When asked how they handle the sound of the underwater world Erik Aadahl stated: "Jay [Jennings] just put a new pool in his yard and that became the underwater Foley stage for the movie, so we had the hydrophones out there. In the film, there are these submersible vehicles that Jay did a lot of experimentation for, particularly for their underwater propeller swishes. The thing about hydrophones is that you can't just put them in water and expect there to be sound. Even if you are agitating the water, you often need air displacement underwater pushing over the mics to create that surge sound that we associate with being underwater. Over the years, we've done a lot of underwater sessions and we found that you need waves, or agitation, or you need to take a high-powered hose into the water and have it near the surface with the hydrophones to really get that classic, powerful water rush or water surge sound. Jason W. Jennings further revealed : "We had six different hydrophones for this particular recording session. We had a pair of Aquarian Audio H2a hydrophones, a pair of JrF hydrophones and a pair of Ambient Recording ASF-1 hydrophones. These are all different quality mics - some are less expensive and some are extremely expensive, and you get a different frequency response from each pair. Once we had the mics set up, we had several different props available to record. One of the most interesting was a high-powered drill that you would use to mix paint or sheetrock compound. Connected to the drill, we had a variety of paddle attachments because we were trying to create new source for all the underwater propellers for the submersibles, ships and jet skis - all of which we view from underneath the water. We recorded the sounds of these different attachments in the water churning back and forth. We recorded them above the water, below the water, close to the mic and further from the mic. We came up with an amazing palette of sounds that didn't need any additional processing. We used them just as they were recorded. We got a lot of use out of these recordings, particularly for the glider vehicles, which are these high-tech, electrically-propelled vehicles with two turbine cyclone propellers on the back. We had a lot of fun designing the sound of those vehicles using our custom recordings from the pool." Eric Aadahl stated: "There was another hydrophone recording mission that the crew, including Jay, went on. They set out to capture the migration of humpback whales. One of our hydrophones got tangled up in the boat's propeller because we had a captain who was overly enthusiastic to move to the next location. So there was one casualty in our artistic process."

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