Anatomy of a RED SHOOT - National Geographic's Great Migrations Golden Jellyfish

[Steven Caesare]

I've caught the first two episodes so far... specatucular. I very much look forward to the Jellyfish epsiode!

Question: I've found references to both Phantom and RED being used in the series. Is there anywhere that describes specifically what cameras were used on which episodes?

Thanks.

-sc

 

[Brian Petrie]

These stories are great. I appreciate the time spent to write out them out for us, Great Job and can't wait to watch it!

PS This would have been a great BTS episode for NatGeo had it all been filmed.

 

[Randall Nott]

Absolute inspiration. Thanks for sharing so much.

 

[Ken Corben]

Inspiration and Director's Dailies

Inspiration and Director's Dailies

Absolute inspiration. Thanks for sharing so much.

To me, the RED community is family so you're very welcome.

Since you mentioned inspiration, allow me just a moment to credit the inspiration for our success on this shoot.

Segment Director Adam Ravetch.

He developed the story from just a suggestion to the final treatment.
Then he directed us and the segment while shooting A camera on location.
He led us tirelessly in Palau under brutal conditions with an ambitious shot list and only 240 hours to get 'er done. And we did.

I think it was hour 72 when I doubled the food order quantity and delivery rate. We were burning "5,000 calories a day".

Director's Dailies
The results of this mutli-RED camera only shoot with its cinematic challenges kept the Director smiling A LOT.
These results from our RED ONEs on a rock island literally in the middle of no where with only what we brought with us. Bam!

http://maps.google.com/maps?f=q&sou...51,141.855469&spn=36.506075,64.204102&t=h&z=5


In the photo below, Adam is playing back one of the underwater money shots for the first time. Picture says it all.
My work as a DP was done for that day.
Yeah, right.

Our March '09 RED digital workflow in the field was simple.
Record to RED drives/CFs then use Macbook Pros to transfer to Gsafes (mirrored)
Then stuff the Gsafes in a pelican case and recycle the RED drives.

The footage was then played back and checked using Macbook Pros and REDCINE.
Our power was a 1K gas geni with surge protection.

What we really needed was a dehumidifer.

Sharky

 

[D Fuller]

I am in awe of this work. Science is just so cool.

 

[Ken Corben]

Escape from The Rock - Martini is up!

Escape from The Rock - Martini is up!

The Martini was fast approaching as we entered Day 10.

I had cut the Sat Phone rental from the budget last minute since I needed to put that money "on the screen." AND

I didn't tell the series producer, until our last skype call from Palau before departing for The Rock.

That went over well.

It was now time to return to the real world and report that yes we were all alive and yes we had the footage.

___________________________
The shoot schedule of 10 days/9 nights on The Rock was planned to close with a martini shot in open water of the caves that feed the lake through fissures.
Source of the lake's "tides".

That is after a well deserved hot shower and a night in a bed for everyone.

The work we did in Jellyfish Lake is some of the best I have ever produced or shot for this genre. I am proud of our work - even the failures.
Remember in March '09, the idea of an entire RED camera shoot in the wild was still perceived as "Risky" by some.

To me and Johnny, that was rumor and hearsay. We knew better having pushed the REDs very hard in Africa, Alaska, Mexico and other remote locales.
We shot our RED's underwater, aerial, hell, we even took our REDs deep into the Okavango Delta, Botswana in July '08 based from a 6M aluminum skiff for 10 days.

Hippos almost killed us both on that one.

Our plan to utilize 3 REDs and 3 Housings in Jelly Fish Lake to maximize our coverage worked like a charm.
Johnny and I logged an impressive amount of time on our rebreathers underwater filming the jellyfish day and night.
Mark Thorpe operated the third underwater RED system.

The first day I saw all 3 REDs working underwater brought a smile to my face.
Johnny and I had come a LONG WAY since our first underwater RED ONE tests in Nov '07 at Catalina Island with Gibby and #8 using the AQUAVIDEO housing hand built by Mike Hastings in a few days...while I waited in Florida at his home for it to be finished. Now that is customer service.

We knew then in '07 at Catalina that underwater filmmaking had changed forever as we knew it after reviewing our first RED ONE underwater test results.
Blew our minds then.

The underwater time lapse, night shots, Palau open water and 5 million golden jellyfish all came together to tell a good story.
The 4K footage bumped everything up a notch.

As a direct result of our collective best effort and our REDs, the resulting segment featured in Great Migrations Episode 3 is to par with the incredible work of our friends and colleagues on this ambitious production.

We are honored to be included,

Sharky

Rebreathers explained: http://kennethcorben.com/rebreather.html

 

[Ken Corben]

That's A Wrap!

That's A Wrap!

We finally made it to open water...
with 3 REDs.

Sharky

 

[Jeff Kilgroe]

Can't wait to check out the jellyfish. Thanks for sharing all the info, Ken!

 

[Richard Foster]

Great saga, great shoot, great footage, great job! Thanks for sharing in such depth (pun intended)

 

[Ken Corben]

Cineflex Aerials

Cineflex Aerials

After wrapping filming in the lake, I was lucky enough to get Peter Thompson to operate the Cineflex in Palau for our unique aerial shot list.
He flew with Mark Thorpe's mate Matt seen flying the helicopter over the islands in the photo.

Peter is an amazing camera operator...www.aeroptics.com

Sharky

 

[Mark Phelan]

Ken, it's tremendously fascinating to read about your group's exploits, trials and travails, thanks for sharing. Was fun to talk with Steve awhile back about the making of "Icy Killers" and this too sounds like another great adventure to watch. Keep them coming!

 

[Mark Thorpe]

Hey Ken,
As always a pleasure to be on the team dude. To be repeated when required..

Take care,
Mark.

 

[Ken Corben]

Passport current Mark?

Passport current Mark?

Hey Ken,
As always a pleasure to be on the team dude. To be repeated when required..
Mark.

The next one, to be announced this January, is really cool Mark so have your passport ready.
You are always my second call right after Johnny.

Where in the world...
We are shooting a 3D story in a place where no eyes have been before on our amazing planet...
and only possible with the EPIC digital cinema solution.

I'll break it on REDUSER when the time arrives.

Sharky

BTW - Who said the RED ONE is not a "Run and Gun" camera system?
Works like a charm for me.

Behind the scenes production stills by Renee Treyball (Stereo Rig Technician and 1st AC)

 

[Steve Gibby]

I watched each of the Great Migrations episodes...excellent work guys!

Three of my longtime associates contributed their expertise to these well-done programs: Ken Corben, John Friday, and Bob Poole.

I have a very good relationship with National Geographic and I've done a fair amount of work that has aired on Nat Geo. I'm sorry I didn't work on this series...I was originally scheduled to contribute, but extenuating circumstances took me out of the mix.

But once again, great work guys :thumbsup: