“The challenge then is to get it back,” he added. The killer whale then dives, does its thing and you get this unique perspective of riding on the back of these giants as they backflip and smash these giant shoals of herring. “You attach it to a boom and the scientists will ease up to the killer whale as it comes up to the surface to breathe, and pop it down onto its back and it creates a suction cup seal. “We’ve miniaturized cameras, and I’ve worked with collaborative sciences to incorporate a whole array of scientific sensors including sound to place, with suckers on the backs of killer whales, of whale sharks, to give the audience the experience of riding into these vast shoals of herring up in Norway,” he said. We were bending technology to get into these extraordinary places.” 6. Also, there’s another camera we designed to get down on a robot, 3,000 meters deep, to get some of that amazing, magical bioluminescence. We needed to get our camera out and down on the ground with him, so we had to design a whole system that could do that. “In a submarine, you’re always looking down because you’re higher than the sea floor. “There’s that really cute fish that just sits on the sea floor and walks, the sea toad,” said Doherty. It’s not every day that you see a fish that walks, but in the second episode “The Deep,” that’s exactly what happens, and it to capture that footage required new equipment. “And so, for instance, you get to see a mother walrus with her calf in focus on top of the iceberg and you see the extent of the iceberg underneath.” Check out the megadome in action below: “We built a megadome, which is this 24-inch dome lens that sits in front of the camera, which enables you to film and focus both above and beneath the water surface,” said Brownlow. And I won’t tell you why it’s called a Bobbitt, but if you look back a couple of decades, it’s a story that came from the U.S. It never-seen-before dramas like that that will just horrify the audience, grip them, in a good way. You can only film it with infrared technology. Seeing in the Darkĭuring the Television Critics Association press tour panel for “Blue Planet II,” Brownlow revealed, “We worked with infrared technology to film this quite horrific monstrous worm called a Bobbitt worm. “Blue Planet II” Luis Lamar/BBC America 3. We’re kind of obvious, so we had to go into sort of stealth mode and put all our lights out and then use a camera that could practically see in the dark.” “And we’re in a giant, nine-ton yellow submarine. “The low-light sense camera, that’s how we got these amazing scenes of the Humboldt squid because we wanted to be in their world, film these animals in their world, really for the first time, but not disturb their behavior,” she said. And then we went out and filmed in 2016 and we got it.” Take a look:ĭoherty produced the episode “The Deep,” which was shot along the ocean floor where there’s crushing pressure, brutal cold, and utter darkness. “You remember in the first episode, there’s the mobula ray swimming through the bioluminescence? When we first heard of that in 2013, we couldn’t film that. “You can film so much more underwater now, in the dark, in low light, in color at 4k, than you ever could before, and that’s really made a difference,” he said. Honeyborne also noted that sensor technology had improved on cameras. And you can stay down for maybe four hours at a time and that’s when a fish begins to show you its true character.” Cuttlefish, “Blue Planet II” Hugh Miller/BBC America 2. “So the ability to dive for up to four hours at a time in shallow water and not create any bubbles, therefore not creating visual disturbance or any loud sound, and that really helps fish just relax and let you into their world. “A bit of technology that wasn’t as available 20 years ago, when they set out to make the original series, is re-breather technology,” said Honeyborne. ‘Killing Eve’ Review: The Frustrating Series Finale Isn’t Much of an Ending at All - Spoilers 1.
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