I. Artificial Intelligence the technique was used for the scenes with the submerged attractions at Coney Island.
• Many underwater scenes inFor Your Eyes Only were shot this way due to a medical condition actressCarole Bouquet suffered that precluded her from doing any underwater stunt work.
• The exterior shots of the submergedRed October in the filmThe 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.^[3]
• Tony Scott hoped to filmCrimson Tide underwater but ended up relying on dry-for-wet for everything except torpedoes firing.^[4]
• James Cameron used the technique inTitanic to match the footage he had personally shot at the wreckage site with the submarine models that appear in the film.^[5]
• The technique was used in many underwater scenes inThe Spirit.^[6]
• Much of the model (and occasional puppet) work forStingray 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.
• Aquaman relied heavily on this technique.Industrial Light & Magic updated their HairCraft software specifically to look like the actors were underwater.^[7][8]

• Day for night

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