You want to be feet from the subject, max. HORROCKS: You can’t use a long lens you’ve got to show yourself and become part of the action.The critical thing for image quality underwater is minimizing the amount of water between you and the subject, so the greater the distance, the lower the image quality. I’d say 50 to 70 percent of shoots fail because we disturb the action. HORROCKS: There’s no such thing as sneaking up on things underwater. So you’ve found your subject, then you pull the boat back a ways, slide off the back of the deck, and swim over to sneak in for the shot? A critical indicator of activity is bird life. I’ve always got a pair of binoculars with a stabilizer looking for birds. And you ask around for local knowledge from fisherman. HORROCKS: Well, you know that prey fish will be there early in the morning and late in the evening. We did 25 days at sea, averaging ten hours a day, and I was in the water about an hour a day. For blue water, or open water, you’re spending three or four weeks. It really depends where it is in the ocean you’re trying to operate. HORROCKS: You’re trying to find an animal in this huge place, and there are a bunch of variables that can lead you to where you want to be. What are your techniques for narrowing down the field? OUTSIDE: It seems really hard to find any animal, let alone a small one, in the middle of the ocean. We talked with them about what it took to create such a unique scene, which you can see on BBC America on February 10. Instead, they lucked upon a much-discussed three-minute scene of a baby sea turtle as it floats beneath a log-and is then attacked by a shark. While working on the episode, South African cameraman Roger Horrocks and producer Orla Doherty tried, but failed, to film the rare “boiling sea” phenomenon, the result of hordes of tuna and dolphins leaping from the water to catch prey. (Courtesy of BBC)Įpisode four, “The Big Blue,” explores the ocean far from shoreline, in the so-called “marine desert” where the largest and smallest sea creatures swim. We watch bottlenose dolphins teach their young the medicinal attributes of gorgonian coral and a harlequin tuskfish crack open a clam in its “kitchen.” Giant waves breaking along the Wild Coast, South Africa. While producers included environmental themes that visualize how plastics litter our waters, the show’s best moments lie in storytelling that blurs the lines between human and animal traits. In China, an estimated 80 million people watched the premiere, causing the nation’s internet to crash. The series is a stunning educational saga, in part due to Hans Zimmer’s musical backdrop, David Attenborough’s comforting voice, and the incredible cinematography. Like its 2001 predecessor, Blue Planet II covers a huge number of locations both near and underwater (in 39 countries, to be exact) and explores the relationship between humans and the Earth’s bodies of water. The BBC show began playing in the United States on January 20 and will air new episodes every Saturday. It took four years of research and millions of dollars to deliver the stunning visuals of Blue Planet II.
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