American Cinematographer - December 2006 - 12

High Adventure in The Real Lost World
by Bob Davis
along with a massive lagoon at the base
Falls, a 3-billion-year-old mesa,
and a previously unexplored cave
system atop a 9,200'-high mountain
plateau - stars in The Heal Lost World,
a two-hour program that will air this
month on Animal Planet and Discovery
HD Theater. The project was inspired by
Arthur Conan Doyles book The Lost
of Angel

World,

a

series of fantastic stories about

giant ape
believe

and dinosaurs that many
inspired by Doyles impres¬

men

was

sions of Roraima, Venezuela. The Heal
Lost World records the production's epic
trek

through hundreds of miles of
jungles and lunar-

swamps, savannahs,
like surfaces.

As is often the
ture

case

with adven¬

documentaries, logistics had to be

balanced with the shoot's wide assort¬
Above: The Real

climbs the

When producer/director Peter von

foothills of

where the

Lost World

expedition team

Mount Roraima
in Venezuela

on

their way to
base camp.

Right: The team
takes
while

a

break

shooting

dramatizations of
the 1884

Royal
Geographic
Society
Expedition.

Seated in the

(from left
right) are a
local guide, key
grip (and co-star)
Andy
"Andyconda"
canoe

to

Dittrich, director

(and co-star)
Peter

von

Puttkamer, and
director of

photography
Glenn Taylor
(with camera).

Puttkamer asked

cinematographer

Glenn Taylor to return to Venezuela,

pair had made a tarantula
documentary (Spidermania) for the
Discovery Channel four years earlier,

Taylor did not hesitate. "Little did I know
I'd end up in a swamp, up to my thighs in
muddy water, shooting an 18-foot
anaconda bolting out of the weeds
towards me!" he laughs.
The anaconda in question -

ment of technical

requirements. Taylor

recalls, "I kept telling Peter we were

actually packing for five different film
shoots. We shot wildlife in the northern

wetlands;

a

river trip through the jungle;

dramatizations with costumed actors; a
two-week hiking film; and a major cave

expedition." Taylor's equipment included
Sony HDCam 730s, a Sony Z1U

two

HDV, two 125-watt Pocket Pars, two Sun
Guns, 10 battery belts, splash housings,
array of filters, and as little grip
equipment as he could get away with.
During the expedition's six-day
an

ascent to

Roraima, the 730s

were

used

in

slingshot fashion. Taylor would send
operator Nenad "Nash"
Stevanovic ahead to prep the photogra¬
phy of, for example, a lightning storm,
while the bulk of the team captured
images of venomous insects with the A
B-camera

camera.

When

Stevanovic,

a

the

crew

reached

small A-camera unit

would hike ahead to the next scenic

spot. "Sometimes we would get so
focused
10 December 2006

on

finding

a

spectacular setting

GLProydtpuhci.nns,

DAitocnrudrfthe,ysy

byPhot s



American Cinematographer - December 2006

Table of Contents for the Digital Edition of American Cinematographer - December 2006

American Cinematographer - December 2006 - 1
American Cinematographer - December 2006 - 2
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