National Geographic's Incredible Wildlife Journeys: Technology in Wildlife

Immerse yourself in the extraordinary adventures of the natural world with THE new series Incredible journeys with animalsthe premiere of which is scheduled for National geographic on November 19 and Disney+ And Hulu on November 20. Hosted by Jeremy Renner, the show captures animals making epic, dangerous but necessary migrations. From the icy terrain of Antarctica to the depths of the Pacific Ocean, Incredible journeys with animals illustrates the strength and determination of the diverse species on our planet.

Innovation and technology today had the opportunity to speak with Kim Jeffries, the cinematographer and underwater cameraman whose work is in the upcoming series’ “Ocean Odysseys” episode. This specific episode partly follows the fascinating journey of a humpback mom leading her newborn across the Pacific, risking everything for the next generation. In addition to exploring innovations in wildlife filmmaking, Jeffries shares the unique challenges of underwater filmmakers and the role of technology in continuing to raise awareness for wildlife conservation in the future.

Innovation and technology today: How has technology evolved in wildlife filmmaking and what role do you think it plays in capturing animal activity, especially for a series like Incredible journeys with animals?

Kim Jeffries: Without all this technology, we wouldn’t be able to capture a lot of these things. We use technologies that allow us to be completely silent in the field, such as low-light technology. We actually used it in the humpback whale sequence when we were shooting towards dusk or dawn.

I think technology is evolving in a really incredible way, and we’ve been able to use it. The speeds at which we were able to film can capture behaviors that could never be observed with the naked eye. We’ve used tags on humpback whales to capture some of their most intimate moments, and they’ve produced data and video for scientists and all those kinds of crazy things that go along with advancing natural history and push the limits of what we can film.

I&T today: What unique challenges have you faced as a cinematographer when capturing animal migrations? Has technology helped overcome this problem?

Jeffries: One of the things we use when we film humpback whales is a rebreather. It’s an older technology, but it’s so good that it’s been around for a very long time. Rebreathers themselves have completely transformed diving. It’s basically a diving system where you catch your exhaled breath. We breathe in 21% oxygen here, then exhale about 16%, depending on what we metabolize.

The rebreather takes that air and reclaims it, removing the CO2, then you or the computer adds more oxygen to keep it at a survivable level. But the rebreather itself, because it recovers exhaled air, allows you to dive completely silently, without bubbles. This type of technology is essential in any type of underwater filming environment.

We do not disturb the animals. We are practically invisible. Animals still fully sense and are aware of our presence, but they are much more accepting of it. Without it, there is no way to get those intimate moments, like a baby whale sleeping under its mom.

I&T today: Can you explain the difference between underwater cinematography and traditional land-based filming?

Jeffries: Communication is obviously an important thing. We just don’t communicate at all. Once the dive team is underwater, unless there is a presenter or host, we no longer have communication. So it’s a team of two people alone in the ocean with surface support. If you are underwater, there is no communication.

Visibility is another factor. The animals are much harder to track because once they dive, they disappear. And also the dangers. This is not to say that land-based filming is without danger, but we currently face not only wildlife dangers, but also boat traffic and other dangers in the ocean to which not only animals, but so do we, because we film things. they meet.

There’s also a lot more equipment. Everything has to go in its own place. It’s incredibly physical. I have a rebreather on my back that weighs about 50 pounds, plus an extra bailout tank for safety that weighs about 30 pounds. I now have an underwater camera that weighs about 50 pounds on land. So it’s just an incredibly physical thing that you have to deal with, alongside limited visibility. It’s a pretty hostile environment there.

I&T today: You mentioned that you have no communication once you’re filming. But did you work with any scientists during filming? And if so, how did this collaboration influence the way you filmed the animals?

Jeffries: The scientists received all the footage we recorded after the show, and then we also partnered with them to use an ROV (remotely operated vehicle) and a drone. So the scientist mainly worked with the drone operator. She was collecting estimates of the population size and density of humpback whale pups.

We played with an ROV a bit. I don’t know if the technology is yet up to par with that of an underwater diver. But there are incredible investments being made in ROV technology, so I’m curious to see where this will take us.

And then, a lot of this behavior was simply never recorded. So pure audio and video data are simply invaluable. We recorded two behaviors, both visual and audio, that have never been done before. This in itself is useful for science.

I&T today: Could you share a memorable, even thought-provoking, experience with our readers during filming?

Jeffries: We encountered a fishing gear entanglement on a whale during filming. It was probably one of the most emotional stories I’ve ever had to film. It is clear that animals are complex and have emotional and social structures. And it’s so clear that there is empathy and support.

Even in the birth sequence of the humpback whale, there is this feeling of support and community that you don’t expect animals to have. And for me, it’s incredibly memorable. Hopefully this translates to other people to care a little more and not view these things as beasts or unintelligent beings, but rather to sort of see the other inhabitants as sort sensory creatures deserving of protection.

I&T today: National geographic has this magical way of educating and entertaining, but also inspiring the public to care more about wildlife. What role do you see technology playing in continuing to raise awareness for wildlife conservation in the future?

Jeffries: Without technology, none of this is possible. We have cameras giving us live underwater feeds 24/7, which is absolutely incredible. And without this ongoing coverage, we probably wouldn’t have any of this information. People say that, more than ever, we are seeing animals in different places. But I don’t know if that’s necessarily the case or if it’s just one determining factor.

I truly believe that the availability and accessibility of technology to everyone has truly changed the way we learn and perceive animal migrations and travels. I think it’s the access to technology for everyone and the increase in technology available to everyone underwater that is fueling this trend towards more information.