Historic Films Stock Footage Archive: FJ-HRN-2184

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01:41:05 5.03	Sound Bite: Eric Lange Yeah, regular crew members they know that you’re gonna be gone, that your just pass through, whereas green horns kind of they don’t really, it’s like being on the boat for the first time as a cameraman there is so much going on, they can’t it’s overwhelming for them, so they are definitely on their heals the whole time, so you’re getting great bites from them and there also getting harassed by these veterans so its just a free for all with those guys.
01:41:50 50.03	Sound Bite: Eric Lange The Crab Boats have big sodiums, they actually have a couple of different color temperatures happening on deck, in the Wheel House we’ll set up our own lights. A lot of cinematographers will do it different, we like to set them up so it’s not to bright we like to mimic the lighting that’s happening from the instruments you have to kick it up enough to get an exposure we don’t like to add gain because that adds compression stuff. So we like to find a happy medium with the cameras there and on deck at the beginning that was difficult there’s a lot of different color temperatures so you have to white balance right away, at that golden hour when those sodiums kick on, it changes the color immediately so it can be really, really orange, but a lot of times we try to get a nice even keel on that. That’s the big thing is to get the iris dialed, you’re constantly adjusting for that color temperature on deck.
01:42:58 118.03	Sound Bite: Eric Lange Right, I have, actually on a boat, in situations like that the conditions are so drastic and can change so often, that you have a couple of presets and off those presets you will adjust accordingly, and that happens pretty often because, I mean within the span of 24 hours you can see five different weather situations and lighting situations.
01:44:02 182.03	Sound Bite: Eric Lange Yeah I think the most, I think the most important thing that I’ve learned from this experience is that people are the most important, no matter what kind of equipment you have, you know, or what you’re doing it’s your relationship with the people you’re shooting and how you handle that, it’s really a delicate situation you’re in an environment, that you are not gonna be a part of long, they know that, and there are certain things that you’re gonna need to do to respect their space in order to get them to open up for a show like this and that’s a really difficult dance and I think that the most difficult part of shooting a show like this is the relationships with the people you’re shooting and if that goes wrong you lose the show.
01:45:05 245.03	Sound Bite: Eric Lange It does, visually there’s differences of course, when you’re on a boat shooting that many hours, everything that I have seen on that boat, you know that is outside of that 4 by 4, I think was recorded but then when you sit down in the edit bay your like, “Wow, I thought I was on that when that happened,”, but you’re not. So it’s definitely, you always think you have more than you had when you go in to edit, you know, there is always things that you can do in the edit to fix stuff like that.
01:46:16 316.03	Sound Bite: Eric Lange Yeah, most definitely we try to stick to the integrity of what’s happening on these boats to a T. For me it happens over the span of a King Crab or an Opillio Crab season it’s very long and in the edit bay we melt that time frame down into hour shows, so there’s definitely some editing involved, but the nature of those stories and that narrative curve that happens in real time on the boats exists in those shows, we don’t mess with that at all. I mean if you were to watch 50 pots with crabs come over the rail it would like watching Babe Winkerman fish for bass you would be asleep, you know we do do things to speed that process up, but as far as truth goes you find all kind of nuggets in post that happened on the boat, you didn’t even realize were happening, so it’s all real, more real than real, (laughs), unfortunately for sometimes.
01:47:29 389.03	Sound Bite: Eric Lange No, actually, I haven’t, I don’t think so. I been asked a couple of times about the show and what’s it like shooting on the boat, a lot of people think we are tethered in on the boat, which would be in impossible and I think we would be killed if you were tied in. But, um, yeah people ask me about the show once in a while, they want to know what’s happening on boats, what’s really happening on the boats, because obliviously you can’t show everything, because you know it’s a family channel, but they want to know those behind scenes stories, so I’ll indulge in some of that, the puking episodes, which you don’t hear about on TV. But yeah.
01:48:12 432.03	Sound Bite: Eric Lange You know what, they’ll tell you. Those guys are veterans, so you’ll never see them get sick, but everybody gets sick sometimes, so, you just have to get to know them a little bit and you hear all the good stories, about how somebody puked on their DVD player when they were at the Wheel, there’s a lot of those really good stories out there. You those guys even the veterans get sick sometimes too.
01:48:47 467.03	Sound Bite: Eric Lange I think the most challenge aspect of the whole production overall is the uh, would have to be the logistics from production to delivery. Just putting together the people that would actually do something like this and uh, the kind of people that are hungry enough to shoot something like this, the equipment, I mean , there’s a lot that goes into orchestrating this, like working on the deck of a Crab Boat it’s a dance that everybody does in production and it flows right in to post and all the same people that you were with in Dutch Harbor and the boats a lot of those people come with it in to Post, so all the nomenclature stays the same we all know what we are talking about and those stories they flow very quickly and that makes for a speedy post process and a delivery so. I think that’s the most difficult thing the logistics that’s for sure. Tom’s got that worked out pretty good so.
01:50:07 547.03	Sound Bite: Eric Lange Right, we take some pretty elaborate precautions when water proofing the equipment. Maybe not as elaborate as we would all like, we all would like to have of our cameras housed, but that’s not possible, because you need to be able to get at them and change things and stuff, but as far as personal cameras go, a lot of us Bag them, we’ll put them in waterproof bags, we all customize our own rigs so, you know, what I use on deck, I use a waterproof bag I modify and cut it out and silicone it, you know and I make it so I can shoot with it, and it’s completely waterproof, to try and save those cameras as much as you can.
01:50:57 597.03	Sound Bite: Eric Lange Oh yeah, yeah I’ve actually had an incident where stuffs been lost cause I fell in a fish hold the camera recocated off the deck, you know there have been a lot of situations where, I’ve been hit by waves and the cameras fine, the lens over time you know they’re not completely sealed so the wide angle lens will start to get water in yeah I’ve lost a couple of cameras. OC: Ever lose any tape? Eric: No, I never lost tape; I’ve actually ripped open a camera to get tape out, because I knew there was big wave on it. So, you know, I had to open the carriage up as it was jammed in there, and I thought it’s more important to get this back to post, we can fix the camera later than just leaving it to let that go somewhere for somebody to take it out, so I just took the camera apart myself got the tape out. Tom is always saying don’t lose anymore cameras out there.