Really, really, really isolated project, what would you take / suggest.

[Mark_Thorpe]

No worries Tom, it seems to be developing well with some interest from a couple of prospective associate producers. Fingers crossed.

A beer drop in the middle of the Pacific sounds like a most excellent plan, although if the dancing 'girls' you're on about are anything similar to the sheep I saw leaving a certain camera operators room in Palau then I'll have to kindly refrain. Whilst I rise to the challenge of isolation and shooting the bejeezas outta this location I will have to draw the line at any potential distractions.

A nice twist has recently been added to the location, depending on the way people see it. The one good thing though is looking further at the Delorme InReach product it also allows integration with social media platforms so it may well be that as an added security option we set up a page for this project on a suitable platform so that people can keep an eye on the progress via regime of a daily update.

Cheers,
Mark.

 

[Michael Dalton]

That being said, I've been planning an expedition (since I've gotten my Epic) to Dalloi in the Danakil depression in the Ethiopia/Eritrea region, yellow sulfur ponds, green acid lakes, towers, salt geysers, black and red salts, what a place for 5K! http://www.volcanodiscovery.com/photos/dallol/dec10/alien-landscapes.html

Hi Tom,

Funny, I have shot a series with Tom of Volcano Discovery (I was on the very trip the photos were taken), it's about to air internationally and we may do a second season. Great trip, would highly recommend it. I shot HD BTW, so no 4 or 5k. There has been some trouble recently, les then a year ago a bunch of people were shot to death at the camp we stayed at Erte Ale. The military has gone in to secure the area so that is why Volcano Discovery is going back. Tom is also nuts in a good way. Dallol is out of this world awesome. It was my favorite trip every, and that says a lot. I just did 10 days on the somali border with 2 choppers.

On the Somalia boarder we had security with us the whole time because of kidnappings. I brought extra for my red, pictured below.

 

[Tom Hamilton]

Hey Michael, got your PM, PM-ed ya back

 

[Jason Comparetto]

That Volcano Discovery website with the photos is completely surreal. Have you had any problems with the salty air mixing with any of your camera gear? like corroding the aluminum oxide coatings, or affecting the metals and paints in any way?

 

[Mark_Thorpe]

Update:
It looks like we could be adding the option with a microlight tentatively being thrown into the pitch. It all depends on the budget, which is now out to crowd sourcing. If anyone is interested I have also created an Indiegogo profile for the project and raised my first $5 towards the project from an eager Twitter follower, cool beans.

Cheers,
Mark.

P.S The title in the signature now links through to the Indiegogo project.

 

[Jack Cooper]

Mark, I was thinking more along these lines, standard aviation transceiver, this is the one I use: http://www.mypilotstore.com/MyPilotStore/sep/2552

The Delorme product above is a good solution as well, but you'll need to pay a monthly subscription, maybe Randall could let us know how much that is?

With the aviation transceiver, once you've alerted an aircraft to an emergency, the same response network will be activated, as with the Delorme folks. A PLB is also a very good idea.

Mark

On these handhelds, I would test them for corrosion as much as you can before you go. We had historically used the Standard Horizon HX470S in San Pedro, here in Belize 18N 88W. One unit never had touched sea water, but daily use in our salt air had corroded the unit so bad the face plate started to "bubble" up and the internal contacts and circuitry where $hit. Weirdest thing I had ever seen.

When I talked to warranty guys in California, they asked, "what, did you leave it in the ocean all month". They had never seen that much degradation in such a short time. This was common with all our handhelds. Keep in mind these were waterproof rated. (submersible (JIS Class 7).

Not sure what the air will be like for you, but they were pretty useless after a very short time. BTW this happens with all our metal.

Best of luck on the adventure.

 

[Tom Hamilton]

Good info Jack,

Looking at corrosion control for an Ultralight re a project in a heavy salt environment, with no reliable access to daily fresh water rinse. At the moment, Noxit 86 is the chemical deterrent of choice. The machine, however, will have to be stripped to it's very basic components, every nut, bolt, wire, and testicle chemically treated with the utmost care and precision before it's reassembled into flying condition, if we are to get anything more than three to five months useful shelf life.

Gotta love salt. Not only does it efficiently break down electronics, cameras, and airplanes, to the electron level, but oil, plastic, shiite of every imaginable description, Mother Earth's great and all-encompassing cleanser. Just gotta find your middle ground in all of this, in a tip-toe kinda way.

Big project with a really big challenge, not that that's ever stopped anyone here on this thread from doing amazing things

 

[Mark_Thorpe]

Hi Jack,
Maybe not the correct term when discussing ultralights??

How long before you started seeing deterioration? The air humidity index at this location is around 80 - 85%. What were the steps taken to protect your equipment from the elements? If I am sticking to a regime where the receiving smart device will be mounted in a controlled AC environment at a base station and then 'reporting in' via SMS at predetermined times I will, outside of those times, be storing the transmitter in an airtight wrapping. Small O'ring sealed tupperware or ziplock with dessicate gel pack or other to absorb as best as poss the residual humidity. Expected time per filming stint will be max 5 months per year, filming over two years but the weather window for calm is limited. At circa $269 for the InReach system it may well be that we use a fresh set for the second filming trip in year two.

Great input,
Cheers,
Mark.

 

[Tom Hamilton]

Mark,

Saw the Delorme unit in action paired to an IPad the last couple of days in a remote fishing village in Baja, very impressed.

Cheers

 

[Mark_Thorpe]

Sounds reassuring Tom, cheers. Glad the week went well for you.

 

[Mark_Thorpe]

What's your 'Go To' EFP glass option.

What's your 'Go To' EFP glass option.

OK folks, would appreciate any feedback on what you would consider the best glass options for this kinda project. Am looking at the Tokina 11-16mm f/2.8 AT-X for the wet stuff:

Mid Range Zoom
Fisheye
Macro
Long Lens

Being the first real field project with such cameras would like to get an idea of expenditure required for the glass. If possible I'd go with Canon Mount if lens options are there from said manufacturer. This way the Moco Timelapse shots I'm planning will also be able to interchange with that lens kit.

Cheers,
Mark.

 

[Michael Dalton]

OK folks, would appreciate any feedback on what you would consider the best glass options for this kinda project. Am looking at the Tokina 11-16mm f/2.8 AT-X for the wet stuff:

Mid Range Zoom
Fisheye
Macro
Long Lens

Being the first real field project with such cameras would like to get an idea of expenditure required for the glass. If possible I'd go with Canon Mount if lens options are there from said manufacturer. This way the Moco Timelapse shots I'm planning will also be able to interchange with that lens kit. Shoot wide 16-35 or 24-70.

Cheers,
Mark.

Being that it is a documentary, it depends if it is a run and gun style where you don't have time to change lenses.

I take with me

Canon 16-36 f2.8
Canon 24-70 F2.8 (my mark II lens arrived today which is apparently much sharper then the Mark I which was needed)
Canon 70-200 F2.8
Canon 2x MarkIII

I've also started to get into primes, and have 2 rokinons
85mm 1.4
24mm 1.4 Cine (which also arrived today at the dvshop.ca)
35mm 1.4 Cine (On order)
14mm 1.4 Cine (On order)

BTW, I have shot using a microlight while doing Anti-poaching work in the Serengeti, was awesome. I like them better then Helicopters. Nice and slow. I tend to shoot some sound then switch to higher frame rates. It's always a good idea to have a LAV with you, if you want to shoot audio, take the mic and stick it in your ear piece to get the audio back and forth. I do this with Helicopters too. Works great.

Where you shooting this project again?

 

[Mark_Thorpe]

Hi Michael,
Thanks for that, will look into those options. The project has a lot of time for setting up shots etc. Isolated locations where I will visit small atolls for specific sequences etc. Spending up to a month per location to get the shot. Some may be done in a couple of days, others that are more nature dependent will take time, the nature of the beast. I wouldn't say it will be along the reality or edgy kinda lines, hoping it won't come across that way either.

What mounts are your lenses or do you have to swap out to change between Canons and Rokinon's for example? Not the best ideal in the location I'll be shooting, which happens to be small islands and Atolls in the western Pacific, Micronesia region.

An option for an Ultralight is being discussed at this time but as yet we are still looking to secure the budget. Speaking with a couple of interested parties but for the large part have got an Indiegogo crowd sourcing project going, linked from my signature.

Cheers again,
Mark.

 

[Michael Dalton]

Hi Michael,
Thanks for that, will look into those options. The project has a lot of time for setting up shots etc. Isolated locations where I will visit small atolls for specific sequences etc. Spending up to a month per location to get the shot. Some may be done in a couple of days, others that are more nature dependent will take time, the nature of the beast. I wouldn't say it will be along the reality or edgy kinda lines, hoping it won't come across that way either.

What mounts are your lenses or do you have to swap out to change between Canons and Rokinon's for example? Not the best ideal in the location I'll be shooting, which happens to be small islands and Atolls in the western Pacific, Micronesia region.

An option for an Ultralight is being discussed at this time but as yet we are still looking to secure the budget. Speaking with a couple of interested parties but for the large part have got an Indiegogo crowd sourcing project going, linked from my signature.

Cheers again,
Mark.

HI Mark,

I have the canon Al mount on my epic, and us the canon version of the cine lenses. You control the aperture on the lens which is easier then the touch screen. If people here saw the conditions I have changed lenses in, they would gasp. I don't think the salt water in the air will do as much damaged as the corrosive gases on a volcano, or at a soda lake. Even helicopter rotor wash if you are going to loose something crucial. A good air canister goes a long way. Volcanic ash is a bit of a problem with a fan. I could seriously battle test these cameras. Surprisingly I have not managed to break a camera while shooting in the last 5 years. When I started on DV, I knew the repair guys by name, and got a regulars discount.

 

[Pawel Achtel]

I think I would start with a story line, define your audience and format, then attract pre-sale and distribution deals, organise the finance and think about the gear that you may need for your project. In that order. I think you will struggle without an engaging story to start with. But, I may be old-fashioned

 

[Mark_Thorpe]

@Michael: Cheers, manual aperture is prime concern for me. Love the scenarios of shooting you face. makes salty air seem almost a ride in the country.

@Pawell: This has been developed over the past four years, there is a complete treatment and financial plan locked down. With a huge lack of any existing media from 80% of the target region adds to the mysticism. However there are a number of very enticing story elements that are known factors to exist in the remaining and known regions. Enough on which to build the initial storyline. Anything extra from this unknown region will basically be the icing on the cake. Dependent on that will determine whether the final project will be a one hour doco or a 4 x 1/2hr mini series. All discussions with distributors and potential financing sources are ongoing. Target audiences and entities have also been identified with some initial interest in the project from mainstream broadcast concerns.

Cheers,
Mark.

 

[Michael Dalton]

@Michael: Cheers, manual aperture is prime concern for me. Love the scenarios of shooting you face. makes salty air seem almost a ride in the country.

@Pawell: This has been developed over the past four years, there is a complete treatment and financial plan locked down. With a huge lack of any existing media from 80% of the target region adds to the mysticism. However there are a number of very enticing story elements that are known factors to exist in the remaining and known regions. Enough on which to build the initial storyline. Anything extra from this unknown region will basically be the icing on the cake. Dependent on that will determine whether the final project will be a one hour doco or a 4 x 1/2hr mini series. All discussions with distributors and potential financing sources are ongoing. Target audiences and entities have also been identified with some initial interest in the project from mainstream broadcast concerns.

Cheers,
Mark.

Hi mark,

If I can suggest really looking at 4 1/2hrs, 1 offs are difficult to make money off. Where is home for you? I'd suggest contacting your national Nature Channel. If they require productions produced by people in that country, it gives you a leg up. They may be able to contribute to a partial budget which may lead to other broadcasters (no one likes to be first unless they have to). It's tough to make something and get your money back these days. What the big boys will pay for a 1/2 hour as a completed film will scare you. Only way to get bigger budget is to pitch a concept and get them in from the ground floor. Shooting some but not all is advised if your idea need some exploration.

 

[Mark_Thorpe]

Hi Michael, thanks for the advice. I'm based in Bali, Indonesia so the local broadcast options are non existent. Also the technology in the region I am shooting means there is no terrestrial TV stations, including cable. Most TV on the island is canned, prerecorded media shipped in from California which may explain why they're behind on World events!

I hear you on the idea to create a Pilot but the location is so isolated that it would mean raising a substantial budget just for that. There is also only a limited, five months at most, weather window per year. This means if the project is to go ahead I need to secure all funding by any given January in order to be ready for a May departure in that given year. All support elements on location and the security, communications, medical and diving scenarios have been figured out with a requirement for testing as soon as everything is in place to do so.

The shooting schedule that has been drawn up sees the project being filmed over two seasons. This means that I am looking to raise the full budget to start the project I will then, after the first filming phase, have a six month window to edit the first segments. Seeing as a lot of the high profile story elements are included in this first phase suggests and reinforces pre sale attempts that will be made once we have a 'Pilot' taken from the realized footage from this phase.

Cheers,
Mark.

 

[Michael Dalton]

Hi Michael, thanks for the advise. I'm based in Bali, Indonesia so the local broadcast options are non existent. Also the technology in the region I am shooting means there is no terrestrial TV stations, including cable. Most TV on the island is canned, pre-recorded media shipped in from California which may explain why they're behind on World events!

I hear you on the idea to create a Pilot but the location is so isolated that it would mean raising a substantial budget just for that. There is also only a limited, five months at most, weather window per year. This means if the project is to go ahead I need to secure all funding by any given January in order to be ready for a May departure in that given year. All support elements on location and the security, communications, medical and diving scenarios have been figured out with a requirement for testing as soon as everything is in place to do so.

The shooting schedule that has been drawn up sees the project being filmed over two seasons. This means that I am looking to raise the full budget to start the project I will then, after the first filming phase, have a six month window to edit the first segments. Seeing as a lot of the high profile story elements are included in this first phase suggests and reinforces pre-sale attempts that will be made once we have a 'Pilot' taken from the realized footage from this phase.

Cheers,
Mark.

I just mean where you come from. I must say I'm lucky being Canadian, because our government requires that a network create at least 30% of the content be Canadian, meaning made by a Canadian, and using Canadian talent for Narration and music. I'm based in Kenya or Tanzania for part of the year, but it matters what citizen I am.

If you shot it all, lie, lie, lie. Just don't edit it all, and say you have to return for a shoot.

I must say I am a bit envious of your location, I'd be continuing my volcano series with ease if I was based there. I fell in love with Indonesia on my two trips there last year.

 

[Mark_Thorpe]

Haha, Michael, I was actually slightly 'economical' with the truth to land my first ever underwater gig about 20yrs ago so I understand your suggestion. Personally I believe the project will sell itself once the first segment is pieced together. News of additional content over and above that which will figure in the Pilot should be enough to seal the deal. One of the main arguments here is that this region has NEVER been filmed, period, not in such detail, never with such cameras and definitely not from an underwater viewpoint. The stock alone should become a sought after commodity, fingers crossed.

EDIT: The one shocking element of the story that had not been mentioned is the alarming speed with which these islands are disappearing due to rising sea levels. Look at the recent news that the small nation of Kiribati is now negotiating land deals with Fiji to relocate the complete population is sobering news indeed. Faced with this very real threat means this story needs to be told sooner, rather than later!

No shortage of Volcano's out here mate, which reminds me never to go back to that curry house from last night!

Cheers,
Mark.