campers aren’t working that’s getting
super frustrating this is what it’s like
on life below zero
cameras already down tough conditions
all around a fill-in
no heat no power no anything Oh won’t
even turn it on too many times
we have bad winds it’s just a typical
day in the Arctic
make invest what we got it’s really cold
but this is kind of our job this is what
we do this will we live for
how can we do that out of the box
cinematography the Iditarod isn’t
something I’ve been dreaming about doing
for 12 years and it’s the last great
race this is the Grand Olympics of the
North first thing I’m gonna have to do
is get out my maps and get out my
mileages and start making a race plan
more people have summited Everest and it
finished I did around 47 years Jessie
just planning out and I did irad all the
stuff he has to take for the Iditarod
race it’d be really cool to get a cool
specialty shot time-lapse but we’re
trying to figure out how to do it and
Benji had a good idea he’s like what if
we did this corkscrew bird’s-eye view
over his shoulder making this kind of
pop we’re just gonna make do with what
we got and start building and see if
it’ll work this part that sucks because
man that burns I know one of the things
that we really strive for on the shows
outside of a great story is to try to do
these incredibly creative shots that are
out of the box usually utilizing stuff
that’s not meant to be use that sort of
way so every trip every show every
episode that we produce we do that
out-of-the-box cinematography this is
all we got to work with it’s not like
you just go get any old Bolton size you
need at the hardware store you know Oh
perfect
all right let’s go take it up there and
see if we can hang it all right so far
so good the idea of the shot is to pull
out from the map so you can see him
writing and then pull out and twist
it’ll see it but we’re gonna try to keep
the map and focus the entire time as we
pull out the lens is cold so what we
have to do every time we bring any of
our gear cameras or lenses from inside
to outside is we have to let it
acclimate so it gets foggy out here and
then it gets foggy on the inside we
can’t shoot until this lens acclimates
to the temperature inside the idea is to
really show that essence of time passage
for all the work that he has to do we
want to do the most incredible shot that
we can try to pull off to make that look
half the battle in these time lapses is
the ingenuity and being innovative and
creative running the loader this is what
I noticed this is oil that’s being blown
up this is the piece of machinery that’s
going to get my runway fixed this has
got to get fixed once it does I’m back
in business but until it is I’m out of
business
we’re going to try to capture the whole
time-lapse all the way across the kavik
with dusk all the way until the night to
the Northern Lights and we need a lot of
weight because we’re going to put a lot
of tension on the cords so we’re gonna
ratchet strap one point in ratchet as
hard as we can down and then we’re gonna
run the line all the way across
pretension the better because we don’t
want the camera to sag we wanted to be
taught there we go as you can see one
point is secure it’s not going one way
or the other we’re gonna put a lot of
tension on this so we need to make sure
it’s pretty stable so here’s our
beginning of the shot we’ll be here
we’re trying to achieve a full kavik run
from her storage shed generator Shack
loader all the way to the front of the
Twinkie
so from 80 paces roughly 80 feet we’ll
be able to go the length of her camp all
the way to the front so we’re probably
about 60% done with the tension and as
we’re pulling the tension the barrels
are moving so now we have to figure out
more weight for the barrels so when we
put more attention on 100% tension we
will be solid in the barrows won’t move
the ropes are perfectly even the
carriage will ride straight and it won’t
bounce off the wires or the rope so
we’re pretty much at that point where we
can mount the 5d the temperatures aren’t
in the negatives yet but a motor for the
slingshot time-lapse is all metal I need
to just basically insulate it and an
easy way to do it is just to use an
extra
and that at least insulates it enough
that it stays warm Houston Texans save
the day so we just said it the camera is
now rolling and the best thing we can do
is get the hell out of the way and let the camera do its work
super frustrating this is what it’s like
on life below zero
cameras already down tough conditions
all around a fill-in
no heat no power no anything Oh won’t
even turn it on too many times
we have bad winds it’s just a typical
day in the Arctic
make invest what we got it’s really cold
but this is kind of our job this is what
we do this will we live for
how can we do that out of the box
cinematography the Iditarod isn’t
something I’ve been dreaming about doing
for 12 years and it’s the last great
race this is the Grand Olympics of the
North first thing I’m gonna have to do
is get out my maps and get out my
mileages and start making a race plan
more people have summited Everest and it
finished I did around 47 years Jessie
just planning out and I did irad all the
stuff he has to take for the Iditarod
race it’d be really cool to get a cool
specialty shot time-lapse but we’re
trying to figure out how to do it and
Benji had a good idea he’s like what if
we did this corkscrew bird’s-eye view
over his shoulder making this kind of
pop we’re just gonna make do with what
we got and start building and see if
it’ll work this part that sucks because
man that burns I know one of the things
that we really strive for on the shows
outside of a great story is to try to do
these incredibly creative shots that are
out of the box usually utilizing stuff
that’s not meant to be use that sort of
way so every trip every show every
episode that we produce we do that
out-of-the-box cinematography this is
all we got to work with it’s not like
you just go get any old Bolton size you
need at the hardware store you know Oh
perfect
all right let’s go take it up there and
see if we can hang it all right so far
so good the idea of the shot is to pull
out from the map so you can see him
writing and then pull out and twist
it’ll see it but we’re gonna try to keep
the map and focus the entire time as we
pull out the lens is cold so what we
have to do every time we bring any of
our gear cameras or lenses from inside
to outside is we have to let it
acclimate so it gets foggy out here and
then it gets foggy on the inside we
can’t shoot until this lens acclimates
to the temperature inside the idea is to
really show that essence of time passage
for all the work that he has to do we
want to do the most incredible shot that
we can try to pull off to make that look
half the battle in these time lapses is
the ingenuity and being innovative and
creative running the loader this is what
I noticed this is oil that’s being blown
up this is the piece of machinery that’s
going to get my runway fixed this has
got to get fixed once it does I’m back
in business but until it is I’m out of
business
we’re going to try to capture the whole
time-lapse all the way across the kavik
with dusk all the way until the night to
the Northern Lights and we need a lot of
weight because we’re going to put a lot
of tension on the cords so we’re gonna
ratchet strap one point in ratchet as
hard as we can down and then we’re gonna
run the line all the way across
pretension the better because we don’t
want the camera to sag we wanted to be
taught there we go as you can see one
point is secure it’s not going one way
or the other we’re gonna put a lot of
tension on this so we need to make sure
it’s pretty stable so here’s our
beginning of the shot we’ll be here
we’re trying to achieve a full kavik run
from her storage shed generator Shack
loader all the way to the front of the
Twinkie
so from 80 paces roughly 80 feet we’ll
be able to go the length of her camp all
the way to the front so we’re probably
about 60% done with the tension and as
we’re pulling the tension the barrels
are moving so now we have to figure out
more weight for the barrels so when we
put more attention on 100% tension we
will be solid in the barrows won’t move
the ropes are perfectly even the
carriage will ride straight and it won’t
bounce off the wires or the rope so
we’re pretty much at that point where we
can mount the 5d the temperatures aren’t
in the negatives yet but a motor for the
slingshot time-lapse is all metal I need
to just basically insulate it and an
easy way to do it is just to use an
extra
and that at least insulates it enough
that it stays warm Houston Texans save
the day so we just said it the camera is
now rolling and the best thing we can do
is get the hell out of the way and let the camera do its work
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