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. We’ve taken technology to places where it was probably never meant to go.‘Killing Eve’ Review: The Frustrating Series Finale Isn’t Much of an Ending at All - Spoilers 1. That took a lot of trial and error, trying to get that right. So we had to design a whole camera system that could be deployed off the submarine and then loaded down onto the seafloor to get the shot of him. I didn’t feel like we were getting to know this guy if we weren’t really looking at the world on the level that he’s seeing it at, and looking at him at that level. But all the cameras on the submarine are up on platforms, so everything we were shooting from the submarine was looking down at him and that’s not what I wanted to do. He’s pink and he lives right down on the seafloor, and I really wanted to get down and look him in the eyes. The other thing that we had to do: there was this really cute fish in the Deep episode, a sea toad. That’s what I used in Chile to film the Humboldt squid, because we wanted to try to make ourselves invisible. ![]() ![]() Some of it was state-of-the-art camera sensors that could really respond to filming in extremely low light conditions.
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