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
American Cinematographer - December 2006 - 3
American Cinematographer - December 2006 - 4
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