Coming up on Jonathan Bird's Blue World, an epic film project adventure involving a
remote cave, rappelling, cave diving and an IMAX camera!
I'm diving into one of the most remote, most protected caves in the world.
In a most unlikely place: deep beneath the Nevada desert.
It all started in 2016, when the Blue World team started work on a giant screen film called
Ancient Caves.
It's about a group of cave paleoclimatologists using the formations in caves to study the
ancient climate.
One of the most important shoots of the film involves the research being done at a remote
site near Death Valley, called Devil's Hole Cave.
If you google Devil's Hole, you will probably find this, a highly protected small pool in
a crack in the rocks which harbors the Devil's Hole pupfish, one of the most endangered animals
in the world.
Devil's Hole is part of the Ash Meadows National Wildlife Refuge and administered
by the National Park Service.
Devil's Hole Cave, not to be confused with Devil's Hole, is about 600 feet away, up
a path into the hills.
Watch out for scorpions!
The entrance is protected by a locked cage.
The science team, Dr. Yuri Dublyanski, Katee Wendt, and Dr. Gina Moseley, (who is one of
the lead characters in our film) have a special permit from the Park service to take core
samples in the cave for their research.
But getting in there is not as easy as it looks.
All right!
Be productive!
I should probably put my light on, huh?
I first went caving when I was 13 and so that led into my interest in cave science, because
I was caving before that.
I was in the air cadets.
I was doing a lot of outdoor activities when I was younger.
And then I studied geography because of my interest in the outdoors and the fascination
with "how does this form" and "how does that form?"
And then one thing just led to another and now it's great to have a job that involves
office work, lab work and being out in the field.
For me that's fantastic.
While the science team just goes up and down a single rope, getting our film gear in there
adds an additional challenge.
We're setting up some pulleys and hardware.
But there's another twist.
At the bottom of this cave is water, and our team has a special permit to explore and take
water samples for the scientists.
Getting the dive gear in and all the way down to the water is a huge undertaking.
Our first day of production begins at our rented house in Pahrump Nevada, about 45 minutes
from Devil's Hole.
Assistant Director Julia Cichowski is planning for the day while Rick King, Zach Peterson
and I are out in the garage getting the gear set up.
Cameraman Tim Geers is building some sun shades so we can see our monitors in the bright desert
lighting conditions.
And the next morning, we awake to gray skies and rain.
In the desert.
So under cloudy IMAX-unfriendly skies we head out to Devil's Hole Cave with our portable
production office.
With crew and cast over 20 people and no bathroom within miles, the main purpose of the camper
is actually just to provide "facilities" in this remote spot.
But it also gives us a place out of the wind to work on gear.
Gina, Katee and National Geographic photographer Robbie Shone lead the charge up to the cave.
Robbie is our cave lighting expert.
With such nasty weather, we can't shoot exteriors, so we need to move our production
inside the cave for the day.
What I was thinking for the first shot to get would be our star rappelling into the
hole.
Robbie goes in first so we can start sending gear down to him.
Meanwhile, I have to figure out how to get a $60,000 RED Weapon 8K camera system down
a 60 foot vertical shaft.
So let's not destroy the RED!
Once Tim, Robbie and I are down there with the camera and tripod, it's time to start
setting up the first shot.
Our goal is to make the audience in the theater look up and follow Gina down into the cave
just as they would in real life.
But first, we need some lighting.
Direct light in caves looks terrible because you can't see the patterns in the rock.
The trick is hiding the lights at oblique angles to produce dramatic shadows.
What did you bring it down one power setting?
I like that.
Tim can I see the other one?
That's pretty good actually!
Rick tell me when she's ready but don't send her until I give you the go!
And we are rolling and this is Gina descends take one!
All right send her down!
I do have some experience with cave photographers and they take a lot of time to get things
set up so I'm quite used to doing this again, doing that again, move the right foot here,
the left arm there, and sort of thing.
I'm quite happy to do that when I know the final product is going to be something that's
really good, so I didn't mind.
It was fun and I was happy to do it for the end goal.
My only complaint was that it might have taken a little long.
I thought it was a really good shot.
Alright Gina is all set, pull her back up nice and slow.
We tested this in a warehouse and it totally works!
We lifted him!
That's how I'm getting back up!
While Gina is perfectly capable of climbing out of the cave on a rope on her own, we expect
to do this scene a few times, and it would wear her out to keep climbing up.
So we rigged a block & tackle system to pull her up.
I was a bit nervous I must admit about getting on the winch because it's a system I'm not used to.
I kind of like to trust myself if you like, so putting my trust in other people was a
little bit scary at first when they first winched me up out of the cave, but it was
fine and exciting.
Oh this is awesome!
Action!
In the next take, Gina comes down much faster and smoother and the shot is perfect.
That's a great action shot.
There you come right into the cave.
Woo hoo.
Nice, you are coming right down, you come into the light, perfect landing.
For the next sequence, we need to get down to the lower chamber.
Getting down there means squeezing through a small restriction—a tiny hole between
the rocks.
Fitting through isn't that bad, but passing all the camera gear down there is a delicate
operation.
Behind the scenes cameraman Pierre Seguin moves into position for some shots.
Suck it in Pierre!
Ohh!
I want to see Tim…it's going to be insane.
After the squeeze, we descend down a steep slope to the water.
Just a tiny pool with very little room to work.
Our first task is shooting a scene of the scientists drilling a core sample from the
rock.
Do you like?
I like.
It's not bad.
How about this?
Yeah.
Darker top of the frame.
I want the light on them, not up there.
Alright, so how's this?
We are using our powerful diving lights made by BigBlue as battery-powered cinema lights.
But we can only run them for a few minutes before they have to be cooled in water.
You know something?
Maybe a little more contrast back there.
I'd like to see some light down in the water over there.
Right.
Uh huh…it adds a little more bang.
What do you think?
Oh yeah, me likey!
Audio on and this is take two, pulling the core out.
Clap.
At the end of a long day down in the cave, it's time to make our way out.
Gina climbs up the slope using an ascender device on the rope.
We have to carry all our gear up and out through the squeeze.
Then Gina demonstrates the prussic technique using a pair of ascenders to climb out of
the upper chamber.
The science team knows how to prussic, but the rest of us get pulled out with the block
and tackle.
Then we load everything back to the vehicles.
This is the last time I'm doing this!
The next morning, we realize just how hopelessly disorganized we were in the cave and the discussion
turns to how we can improve.
So this morning we have some time.
After you guys have breakfast, maybe begin with taking a look at that gear.
And figuring out which gear goes in which bag.
If we need to label them, then we'll label them.
But then we all need to go out there and learn what's in each bag, so when you come out
of the hole and take off your helmet, you know where to put it.
You take off your harness, you know where to put it.
And that will save us all time when we get there.
Alright, we need more bags, that's the bottom line.
Well if we do, we'll buy them.
Yeah we do.
That's easy, we'll just run out to Wal-mart…
Yeah, let's run to Wal-mart and buy a camera bag, climbing bag, audio bag and a lighting
bag.
And that way everything that goes down in there in the hole, gets packed to go down
in the hole.
Don't go away!
Coming up next: the IMAX camera arrives!
The skies are improving, and today we are scheduled to shoot on 70mm film.
The team from MacGillivray Freeman (our production partner) pulls up in their big production
truck and we cross our fingers that the clouds will clear for nice blue skies.
Rob Walker is getting a dolly setup put together.
Getting ready to do a dolly shot!
It requires carrying a bunch of gear up the hill.
Up by the cave, the MacGillivray Freeman team is assembling a nice level track for a dolly
shot.
They use variously sized blocks of wood to get the track perfectly level.
While the track is underway, Robbie and Yuri are getting some safety slings together to
help get the camera into a precarious position for a unique shot.
We're setting up a shot underneath the pergola, looking into the second entrance to the cave.
With safety straps on the camera, the tripod and the people, Rob and I move the enormous
IMAX camera to the tripod.
Rob is one of the most experienced people in the giant screen industry, and I'm incredibly
lucky to get to work with him and learn about the IMAX camera.
Meanwhile, cinematographer Brad Ohlund, a 30 year IMAX industry veteran is talking to
Gina about the shot.
With everyone ready, Brad comes down under the pergola and it's time to shoot.
Okeedokee artichokee!
With the generator running in the background to run the lighting and the incredible noise
of the camera, it's no surprise that we can't record clean sound.
Action action action!
Stop!
Look down!
Okay, I'm good!
Okay zip on down there now.
Look up!
It's worth mentioning that between the film, processing and printing, it costs about $1000
per minute to run this camera.
Long takes are expensive!
She was dangling at the bottom of the frame!
Second AC Jamey Warner runs to the truck for another film magazine.
Each 1,000 foot magazine only lasts for 3 minutes.
So in preparation for the next shot, Rob and Jamey change the film.
This process takes about 5 minutes.
Quite a bit more complicated than swapping a memory card on our RED camera!
Art Cohen, the co-writer and script supervisor is looking on in amusement as we prepare to
rehearse the shot.
At $1,000 a minute, you rehearse!
Yup, by the time you get up here, you're out of frame.
We pick that up in the next shot.
So you're kinda coming out of…Brad where do they go out of frame?
Right about here?
So yeah, once you are up on this thing, we're done.
Next shot.
Alright?
Just walk right…
With our moves down and the sun finally out, it's time to shoot some film!
Slate!
I don't think it was loud enough!
Lunch is served on the mountain with a make-your-own-sandwich buffet, and then it's back to work.
In the next scene, Gina rappels into the cave.
I really enjoy working with Brad, Rob and Jamey all day to shoot in 70mm IMAX format,
the world's most ultimate film format!
Action!
Stay tuned!
Next, the dive team finally gets to go diving in Devil's Hole Cave!
It's time to start prepping for the most challenging part of the project—the underwater
shooting.
I am worried about getting our Nauticam underwater housing into the cave without smashing the
lens or banging it on rocks.
But Yuri has a lot of experience in this cave, and he has a brilliant solution based on using
an inexpensive yoga mat to protect the housing.
The next morning Brian Kakuk is filling tanks for the dive.
One of the more monotonous parts of the project.
Brian is not only the lead diver on this project, but he was my cave diving instructor.
Just trying to keep the neighbors happy.
With him is Mike Young, a rebreather and cave diving expert.
These guys are world renown cave divers.
I am truly honored to be in the company of greatness.
We hit the road, and you will notice that the weather is beautiful on the first day
of underwater shooting.
I'm no dummie….I make Zach carry the camera housing up to the cave!
With so much gear to move to the water, Brian heads down to help Mike get the process started.
I rappel down next.
And then Rick sends the camera down inside a big duffel bag.
Getting the gear to the site is extremely difficult.
Even though we're only like 200 feet from the entrance, it's a very difficult 200
feet from the entrance.
It's all vertical climbing, lowering of equipment.
You have to have a very good and strong support team, willing to work every day both lowering
and hauling both equipment and people.
So you need a good strong team.
Mike is working like a mole running gear back and forth from the upper chamber to the water.
About an hour into this process, I realize that I have no idea what we would be doing
without him!
He's pretty impressive, I'll tell you that!
Alright, all the lights on.
Okay, rolling.
Quiet on the set.
Loading tanks, take 3, action!
But remember we are not just going diving, we are making a film about research here in
Devil's Hole Cave.
That means I need shots of the process.
So I take some time to get a shot of Yuri handing a tank down the squeeze to Gina.
Love it!
Beautiful!
Soon we form a kind of fireman's brigade to pass gear down through the squeeze.
The last little bit to the water isn't that far, but it's a huge pain to move gear down
it.
If you drop anything, it will go into the water and may never be found.
At one point we accidentally dropped a light.
It didn't stop until it hit a shelf at 150 feet deep.
With our stuff all piled on top of itself, we have to take turns putting our gear together
and getting into the water.
Gina comes down to check on us.
She is nervous about Brian's dive.
So we're really excited to get these samples and we're also a little bit scared about
the diver and his safety because obviously we are not going down and I'm always a little
nervous about other people collecting samples for me.
But yes I'm very excited and I'm sure Brian is excited too.
Brian is going to 300 feet to take water samples for Gina's research.
So we are not just making a film about Gina's research but actually assisting with the research.
It means that all the divers are multi-tasking.
Todd hops in first.
The good news is that the water here under the desert is 93 degrees.
That means it's actually too warm for wetsuits.
So we are all just wearing lycra skins and nobody gets too cold.
Jonathan let me know when I can move into your position.
Today our plan is to get the lay of the land.
Fewer than a dozen people have ever dived in this cave.
There are some guidelines installed, but we do not know their condition.
We also have no idea what the cave looks like.
Todd and I are going scouting for good locations for shots, while Brian and Mike are going
to figure out where to do the deep dive for water samples and form a plan.
Finally, somewhere past noon, we start our dive.
Todd and I descend from the pool down a 45 degree crack that mirrors the room above.
We have tied off a pair of oxygen decompression cylinders at 20 feet.
We are not planning a decompression dive, but it's never a bad idea to be prepared.
Todd leads the way as we follow the guideline down into the depths.
Everything down here is covered in a fine layer of silt, so we have to be really careful
with our fins.
The ceiling of the cave is like nothing I have ever seen.
The pillowy formation is called mammaliary calcite—formed by calcite precipitation
in super-saturated water.
While being mindful of the fragile nature of the old guidelines, we have a look around.
We find a huge chamber that drops down at that same 45 degree angle.
Famous cave diving pioneer Sheck Exley went down this very route in 1991 when he explored
this cave to 436 feet, making it one of the deepest--if not the deepest—cave in the
United States.
At about 100 feet I find a large piece of rock, which broke off, revealing the thickness
of the calcite that had grown on the underlying bedrock.
But calcite is now forming over the break, like a thin layer of frosting.
In a few thousand years, this whole thing will be white!
We turn around and head back up.
At the top of the deep chamber, we have a look around.
Then Todd leads the way back towards the entrance.
All the rocks that have broken and fallen have become covered in calcite, making them
all white and rounded, like big marshmallows.
This cave has been submerged for a long time.
There are no dry cave formations like stalactites or stalagmites.
Everything has the rounded, pillowy look of formations made by underwater calcite deposits.
In shallow water, we explore some overhangs and shelves.
But none of the passages go anywhere.
Some broken pieces of ceiling show folia formation, made in a section of the cave where the water's
surface touches it.
And a thick broken piece of calcite shows the layers of deposition that Gina and her
team can use to tell us much about the water that created it.
We decide to swim the other direction and explore the other end of the cave.
The guideline leads through a restriction.
I decide to see if I can fit through.
It doesn't help that my right tank doesn't have enough weight and it's floating up.
Still, I make it through just fine.
As soon as we see it, Todd and I both know that we will be filming a scene with this
restriction in the film.
It's perfect.
Just like the other side of the cave, this side just goes down and down.
Since we want to do the filming as shallowly as possible (for safety and bottom time) we
are not exploring anything very deep.
So we head back through the restriction.
After a short safety stop, we head back to the tiny pool at the surface.
More people have been to the moon than have been diving in this cave, making us pretty
darn lucky.
Alright we are rolling on the lights, we are rolling on the video, we are rolling on sound.
This is "going under" take three…action!
Alright Mike are you set?
All set.
Got the bailouts?
Bailouts and safety bottles.
Alright, man let's do it.
Be safe guys.
Over four days, we dive and film underwater scenes in Devil's Hole Cave.
It's a great honor to work in a place that is so special, so rare and so protected that
fewer than 12 people have ever been allowed to dive here.
Our dive team is so small that we have very little behind the scenes footage of the actual
underwater filming.
But trust me when I tell you that you are going to want to go see this in an IMAX theater,
especially considering that Devil's Hole is only one out of six spectacular locations
we're filming, for Ancient Caves, the ultimate cave diving film!
That's a wrap!
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