Fighter Pilot

Fighter Pilot

Fighter Pilot: Operation Red Flag

2004 / filmed in 15/70 (IMAX)

Synopsis

Fighter Pilot focuses on the experience of Captain John Stratton, a fighter pilot participating in Red Flag, a demanding, high-tech air combat exercise that prepares U.S. and Allied pilots for the realities of war. The film takes audiences behind-the-scenes of the Red Flag exercise, follows an Air Force training mission over the Nevada desert and reveals the special teamwork that allows pilots to succeed and survive under pressure.

About the Film

  • Release date: December 2004
  • Format: 15/70
  • Duration: 44 min.
  • Produced by: The Stephen Low Company
  • Distributed by: K2 Communications and The Stephen Low Company
  • Currently in exhibition in select theaters: check local theater listings.
  • Available for license in 15/70, 8/70 and HD formats

Visit the Fighter Pilot website: www.fighterpilotfilm.com

Credits

  • Director: Stephen Low
  • Producers: Pietro Serapiglia, Stephen Low, Michael Williams
  • Executive Producers: Jan Baird, K2 Communications
  • Director of Photography: William Reeve, C.S.C.
 

Clippings

Winner, Best of Festival, LFCA 2005 (Large Format Cinema Association)

WHAT THE PRESS IS SAYING

“Exhilarating….the film succeeds in making pilots of us all.” [**** 4 stars]
— New York Times

“You can forget about all those old-school Imax tricks here. Five minutes into Fighter Pilot, your stomach will be doing the rumba when an F-15 Eagle zooms straight up into the sky (the land beneath going, going, gone) and then . . . starts . . . spinning.”
— Washington Post

“Fighter Pilot is never shy about exploiting the prodigiously magnified audiovisual resources of Imax films. Indeed, it often adroitly enhances them.”
— Washington Times

“Red Flag flies as a tribute to these heroic folks and provides a rare supersize peek at the teamwork and dangers involved in flight training. Now, take off!”
— E Online

“It’s hard for a film to go wrong when the stars of the show are dozens of fighter jets in all their roaring, screaming glory. With every shot that features an F-15 thundering across the Nevada desert, the new IMAX movie Fighter Pilot: Operation Red Flag delivers excitement.”
— The Gazette, Colorado Springs

“…the stunning aerobatics will blow you away, while the close-ups enhance the sense of intimacy and urgency. No CGI or special effects here. This is the real thing. “
— The Dallas Morning News

“I’m not one of those people who grew up dreaming about flying, but the new IMAX flight film, Fighter Pilot: Operation Red Flag, made me want to take to the sky.”

“Behind the control panel, you can feel the sun on your face and watch the earth recede in the distance. The rush is palpable, and you will feel it, too.” Times Community Newspapers, Northern Virginia

“Fighter Pilot: Operation Red Flag [is] a state of the art experience that thrusts the viewer into the cockpit of an F-15 Eagle fighter plane during rigorous maneuvers.”

“The 45-minute film should emerge as one of Imax’s higher flyers…..”
— Hollywood Reporter

“Patriotic but not jingoistic…”

“the real reason to see this film is its startling, surprisingly moving, footage of F-15 Eagles breaching from clouds, otherworldly Stealth jets floating into view from the edge of Pacific Science Center’s six-story screen, or a cockpit view of parting heavens.”
[**** 4-stars]
— The Seattle Times

“For every little kid who dreams about flying, the Pacific Science Center has the movie for you… FIGHTER PILOT: OPERATION RED FLAG”
— Seattle Post-Intelligencer, Doree Armstrong

“Easily the most exciting aerial IMAX movie ever shown at the Smithsonian Institution’s National Air and Space Museum.”
— Chicago Tribune, Michael Kilian

Awards

Best Aviation Photography Award—Fighter Pilot; Fly Film Festival, Poland, 2011

Golden Palm Award—Fighter Pilot; Mexico International Film Festival, 2010

Best in Show—Fighter Pilot; Skyfest, Asheville, North Carolina, 2010

Golden Reel Award for Outstanding Achievement in the Motion Picture and Television Industries—Fighter Pilot: Operation Red Flag; Motion Picture Sound Editors, 2006

Subject Background

(From the Red Flag Fact Sheet, Nellis Air Force Base, Nevada)

Established in 1975, Red Flag is a two-week, realistic combat training exercise involving the elite aerial forces from all four branches of the U.S. military, plus their Guard/Reserve components. The exercise is commonly described as being more challenging than actual combat.

Operation Red Flag’s mission is to maximize the combat readiness, capability and survivability of participating units by providing realistic training in a combined air, ground and electronic threat environment while providing for a free exchange of ideas among forces.

Since 1975, NATO and the air forces of 27 other countries have joined the U.S. in these intensive exercises, as well as individual members of other countries (such as India) who have participated as observers.

Red Flag is conducted on the vast bombing and gunnery ranges at Nellis Air Force Base, Nevada, as one of a series of advanced training programs administered by the Air Warfare Center and Nellis through the 414th Combat Training Squadron.

Red Flag exercises have provided training for over 400,000 military personnel, including more than 132,000 aircrew members flying over 350,000 sorties and logging over 600,000 hours flying time.

A typical Red Flag exercise involves a variety of aircraft, including:

  • attack, fighter and bomber aircraft (F-117s, F-15Es, F-16s, F/A-18s, A-10s, B-1s, B-2s, B52s)
  • reconnaissance aircraft (predator, RC-135, U-2)
  • electronic warfare aircraft (EC-130s, EA-6Bs, and F-16CJs)
  • air superiority aircraft (F-15s, F16s’ F/A-18s, etc.)
  • airlift support (C-17s, C-130s, C-5s)
  • search and rescue aircraft (HH-60s, HC-130s, CH-47s)
  • aerial refueling aircraft (KC-135s and KC-10s)
  • space assets

Upon completion of Red Flag, graduates have the equivalent of their first 10 combat missions accomplished.

Volcanoes of the Deep Sea

Volcanoes of the Deep Sea

TWELVE THOUSAND FEET DOWN, LIFE IS ERUPTING

Volcanoes of the Deep Sea

Filmed in 15/70 (IMAX)

Synopsis

Volcanoes of the Deep Sea reveals the astounding sights that lie 12,000 feet below the surface of the ocean, while delivering a real-life tale of mystery as scientists search for an animal that may be one of Earth’s greatest survivors—an ancient species that is decorating the deep sea floor with its strange hexagonal trademark. In pursuit of this elusive animal and an understanding of its mysterious habitat, the film propels audiences from the dramatic sea cliffs of Spain, through two oceans, into deep-sea sites dense with astounding life forms and even into the far reaches of space.

About the Film

  • Release date: 2003
  • Duration: 43 min.
  • Production format: 15/70
  • Produced by: The Stephen Low Company / Volcanic Ocean Films Inc.
  • Distributed by: The Stephen Low Company
  • Available for license in: 15/70, 8/70, HD
  • Available on DVD in stores and online
 

Educators  |  Teacher’s Guide

Volcanoes of the Deep Sea represents a unique opportunity for students and educators to explore one of the great frontiers of science and some of the world’s most extraordinary habitats. See and download the companion Teacher’s Guide for Volcanoes of the Deep Sea.

Credits

  • Stephen Low, Film Director
  • Ed Harris, Narrator
  • James Cameron, Executive Producer
  • Pietro L. Serapiglia, Producer
  • Alexander Low, Producer
  • Richard A. Lutz, Science Director
  • Emory Kristof, Supervising Producer
  • William Reeve C.S.C, Director of Photography
  • Michel Cusson, Composer
  • James Lahti, Associate Producer/Film Editor
  • Peter Rona, Associate Science Director

Awards

Grand Prize, Best Film of the Year—Volcanoes of the Deep Sea; La Géode Film Festival, Paris, 2004

Kodak Vision Award—Volcanoes of the Deep Sea; Giant Screen Theater Association (GSTA), 2004

Special Achievement in Film Award—Volcanoes of the Deep Sea; Giant Screen Theater Association (GSTA), 2004

Honorable Mention for Educational Value—Volcanoes of the Deep Sea – 6th Annual Montana CINE International Festival, Missoula, Montana, 2009

International Finalist, Marine and Earth Sciences—Volcanoes of the Deep Sea; Blue Ocean Film Festival, Savannah, Georgia, 2009

Honorable Mention, Ocean Exploration and Adventure—Volcanoes of the Deep Sea; Blue Ocean Film Festival, Savannah, Georgia, 2009

Honorable Mention, Marine Animal Behavior—Volcanoes of the Deep Sea; Blue Ocean Film Festival, Savannah, Georgia, 2009

Best Scientific Exploration Film—Volcanoes of the Deep Sea; The Explorers Club Documentary Film Festival, New York, NY, 2007

Scientific Literacy Achievement Award—Volcanoes of the Deep Sea; Association for Biomedical Reasearch, 2005

Image Gallery

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Film Trailer

Clippings

Media Clippings for Volcanoes of the Deep Sea

 


 

“Illuminates the dark world of the vents as never before”
—William J. Broad – New York Times

“Unprecedented views”
—Ellen Baskin – Los Angeles Times

“Remarkable”
—Lael Loewenstein – Variety

“Exhilarating…infuses one’s day with an inspiring sense of cosmic humility.”
—Chuck Wilson – L.A. Weekly

“You’ll be amazed…”
—Francine Brokaw – El Segundo Herald

“…a stunning and informative trip to an alien world where life on Earth may have originated. …a visual experience that is almost guaranteed to alter your view of life on this planet.”
—Tom Paulson – Seattle Post-Intelligencer

“Beautiful candy for the eyes.”
—Entertainment Today

Volcanoes of the Deep Sea - poster

Production Notes: Lighting, Filming and Exploring the Coolest, Hottest, Deepest, Most Alien Places on the Planet

More Light than Ever. Before he’d even wrapped Titanica, his 1993 deep-sea experience, Stephen Low wanted to do a film on hydrothermal vents. “We knew the most interesting thing in the deep ocean was not a bunch of wrecks, but the vents,” he says, “easily one of the most important discoveries in the history of exploration.”

It took nearly ten years to bring Volcanoes of the Deep Sea to the screen, but it was worth the wait to do it right. During those years, Low and his team worked closely with members of the deep-sea science and exploration community to develop the project and create a method to light the ocean far superior to anything ever before used.

It was a unique partnership with Rutgers University and leading deep-sea scientists working at the institution that ultimately made the venture possible. Rutgers biologist Dr. Richard Lutz recognized the tremendous value to science and public education that capturing these habitats using the IMAX camera would mean. Although scientists videotape vents on a regular basis as part of their research, no one had been able to light and record these habitats at any significant resolution and scale.

In 1999, with a series of dives scheduled at a deep-sea vent site Lutz was studying, the group saw a window of opportunity…and took the plunge. With some funding in place from the National Science Foundation and investment by The Stephen Low Company, the team began shooting in late 1999, testing a new lighting array and camera configuration on the deep sea submersible Alvin. The test took place during an expedition to a deep-sea vent site known as 9°North, located in the Pacific in 9,000 feet of water. Filming during four dives to the bottom proved that not only was a giant-screen film going to be possible, it was going to be breathtaking.

“It was great,” says Alvin pilot Bruce Strickrott. “Here we are with all these lights and we can see twice as far as normal.” Alexander Low, a producer on the project enthused that the footage “exceeded the team’s expectations.” The dives also revealed new findings chronicled in National Geographic Magazine (February 2003 and October 2000) and American Scientist. Volcanoes of the Deep Sea was on its way to becoming a reality.

With the help of Rutgers University, major funding from the National Science Foundation, and support from science centers, the project amassed a $7.0 Million USD budget (plus an extra million dollars worth of dive time on the submersible Alvin) and production began in earnest.

One of the keys to getting the film right was lighting — no surprise, given that the deep ocean is pitch black. Titanica pioneered the use of HMI lights underwater, offering the best views yet of the ocean floor. After screening a pre-release version, director James Cameron was impressed enough to use the same type of array to help light his Oscar-winning epic on the same subject. Cameron was to become an early investor in Volcanoes of the Deep Sea. As impressive as Titanica was, Volcanoes of the Deep Sea shines even more light — 4,400 watts — out much farther into the water.

Fast forward to August 4, 2001. The research vessel Atlantis pulls out of the Azores. Owned by the US Navy and operated by Woods Hole, the 274-foot (83 meter) Atlantis can chug halfway around the world before needing a break. It carries the film production crew, scientists, and Alvin, modified to accommodate the 200-pound IMAX camera. Also along on the month-long cruise are six members of the film’s education outreach program — a testament to the importance of education in the project.

Flying Blind. Alvin normally operates with one pilot and two scientific observers. But for Volcanoes of the Deep Sea the IMAX camera sits in the pilot’s seat. The pilot steers from the starboard observer’s seat while watching several video feeds. Chief Alvin pilot BLee Williams, who has nearly 300 dives under his belt, says the experience was disorienting at first. “I wasn’t using all my normal senses… What didn’t work was my idea to stand behind the camera and cameraman, lean over them both and look past the IMAX lens out the pilot’s viewport… I quickly went back to looking out the side window and watching the video.” Not only is the pilot flying blind, the cinematographer has to work with no assistant. “It’s a bit improvisational. On Alvin we have to do our own loading. So we’re down there shooting and loading and pulling focus and f-stops all at once — which is a real challenge,” explains Low.

Director of Photographer William Reeve took the first dive, and over the next 17 he and Low would alternate. “Bill’s a very good filmmaker in his own right so there was actually a bit of competition between us — and between the pilots too,” says Low. He says that he and Reeve worked so closely with the Alvin pilots you could call them co-cinematographers. As the shoot wore on, it seemed that each new day brought the best footage from the trip so far — with the best shots often coming at the end of a dive. Williams recalls a particularly memorable dive: “As we flew forward Bill kept saying, ‘Don’t stop. More! Forward!’ So I thought it must be looking good, but I couldn’t see what he was seeing. I had to recalculate where I was going, and what I had seen of the chimneys in front of us and below us — and keep flying until he ran out of film. I think it was the last shot of the day.”

Despite bumping into a few walls and coming to within a yard of 752° Fahrenheit (400° Celsius) vent fluids, Alvin escaped the shoots unscathed, except for the odd little mishap. “Occasionally the booms with the lights would bump into things and that would stretch some of the components — we’d have to fix them at night,” says Strickrott.

Bringing Home the Deep. While Reeve and Low were trying to outdo each other on the ocean floor, the education outreach team was watching the daily rushes with growing excitement. Kristen Kusek is the team’s coordinator, and you’d be hard-pressed to imagine someone better qualified for the job: she holds Masters’ degrees in both marine science and journalism. Kusek’s enthusiasm comes through loud and clear. “Deep ocean hydrothermal vent communities represent the last true frontier on Earth,” she says, “and they offer a unique opportunity for educators to engage students and the public in an oasis of interdisciplinary topics: biology, geology, physics, chemistry, mathematics, science communication, deep ocean film technology and more.”

While Stephen Low has always tried to do the impossible with his films, he’s also always been about much more than just thrills and chills. “The reason the story is so good is that the locations are really spectacular if you can throw enough light out far enough,” says Low. “And that’s the starting point to explore what’s going on down there, which is fantastic. They are fabulous gardens that few people have ever seen. Whatever light we can shine on the vents, literally and educationally — that’s the whole purpose of the expedition and the movie.” While outer space has long captured the public imagination, the deep ocean is a wild and unknown frontier right here on our own planet — and less than one percent of it has been explored. Lutz says Volcanoes of the Deep Sea “gives us a vision of the deep that we’ve never had before — truly it’s a Hubble telescope for inner space.”

Subject Background: A New View of Earth

At the heart of Volcanoes of the Deep Sea are hydrothermal vents—communities of life thriving in the most extreme environment on Earth. Scientific investigation of deep-sea vents has yielded astounding discoveries, opened up important new avenues for science and begun to transform our understanding of life on this planet, and on others. Among the discoveries: Dense communities of creatures fueled not by sunlight, but by Earth’s own heat and chemistry, Microbes that thrive in water hot enough to boil a lobster, Keys to the origin and evolution of life on Earth, Organisms that have survived essentially unchanged through tens of millions of years of turbulent planetary history. The Volcanoes of the Deep Sea giant screen experience is an immersive introduction to this fantastic world of discovery. The film delivers the first extensively lit views of vent habitats ever seen by the public. (Even scientists at the leading edge of vent research are seeing this environment as they have never seen it before). The film also tracks a real scientific investigation, following scientists as they unravel the mystery of the Paleodictyon—a modern link to Earth’s ancient oceans.

Poisonous Gardens. The vents seem like an unlikely place to look for life. Rutgers biologist Dr. Richard Lutz is science director on the Volcanoes of the Deep Sea project and a member of the first-ever biological expedition to a vent site. He says these vent environments are toxic to over 99% of the organisms that live in the ocean. ” But in these “poisonous gardens,” as filmmaker Low dubs them, live some of the most extraordinary creatures on the planet. If life can flourish here, then maybe it can exist almost anywhere. Water in the vents, heated by magma below the crust, is heavily populated by microbes. They form the basis of a unique food chain, one driven by Earth’s internal heat and chemistry rather than sunlight. Finding dazzling communities of creatures living in an ecosystem that doesn’t rely on sunlight has overturned fundamental assumptions about the origins of life. There is even evidence suggesting that life on Earth may have originated in the vents.

Out of this World. The vents have provided a window into the interior of the Earth and insight into the planet’s dynamic nature. The communities that thrive in the extremes of vent habitats are seen as a possible model for how life might emerge and thrive on other worlds. Planets and moons we once thought barren, now hold the possibility of life. Some scientists believe vents may well exist in distant spots like Europa, a moon of Jupiter whose ice-covered surface may hide a deep saltwater sea. “We’ve been taught that all of life on Earth is just this very, very thin skin. And suddenly we’re saying that’s not the only place life is,” notes filmmaker Stephen Low. “These creatures don’t need sunlight. How much life there is down there is anybody’s guess. And that’s what’s so splendid about the movie—peering down into those fissures, we’re addressing those questions.”

Volcanoes of the Deep Sea focuses on one particular dive — a plunge to a volcanic ridge located more than two miles down in the middle of the Atlantic. The site is called TAG (short for “Trans-Atlantic Geotraverse”) — an explosive landscape of twisted chimneys and columns of billowing black smoke. Here, millions of tiny shrimp jockey for position near sulfur-rich emissions pouring from chimneys shaped like something out of a Dr. Seuss tale. At TAG, Volcanoes of the Deep Sea delves into the mystery of life’s survival in toxic, volcanic environments and engages audiences in the search for one of the planet’s most ancient and elusive species.

To unravel the mystery of the vents, the film transports audiences to a variety of different locations, including 9° North, a Pacific vent site where giant tubeworms — six-foot (1.8 meter)-tall white creatures with blood-red tips — stand in graceful, dense clusters. Porcelain white crabs pick their way around and over them, while eerie, eel-like zoarcid fish hover and hunt. The sites are like no other place on Earth. The mid-ocean ridge. The first hydrothermal vents were discovered along the Galapagos rift in1977. They have since been found in the Atlantic, Indian and Arctic oceans. The vent sites featured in the film have a vital connection: they are all located on the mid-ocean ridge, a mountainous, volcanically active cleft in the earth’s crust that snakes through the depths of the world’s oceans. At roughly 40,000 miles (64,400 km) in length, this globe-encircling formation is the world’s longest mountain chain.

Paleodictyon, ancient mystery of the deep. Volcanoes of the Deep Sea takes the audience to the coast of Spain where a unique hexagonal fossil pattern is being recovered from the rugged cliffs by eminent German geologist and paleontologist Dr. Dolf Seilacher. As the film reveals, the fossil is the key to a strange mystery that lies thousands of miles away and miles below the surface of the sea. It was in the Mid-Atlantic in 1976 that Rutgers marine geologist Dr. Peter Rona first spied strange geometric patterns on the ocean floor. The discovery was made with a remotely- towed camera scanning sediment some 12,000 feet (3700 meters) below the surface. Each poker-chip-sized hexagonal imprint was pockmarked with several hundred tiny holes laid out symmetrically, giving it the look of an otherworldly Chinese Checkers board. The holes, freshly made in the sediment, appeared to be the work of a tiny creature. Rona’s find soon caught the eye of Seilacher. Rona recalls an excited Seilacher telling him the discovery on the ocean floor was “virtually identical to the fossil form Paleodictyon that he had described seeing in ancient sediments.” Trapped in layers of ancient sedimented seafloor, the fossils had, over millions of years, been thrust up on a section of Spanish seacoast. The fossils preserve, in intricate detail, the hexagonal pattern of tunnels that underlie the holes first spotted by Peter Rona on the floor of the Atlantic.

The connection with Rona’s find was a revelation: the tiny ocean builders of this hexagonal pattern had survived mass extinctions and the march of evolution essentially unchanged in their behavior for tens of millions of years. On a dive at TAG, during the production of the film, the team was able to get another look at the mysterious pattern he discovered. The drama is captured in the film. Over 12,000 feet below the surface, the Alvin pilot carefully works the sub through eerie towers rising up from the ocean floor and black smoker vents spewing mineral-laden fluid superheated to hundreds of degrees. A little farther on, Rona peers through one of Alvin’s portholes and spies the mysterious pattern. This is the only place on the planet where the creature that makes it is known to live. Describing the view later, Rona says, “There was sedimentation like snowfall, yet the imprint of this ‘animal’ remains clean and sharp. It’s as if it were stamped into the ocean floor with a cookie cutter.” Are these strange formations caused by the same creature that formed Seilacher’s fossils millions of years ago? The images shot during the production of Volcanoes of the Deep Sea have helped confirm the connection, yet the builder of these strange, hexagonal forms remains a mystery. Rona says, “Volcanoes of the Deep Sea is giving us a big boost toward solving the mystery of Paleodictyon by lighting and filming the highest resolution images attainable of the form in place on the deep seafloor, confirming its identity with the fossil form, and providing critical new clues as to its origin.”

Hydrothermal Vent Basics

What are hydrothermal vents? Hydrothermal vents are the key to some of the most extreme and exciting ecosystems on Earth. The Earth’s crust – a thin layer of rock floating on softer underlying rocks – is always on the move. Massive plates shift, slip under one another and pull apart. The world’s highest rate of volcanic activity lies along the Mid-Ocean Ridge, an underwater mountain range that circles the globe like a huge zipper. Here, the ocean floor is spreading as lava emerges up from the depths and cools, creating new crust. At these points, magma – melted rock – lies close to the seafloor. Seawater seeps down through cracks in the ocean floor and is superheated by contact with the hot rocks and magma. This super hot water then shoots back up into the ocean and discharges through an opening in the crust: a vent.

When were the vents discovered and where are they located? The first vents were discovered in 1977, at the Galàpagos Rift, near the Galàpagos Islands in the Pacific. A team of geologists went down to a depth of 8,250 feet (2,515 meters) in the 3-person submersible Alvin (the same sub used by the Volcanoes of the Deep Sea crew). Here, they found water far warmer than they had expected, and a stunning array of life forms. Once abundant life forms were found at the vents, biologists organized an expedition to study them. One of the members of that team was Dr. Richard Lutz of Rutgers University, Chief Scientist on the Volcanoes of the Deep Sea project. In 1985, Dr. Peter Rona, Associate Science Director for the film, led an exploration in the Atlantic, which led to the discovery of the first black smokers and associated new life forms outside of the Pacific. Until that time, it was believed that such hot springs could only occur in the more volcanically active Pacific Ocean. Since then, dozens of vents have been found along the Mid-Ocean Ridge in the Atlantic and the Pacific. They are now believed to exist in all of the world’s oceans.

Are there many different kinds of vents? Yes, there are. Black smokers are perhaps the most impressive. These underwater chimneys spew out huge black plumes. Though we call them smokers, the black clouds pouring from them are not actually made of smoke. Instead, they consist of dissolved minerals precipitating as they come into contact with the near-freezing ocean water. Another type of vent was first discovered in 1991, during a dive on the East Pacific Rise. Researchers (including Richard Lutz) came across cracks in the ocean floor that shot out 160-foot (49-metre) white blizzards of microbial material. The team dubbed these amazing sites “snowblowers.” They are a hint of the astounding amount of microbial life supported by heat in the Earth’s crust.

An extraordinary feature of vents is the speed at which geological processes occur. Biologist and Volcanoes of the Deep Sea Science Director Richard Lutz did a Pacific dive in 1991 at 9°N, a site that had clearly just experienced a catastrophic volcanic eruption. Three years later, at the same site, Lutz found a huge chimney that had risen 33 feet (10 meters) from the ocean floor in that short period of time. Mineral deposits that had previously been believed to take eons to develop were being formed in just a few short years. The ecosystem is also a treasure of valuable metals including gold. Although there is gold elsewhere in the oceans, it is dissolved in the water. Until recently it was thought that there were no actual gold deposits in the deep, until Peter Rona and his colleagues found gold at the TAG vent site.

How are the vent ecosystems different from the rest of the deep ocean? The vents are unlike any other region on the planet. Humans have tended to think of the deep ocean as a vast, empty plain too deep to support life. And it’s true that much of the depths are desert-like. That’s one reason scientists were shocked to find vent sites – even at depths greater than 12,000 feet – absolutely loaded with life. The shock came not only from the depth, but from finding life in an environment that we once would have thought to be completely hostile to its development. For one thing, sunlight is completely absent. Then there’s the temperature. Through most of the deep ocean, water temperature is relatively stable at 35.6° Fahrenheit (2° Celsius). But the water and chemicals spewing from vents can reach 752° Fahrenheit (400° Celsius). This vent fluid is largely made up of hydrogen sulfide — a deadly poison to most creatures. Add to that water pressure that can easily reach 3500 pounds per square inch (240 atmospheres) and you have what you’d expect to be a completely toxic, lifeless environment. Lutz says that if the vent environment existed on land, it “would resemble a toxic-waste site.” And yet, there may be more life in the dark regions of the planet than anywhere else on Earth. A wealth of microbes lives right in and around the vents. Nobody knows how far down they go – but some scientists believe that the biomass (the combined weight) of these microbes and those living throughout the Earth’s crust, may be greater than the biomass of every other living thing on Earth. Perhaps the most radical difference between this ecosystem and those found elsewhere on the planet is that it is based, not on photosynthesis, but on chemosynthesis.

What is chemosynthesis? The rock surfaces near vents and the water around them are absolutely loaded with bacteria. What sets them apart is that they use energy from chemicals dissolved in the hot springs, instead of sunlight, to produce food. In other words, they use chemosynthesis rather than photosynthesis. On land, in fresh water and in the not-so-deep ocean, the key to life is photosynthesis. Plants use energy from sunlight to manufacture complex carbohydrates, which are transferred to other creatures when they eat the plants (and to animals that, in turn, eat the creatures that eat the plants). In the ocean, plankton found near the surface serves the same purpose, using energy from sunlight to manufacture food for other creatures. But the deep ocean is different. Here, without sunlight, there can be no photosynthesis. Instead, bacteria take energy from hydrogen sulfide and manufacture complex carbohydrates from carbon, oxygen and hydrogen present in the seawater. Other animals, like crabs, eat the bacteria, and these creatures are, in turn, eaten by others. A complex web of food relationships comes into being – one based entirely on the conversion of chemicals, not sunlight, into food. Because the vent sites are so rich in hydrogen sulfide, they are absolutely loaded with bacteria – and that’s why life is so rich here.

What kinds of creatures live near the vents? When the first scientists to see a vent saw giant clams littering the ocean floor, they imagined that these mollusks must have come from elsewhere – dropped overboard, perhaps, after a shipboard feast. Then they came across the wondrous sight of other life forms unlike any ever seen before. The vents are so rich in life that it will be years before we have cataloged all of the species that live there. Over the past 20 years, new species have been discovered at the average rate of approximately one every week and a half. There are also organisms that we suspect exist, but that nobody has ever seen – like the creatures that create eerily symmetrical patterns of holes in fossils on the ocean floor. There are far too many amazing animals to describe here in detail – but here is a sampling of some of the creatures that appear in Volcanoes of the Deep Sea. Until a few years ago, no human being had any idea that any of these organisms existed.

Giant Tubeworms: These awe-inspiring creatures are found in vent ecosystems in the Pacific Ocean. They live in strangely beautiful stands, where they grow to over 6 feet (1.8 meters) long. Not only are they big, but they grow fast, too – up to 2.8 feet (85 centimetres) per year! Tubeworms have a long, white body capped with a gorgeous red tip (the color comes from hemoglobin). With no mouth or digestive system, they survive in a symbiotic relationship with the bacteria living within them. In symbiotic systems, two organisms need each other to survive. The tubeworms provide an ideal environment for the bacteria, which, in turn, provide nutrients for the tubeworms.

Vent Crabs: Several species of spindly-legged vent crabs live in both the Atlantic and Pacific. They are among the first species to arrive at new vents – though how they get there is a mystery. The first-ever vent expedition knew they were on to something completely new when they saw swarms of white crabs all around as they approached their first vent. The crabs are ravenous predators who will scoop up bacteria (growing on the ocean floor in mats so thick they are visible), take a nip off tubeworms, eat clams or scavenge whatever carrion they can find.

Giant White Clams: Clams litter the ocean floor near many vent sites. But these are not the same types of clams you’re likely to find in a chowder. For one thing, they reek of hydrogen sulfide when brought to the surface. For another, each one can be as large as a dinner plate. Like the tubeworms, the clams live in a symbiotic relationship with bacteria. While they do have mouths, they don’t eat. Instead, they are nourished by the bacteria that live within them.

Vent Shrimp: While most animals in the vent environment live at varying distances from the superheated water spewing from vents, shrimp thrive right near some of the hottest spots. They crawl around the rock near vent openings, where the concentrations of bacteria are highest. The bacteria grow on the shrimps’ backs, making for a convenient meal for neighboring shrimp. Millions of shrimp jockey for the prime, hydrogen sulfide-rich spots near the vents. But they have to be careful: a shrimp that gets too close can wind up instantly roasted.

How do the vents change our understanding of life? The existence of an ecosystem based on chemosynthesis has overturned many assumptions about the nature of life – in particular, the idea that sunlight is essential for life to thrive. There is evidence that life on Earth may have originated in the vents, rather than in the upper reaches of the ocean. Even more exciting is the prospect of finding life elsewhere in the universe. It seems increasingly likely that life might exist elsewhere in our own solar system; here organisms resembling the chemosynthetic microbes at vents might exist, perhaps forming the base of complex food webs comprised of higher organisms. Lately, much attention has been focused on Europa, a frozen moon of Jupiter. Observations show that the ice covering the planet shifts, perhaps indicating the presence of water beneath the ice – and, possibly, of chemosynthetic-based life forms.

Mark Twain’s America 3D

Mark Twain’s America 3D

Mark Twain’s America

Filmed in IMAX 3D

Synopsis

A journey into the life and times of America’s most celebrated author and humorist. Through live-action 3D and astounding stereo images of the 19th century, Mark Twain’s America reveals this author’s remarkable life, and with it, an era of river trade, railroad expansion, wild-west frontiers, civil war and industrial revolution. Across the nation, people are at work keeping the memory of the 19th Century alive—restoring steamboats, re-enacting battles, driving locomotives and dancing to the music of brass bands. Mark Twain’s America captures these remarkable echoes of the 19th Century in magical 3D and weaves them together with classic stereo images of the era.

About the Film

Mark Twain’s America delivers the giant screen’s first autobiography — revealing through 3D imagery and Twain’s own words, his extraordinary life and times. The film rekindles the dramatic events and rich textures of Twain’s America truly for the first time, through the magic of IMAX 3D.

Release date: 1998
Duration: 40 min.
Format: 15/70 3D
Distributed by: Sony Pictures Classics
For availability / licensing, contact: Sony Pictures Classics
Produced by: The Stephen Low Company for Sony Pictures Classics and Ogden Entertainment
Distributed by: Sony Pictures Classics

Stephen Low
Director / Producer / Writer

Mitchell Cannold / Isaac Palmer / Jonathan Stern
Executive Producers

Andrew Kitzanuk
Director of Photography

James Lahti
Editor / Producer

Alexander Low
Screenplay

Anne Bancroft
Narrator

Alan Williams
Music

Production Notes

Mark Twain’s America was shot in 40 days over a 3-month period—covering many locations where Twain lived or traveled including Hannibal, Missouri; Virginia City, Nevada; Hartford, Connecticut; Elmira, New York; Montreal, Canada; Antietam, Maryland and of course, the Mississippi River.

To relive Mark Twain’s vision of America during his time, the production used an extensive collection of 19th century images, both 3D photographs from the California Museum of Photography at Riverside and 2D photos from Mark Twain research centers in Berkeley and Hartford. The 2D images were digitally converted into effective 3D images indistinguishable in quality from native 3D images.

Super Speedway

Super Speedway

Super Speedway

1997 / filmed in 15/70 (IMAX)
Buckle up. Super Speedway delves into the death-defying drama of Indy car racing and weaves together the stories of some of the masters of the high-speed track. Super Speedway puts audiences in the cockpit of an Indy car and catapults them into world championship auto racing action at mind-bending speeds in excess of 230 miles per hour. At the core of the film’s action is Michael Andretti, taking on the challenge of testing a newly fabricated car and, ultimately driving it in hot pursuit of the championship in the PPG CART World Series. Michael’s struggle is seen in part through the eyes of his father, Mario, who participates in testing the new car and reflects on his own racing experiences and on the art, science and risk of high-speed competition. As a driving legend and as Michael Andretti’s father, Mario provides audiences with insight into the driver’s psyche, the balancing of risk and opportunity, and the unique relationship that exists between two generations of champions.
Set against the drama of the track are two story lines that follow the remarkable craft of creating Indy cars: the restoration of a 1964 roadster — a thoroughbred once driven at Indianapolis — and the building of Michael Andretti’s state-of-the-art Indy car at the Lola car plant in England. In Lola’s shops the powerful new racing machine for Newman/Haas takes shape: its form is milled and molded, and in time-lapse, the final creation is magically assembled on the plant floor by a team of technicians and engineers. Will the new car perform? Will it be fast and forgiving? Testing the car on some of the fastest tracks in the world, Michael Andretti and the Newman/Haas team prepare for the upcoming season, striving to create the winning synergy between car and driver that will help them take the championship. Mario Andretti lends his expertise, taking the car out himself to probe its behaviour and cornering limits. As Michael Andretti’s Indy car is being readied for the racing season, car restorer Don Lyons is hard at work in his workshop, deep in the Michigan countryside. Lyons’ discovery of a vintage 1964 roadster in a farmer’s dilapidated chicken coop has lead him into an extraordinary restoration project that will take two solid years to complete. Only as the film unfolds and Lyons’ lovingly restored machine approaches completion does the illustrious identity of the roadster become known. Struggling toward the PPG CART World Series, the Newman/Haas team turns to wind- tunnel testing with a model to fine-tune the aerodynamic forces at work on Michael Andretti’s car. Smoke and ultraviolet dye stream across the car, highlighting the moving envelope of air around the machine and helping the engineers pinpoint adjustments that need to be made. At race speeds, a delicate balance of aerodynamic forces helps keep the car’s tires in contact with the track and gives the driver crucial control in turns. Testing a new car is an unpredictable, high-risk venture: “You just don’t have the sense of what this animal is going to do,” comments Mario Andretti in the film, “these things can bite.” As Michael Andretti and Mario Andretti scream around the track, pushing the limits of the untried machine, audiences will experience viscerally the driver’s true art and courage. Super Speedway culminates in a spectacular portrayal of the racing season: never-before possible giant screen footage captures the drivers, machines and teams of the PPG CART World Series battling each other for supremacy. Watching from the pits, as his son’s struggle for victory unfolds, Mario considers the great challenges, joys and perils of the sport; he remembers the drivers and friends he has lost on the track — racers whose luck ran out. On the screen, classic archival footage depicts some of the sport’s most dramatic crashes — calamities that are, for drivers, an everyday risk. The season is a challenging one for Michael and the team, but there are proud moments. In the Winner’s Circle, Michael and the other winners douse the press and the audience with jets of champagne. Michael comes in second, after having won five races, more than any other driver, though it is competitor Jimmy Vasser who collects the most points and takes the championship. Don Lyons’ patient restoration work on the 1964 Dean Van Lines Special is triumphantly completed and the white and chrome roadster is rolled ceremoniously out of the workshop and its identity is revealed — it is the very same machine that once initiated Mario Andretti, as a rookie, into the high-profile world of Indy car racing. In the concluding moments of Super Speedway Mario is reunited with the great old machine. “My whole career really began with this roadster,” he notes, as a black and white film clip from 1964 shows a smiling young Mario strapping himself into the car for a test drive on a deserted speedway. In the present, Mario straps himself into the roadster once again as the car’s proud restorer stands by. “The car and I were really made for each other,” pronounces Mario. “I just put my foot to the floor and, as they say, the rest is history.” The engine roars to life and Mario takes the resurrected machine for a drive — hurtling nostalgically through the fall colours of the Michigan countryside.

About the Film

  • Release date: 1997
  • Production format: 15/70
  • Duration: 48 min. and 40 min. versions
  • Produced by Openwheel Productions Inc. / The Stephen Low Company
  • Distributed by: The Stephen Low Company
  • Available for license in 15/70, 8/70 formats

Clippings

“Spectacular. Highly Recommended.”—Stuart Galbraith IV, DVD Talk http://www.dvdtalk.com/reviews/36458/super-speedway/ 4.5 Stars. “Everything about this movie is big – the visuals, the sound, and the subject matter… It is so well done; you can feel the rush of adrenaline through the spectacular you-are-there point of view shots. Super Speedway is the essence of a great IMAX presentation, using the format to the fullest, and telling a great story in the process.”—Sir Terrence, Blu-ray.com http://www.blu-ray.com/movies/movies.php?id=1160&show=review Our score on www.rottentomatoes.com: Super Speedway “Dizzying, Touching and Lyrical… Film history has seen a number of racing car movies…but nothing remotely like Super Speedway.”—Chicago Tribune “A visceral high-definition treatAmerican Cinematographer “Race to see it!Toronto Sun “ExhilaratingThe Gazette, Montreal “What it’s really like to drive an Indy car”—Vancouver Sun

Awards

Best Entertainment DVDSuper Speedway; European DVD Awards, Dublin Castle, 1999 Golden Wheel AwardSuper Speedway; International Reel Wheel Film Festival, Knoxville, Iowa, 2009

Credits

Stephen Low Director/Producer Pietro L. Serapiglia Producer/Distributor Paul Newman Narrator Goulam Amarsy Executive Producer James Lahti Film Editor Andrew Kitzanuk Cinematographer Bill Reeve IMAX® Camera Specialist Gilles Ouellet Composer

Participating Organizations

  • Newman/Haas Racing (technical and logistical support and on-screen participation)
  • Texaco (sponsor)
  • Kmart (sponsor)
  • Championship Auto Racing Teams (CART), (location support and team participation)
  • Banque Nationale de Paris, Canada (production financing)
  • SODEC (Société de développement des entreprises culturelles), Quebec
  • CAVCO (Canadian Audio-Visual Certification Office)

Fast Facts

  1. At top speeds in excess of 230 miles per hour, an Indy car is traveling more than a football field every second.
  2. An Indy car weighs only 1,550 pounds, 220 pounds less than the diminutive Suzuki Swift!
  3. An Indy car rolling chassis (the car without its engine, turbocharger, electronics or tires) costs approximately $420,000 U.S.
  4. Indy cars have a maximum length of 16 feet 3 inches (4.95 metres), a maximum width of 6 feet 6 inches (1.99 metres) and a maximum height of 2 feet 8 inches (.81 metres).
  5. Sweating can cause a driver to lose up to 10 pounds (4.5 kilos) during a two-hour race.
  6. At speed, Indy cars produce so much downforce they could drive upside down on an inverted track!
  7. Indy cars can generate four Gs (four times the Earth’s gravity) of lateral acceleration driving around the fastest corners.
  8. The side tunnels of Indy cars generate so much suction that manhole covers found on temporary street circuits must be welded down so they are not sucked off when the cars pass over them.
  9. Mario Andretti held the world closed-course speed record; he lapped the Michigan International Speedway at a speed of 234.275 miles per hour (377.042 km/h) on July 31, 1993 (broken by Jimmy Vasser, age 31, in 1996).
  10. In 1990, Al Unser Jr. drove the fastest 500-mile race ever, averaging a speed of 189.727 miles per hour (305.347 km/h) at Michigan International Speedway.
  11. In 1995, Canadian Jacques Villeneuve became the youngest ever CART Champion at the age of 24.
Across the Sea of Time 3D

Across the Sea of Time 3D

Across the Sea of Time

1995, Drama / filmed in IMAX 3D

Synopsis

Across the Sea of Time tells the story of an 11-year-old Russian stowaway, Tomas Minton (Peter Reznik), who arrives by boat in New York harbor. Armed with a stereopticon (a 19th century viewer for stereo pictures) and a handful of 3D photographs, and old family letters from the turn of the century, the young Tomas journeys through Manhattan on the trail of his ancestors—searching for a family to call his own.

About the Film

Across the Sea of Time was produced in 15/70 3D as the signature film for the Sony IMAX Theater at Lincoln Center in New York. The film provides an extraordinary and compelling blend of modern fiction and American history, bringing the late 19th and early 20th Centuries to life through revolutionary use of archival stereo images on the giant IMAX screen.

Released in 1995, Across the Sea of Time was exhibited in theaters around the world and remained as a permanent attraction at the Sony IMAX Theatre at Lincoln Center in New York for years, drawing millions of New Yorkers and visitors from around the world. Based on its New York venue alone, the film remained continuously among the world’s top-grossing motion pictures for months.

Release date: 1995
Duration: 51 min.
Format: 15/70 3D
A Presentation of: Columbia Pictures and Sony New Technologies
Distributed by: Sony Pictures Classics
For leasing availability, contact: Sony Pictures Classics

Stephen Low
Director

Stephen Low
Producer

Andrew Gellis
Executive producer

John Barry
Music Composer / Conductor

Andrew Kitzanuk
Director of Photography

James Lahti
Editor

Production Notes

Across the Sea of Time was created with the IMAX Solido 3D camera system, with a soundtrack shaped for the revolutionary Personal Sound Environment (PSE). The project was filmed across Manhattan, and on Coney and Ellis Islands.

The past/present concept for Across the Sea of Time was born when director/producer Stephen Low, who also directed the highly acclaimed The Last Buffalo (which opened the Sony IMAX Theatre at Sony Theatres Lincoln Square in New York City in November 1994) did an IMAX 3D test from a set of antique, “stereoview” photographs owned by the Museum of Photography at the University of California. These black-and-white 3D shots depicted New York City at the turn-of-the-century (19th-20th) and, while Low, and his father Colin (who had made the very first IMAX 3D film in 1986), had long been experimenting with the use of stills in IMAX 2D, their experiment yielded something remarkable. These images had great fidelity and a powerful realism that could bring the past alive.

Because the museum possessed the original glass plate negatives, the photographs could be transferred to the IMAX format in 3D with enormous fidelity. As Low describes it, “these tiny, little images intended to be looked at through a small stereopticon, and never intended to be blown up, were suddenly life-size. Pictures of these long-ago dead people were suddenly very, very poignant.”

Clippings

“It is a timeless story and probably the most basic story about why New York is such a great city. The spirit of New York has always been the spirit of immigration. There are more people of different languages, backgrounds, religions, practices, and races in New York than any place else. It is the most diverse city in the world. Across the Sea of Time shows off New York City and, most importantly, shows off the wonder of New York City’s people.”

—Mayor Rudolph Giuliani

Flight of the Aquanaut

Flight of the Aquanaut

Flight of the Aquanaut

1992 / filmed in 15/70 (IMAX)

Synopsis

In Flight of the Aquanaut, a diver encased in a special metal diving suit descends into the ocean depths to inspect damage to a reef ecosystem. The routine investigation soon plunges audiences into a dramatic adventure as the life of the diver, and the creatures of a coral reef are pitted against the legacy of a sinister shipwreck.

About the Film

Flight of the Aquanaut captures the beauty and danger of ocean exploration, weaving real ocean footage together with a dramatic and mythical storyline to deliver a potent environmental message. Structured as an ‘eco-fable’, the film provokes thought about our role and responsibility with regard to the world’s oceans and the creatures that live there.

Filmed almost entirely on location at depth in the Bahamas, Flight of the Aquanaut features spectacular underwater vistas, reefs, eels and dolphins. Key dramatic sequences in the production were filmed at a depth of 100 – 120 feet using rotating teams of SCUBA divers and a one-atmosphere Newtsuit diving system.

Flight of the Aquanaut was awarded The Board of Directors Award for Best IMAX film at the 1993 Hawaii International Film Festival.

Release date: 1992
Duration: 35 minutes
Format: 15/70

Stephen Low
Director
Underwater Cinematography

Paul Mockler
Additional Direction / Underwater Cinematography

Stephen Low / Pietro Serapiglia
Producers

Peter Chermayeff & Michael J. McGrath
Executive producers

James Lahti
Editor

Production Notes

To put Flight of the Aquanaut on film, Director/Producer Stephen Low, Associate Producer Paul Mockler and a crew of up to 20 divers and technical personnel spent four months diving from a specially equipped Hatteras sport -fishing boat and from additional support boats.

Working out of Port Lucaya on Grand Bahama Island in the Bahamas, the team filmed almost entirely underwater, using dozens of locations, from coral reefs in the sparkling turquoise shallows, to the massive underside of a supertanker, to a deep-water shipwreck; they filmed sharks, turtles and moray eels, and swam with trained dolphins in the open ocean. Working around storms and aiming for periods of maximum water clarity, the team was able to capture the Bahamas’ unique underwater vistas.

To shoot some of the key dramatic sequences and achieve a high level of realism, the team worked at depths of 100 feet and more, far deeper than Hollywood productions which manufacture the deep sea experience in tanks or in shallow water. In an ironic twist, the divers, operating with conventional SCUBA equipment, could operate for only a limited time at depth, while the film’s ill -fated character, the well-equipped ‘aquanaut’ was capable of remaining below the surface for many hours without difficulty.

Despite a rigorous diving schedule and the hazards and complexities of creating dramatic sequences at depth (some of them inside a shipwreck), filming for Flight of the Aquanaut was completed without incident.

The Newtsuit

The Aquanaut travels inside a NEWTSUIT, a state-of–the-art diving suit that allows its wearer to dive as deep as 1,000 feet while staying at atmospheric pressure and retaining much of normal mobility. Its one atmosphere environment eliminates the pressure-related physiological hazards that have always hampered (and all too often killed) unprotected divers operating in deep water.

The NEWTSUIT is an atmospheric diving suit or ‘ADS’. Doing extended work in deep water without a suit or a submarine involves ‘saturation diving’, a process in which divers allow their body tissues to become ‘saturated’ with nitrogen. Diving in deep water exposes divers to such physiological hazards as ‘the bends’, nitrogen narcosis, high-pressure nervous syndrome and bone necrosis. A diving suit which maintains a low internal pressure protects its wearer against such pressure-related hazards.

In addition to the inherent dangers of saturation diving, the process is also long and expensive: a dive of twelve hours duration for example, will be preceded by a day of compression and followed by eight days of decompression in a large hyperbaric chamber. With the right suit, saturation diving no longer becomes necessary.

Titanica

Titanica

Titanica

1991 / filmed in 15/70 for IMAX release

Synopsis

Titanica follows an expedition to the wreck site of the R.M.S. Titanic, 12,500 feet below the surface of the Atlantic. Filmed from the twin deep sea Russian submersibles Mir 1 and Mir 2, Titanica immerses audiences in the adventure, as the international team of explorers investigates the hull and debris field on the ocean floor. In counterpoint to the expedition, the film reveals the building of the great ship, documented in stunning period images and, poignantly, the remembrances of an elderly Eva Hart, once a seven-year-old passenger aboard the doomed ship. More About the Story. Bringing out the drama in a non-fiction documentary is part of director Stephen Low’s approach to filmmaking and Titanica is no exception. Low directs real people and real situations to tell a story, create character development and capture emotions in a way that makes audiences feel they are watching a drama. Low weaves several stories throughout the feature-length film: the construction of the Titanic, the world’s largest and most luxurious ship in the Belfast shipyards; the personal and haunting tale of the sinking as told by survivor Eva Hart; and the high-risk underwater adventures of the members of the international expedition who come to the project with separate missions. Titanica focuses on six main characters, all radically different, each with his own obsession about the Titanic, and each at the pinnacle of his profession. “The expedition members are absolutely wild and amazing people, far more outrageous than anything you’ll see in a drama,” says Low. “We meet Dr. Steve Blasco, a geologist obsessed with mud; Dr. Lev Moskalev “a.k.a. Big Lev”, a biologist crazy about tiny microbes; Ralph White, a world expert on the Titanic who’s treasure-obsessed; Dr. Anatoly Sagalevitch, leader of the expedition and an engineer trying to save his research vessels by publicizing them; Emory Kristof, a renowned National Geographic photographer and inventor and finally, Evgeny Chernjaev, the very quiet submersible pilot who has nerves of steel and did almost all of the dives. It’s a really wonderful story of these underwater people.” Juxtaposed with these vivid characters is a Titanic survivor from England, Eva Hart. Eva was seven years old when the Titanic went down with her father. “She remembers everything— she talks about her childhood experiences on the ship, playing the piano. She’s the one who touches on what it really means. I liked her story because it’s real. She sees it as a personal tragedy. Eva is the emotional balance in the film, the counterpoint to human obsession,” says Low.

About the Film

In Titanica, the story of survivor Eva Hart and her family unfolds in counterpoint to a major international deep sea expedition to the wreck. To capture the wreck site of the Titanic on film, the production team developed a unique deep-sea HMI lighting system and integrated it into the Russian Mir submersibles. This was the first time that so much light had been taken into the abyss. Titanica became an inspiration for other filmmaking enterprises to follow. Filmed entirely in the giant screen 15/70 format, Titanica delivered images of the deep and of the great ship that remain unsurpassed in their clarity and fidelity. Release date: 1991 Duration: 40min & 95min versions Format: 15/70 Produced by: Low Films International / The Stephen Low Company Produced for: Undersea Imaging International Ltd. (IMAX Corporation affiliate) and Imax Corporation in collaboration with P.P. Shirshov Institute of Oceanology and Undersea Research Ltd. Distributed by: IMAX Corporation For licensing availability, contact: IMAX Corporation Available on DVD in stores and online.  

Credits

Stephen Low Director Stephen Low / Pietro Serapiglia Producers Andre Picard / Dr. Joseph MacInnis Executive producers Andrew Kitzanuk Director of Surface Photography Paul Mockler Submersible Camera Operator Bill Reeve IMAX Camera Specialist Gordon Harris Deep Sea Camera Support Christopher Nicholson Lighting Engineer James Lahti Editor

Awards

Maximum Image AwardTitanica; IMAX Hall of Fame, 2011 Genie Award for Best Feature Length Documentary—Titanica; Academy of Canadian Cinema and Television, 1993

Clippings

“Eerie, thrilling and poignant” —Los Angeles Times “Titanica a delight” —Washington Post “One of the best IMAX adventures ever” —Baltimore Messenger ***** [five stars] “easily the finest IMAX feature since The Dream is Alive—a rare pleasure… a fine film by any standard.” —The Leader-Post, Regina “A Mesmerizing Picture” —Arizona Republic “If you only see one IMAX movie in this lifetime, I recommend ‘Titanica’” —Rebecca Ray, Kentucky Standard “[The] full potential of IMAX technology is realized” —San Diego Union Tribune “Although several movies have been made about the sinking of the Titanic, none…is as factual and covers more information with such effect.” —Inside the Turret, Fort Knox “Simply awesome” —Saskatoon Star Phoenix “Fantastic. Top-notch IMAX” —The Voice Tribune

Production Notes

The expedition was a joint project of IMAX Corporation, The Stephen Low Company / Low Films International, the P.P. Shirshov Institute of Oceanology, and Undersea Research Limited. The expedition ship was the Akademik Mstislav Keldysh; the Keldysh is 440 feet (134 metres) in length and is the world’s largest oceanographic research vessel. The Keldysh is operated by the Moscow-based P.P. Shirshov Insititute of Oceanology (part of the Russian Academy of Sciences). There were 130 crew members aboard the Akademik Keldysh including participants from Canada and the United States. The expedition lasted 29 days (June-July 1991). During the expedition there were a total of 17 dives to the Titanic (depth: 12,500 feet or 3,800 metres) in the manned Russian submersibles Mir I and Mir II. The dives lasted an average of 18 hours each. The launch procedure for each dive takes about 30 minutes; recovery time can take from 45 minutes to an hour. It takes about two-and-a-half hours to descend the 12,500 feet to the Titanic site. The submersibles weigh 20 tons (18 metric tons) each and each costs approximately 20 million U.S. dollars to build. Each submersible carries a crew of three and has three acrylic plastic portholes, each with a thickness of just over seven inches (181mm). The Mirs are designed to withstand an external pressure of 9,000 pounds per-square-inch, the equivalent of an ocean dive to over 20,000 feet (6,000 metres). The pressure where the Titanic lies is 5,500 pounds per square inch. To film the Titanic, special retractable camera mounts were installed, allowing the IMAX camera to film from the centre porthole of either submersible. The most powerful lights ever used in the deep ocean were mounted on retractable booms on both submersibles. These systems included specially developed HMI and quartz iodide lights. Powered from the submersibles’ batteries, the twin lighting systems were able to generate the equivalent of about 150,000 watts of incandescent light. The IMAX/Titanic ‘9l scientific expedition pulled together deep-sea experts from Russia, the United States and Canada. The seeds had been sown some two decades earlier when Dr. Anatoly Sagalevitch, head of manned submersibles at Moscow’s P.P. Shirshov Institute of Oceanology, stated after he saw the IMAX film “To Fly” at the Smithsonian Institution’s National Air and Space Museum, “I have to bring these cameras into the sea.” Presaging events to come, marine scientist Dr. Joseph MacInnis and National Geographic photographer Emory Kristof approached Imax Corporation in 1984 to discuss doing a deep ocean project, with the Titanic as the objective. Fascinated by the Titanic, Director Stephen Low initially wanted to film the legendary shipwreck in IMAX on the l986 Ballard expedition but his backing fell through. Recalls Low, “In retrospect it was good that we didn’t go at that time and do it poorly. When the l99l expedition came along, it was a lot more exciting. The technology was better; the subs were new; there was a lot more power available and the lighting technology had improved.” In 1990, André Picard, former V.P. Film Imax Corporation, met with Low, MacInnis, Sagalevitch and Director of the Shirshov Institute, Vyacheslav Yastrobov. Titanica was launched. “We had a very short window in which to mount the expedition and had to do a lot of things for the first time,” recalls Picard who pulled together the financing and brought the partners to the table. All the elements came together by June, l99l, and the expedition sailed forth to the site of the Titanic on the largest research vessel in the world, the Akademik Keldysh. The Russian ship, a city block long, carried a total of l30 people and the world’s most advanced submersibles, Mir I and Mir II, designed to withstand pressures of 9,000 pounds per-square-inch (psi), more than enough for the two-and-a-half mile (4,000 metres) descent to the Titanic.

Subject Background

Scientific Objectives. The Titanic wreck site became a deep sea environmental observatory for the Russians and Canadians. Scientists and engineers from the Russian Academy of Sciences, the Geological Survey of Canada and Petro-Canada Resources took advantage of the state-of-the-art technology used to film Titanica in IMAX to investigate environmental processes active in the deep ocean. The superbly-equipped submersibles were invaluable for the scientific research. Designed and built by Finland’s RAUMA-REPOLA Oceanics to the specifications of designer/engineer Anatoly Sagalevitch, the submersibles were modified to accommodate the weight of the IMAX cameras, lights and power package. A sea water scrub device regenerates the atmosphere during the dives “making everybody feel well,” smiles Sagalevitch. The high-power battery system, recharged after every dive, has twice as much power as other submersibles, which could spend a maximum of l0 hours on the sea bottom as opposed to the 20 hours on the Mirs, which travel at a top speed of five knots with a range of 18 miles (30km). The emergency life support time for the three-man crew is 72 hours. Using the Titanic as a time gauge, the expedition’s chief scientist Steve Blasco, a Canadian marine geologist, and Lev Moskalev, a Russian biologist, conducted an integrated scientific program and made a number of observations: the ocean depths at 12,500 feet (4,000 metres) are not the inert, isolated, lifeless void as generally perceived to be. This has a bearing on using the seafloor to dump waste. Bottom currents of l/4 to l/2 knot or more sweep through the site with considerable irregularity and with no consistent direction. These currents move bottom sediments around to form patches of sand ripples, like those seen on the beaches of the Caribbean. The pilots had difficulty in navigating the subs which often bumped into the wreck, shoved there by the currents. Using Kristof’s 3D video footage, the scientists could measure the size of the sand ripples to determine the magnitude and direction of bottom currents. Some l0,000 years ago, a spectacular massive submarine landslide, taking the form of a ‘turbidity current’ of fluidized muds, sands and gravels ripped down the upper slopes of Titanic Valley to come to rest as a rubble heap on the floor of the valley. These ancient deposits (more than one-million years old) underlying the Titanic wreck are very dense. The bow section penetrated only 16 feet (five metres) into these tough sediments, and wreckage from boilers to deck benches rest atop these sediments. If normal ocean-bottom oozy muds had been present, the Titanic and its debris would have been buried. The articulated arms of the Mir submersibles were able to reach out and push 12-inch-long (30 cm) titanium tubes into the seafloor to recover sediment core samples. Analysis showed that these sediments may not absorb or contain toxic or other wastes that may be disposed of in the future. Toxic waste canisters would barely penetrate the surface at best, and may even become damaged on impact, possibly releasing toxic waste for recirculation in the environment and food chain. The environment appears to be dynamic and biologically active. Twenty-eight species of animals and four species of fish inhabit the wreck site. Corals, crabs, shrimp, anemones, starfish and large rattail fish create the impression of a biologically alive, limited activity environment. Worms and other animals inhabit bottom sediments, generating burrows, mounds and ‘bioturbating’ the sediments. Two processes, chemical and biological, are corroding the Titanic at a substantial rate. However, it looks like the biological— bacteria metabolizing the iron, producing rusticles— is more dominant. Myriads of rusticles (shaped like icicles) dangling from all parts of the ship, piles of fallen rusticles on the seabed adjacent to the hull, rivers of rust flowing from the wreck and across decking and plating coated with rust combine to create this first impression. Follow-up research includes studying the issue of the ship and its dynamics, how it broke up and sank. Remarks Blasco on first viewing the IMAX footage, “Not only did the quality and the resolution of IMAX imagery allow us to make positive identifications, but we saw the extent of the sediment disturbance more clearly on screen than through the porthole. We actually saw how much the impact of the Titanic had plowed up and disturbed the sea floor sediment creating big piles 30 to 75 feet (10 to 23 metres) of upthrust sediment. We didn’t see that before. And Moskalev saw four additional species of animals. The IMAX film has made a huge scientific impact.” Like all the expedition members, Blasco was emotionally moved by the wreck of the Titanic. He reminisces, “The sub was pretty minuscule compared to that gigantic wreck down there. Even though I knew it was 882 feet (270 metres) long, when we came up over the bow and actually sat down on the deck, it was huge. It was spooky and haunting. It took us a long time to get over it.”
The Last Buffalo 3D

The Last Buffalo 3D

The Last Buffalo

1990 / filmed in IMAX 3D

Synopsis

The Last Buffalo weaves together the visual worlds of a rich and savage ecosystem and of a sculptor who works relentlessly to fashion its wild creatures in metal. Set in the spectacular badlands of Southern Alberta, The Last Buffalo is a poetic 3D exploration of the wilderness—a dramatic and surreal poem with a poignant environmental message.

About the Film

Described as “a work of art” by the press, The Last Buffalo’s magical imagery and poetic visual storytelling demonstrated the tremendous possibilities of the revolutionary new IMAX 3D medium, helping drive forward the adoption of this technology around the world. Produced for the Suntory pavilion at Expo 90 (Osaka, Japan), The Last Buffalo became one of the most popular attractions at the fair, drawing over 1,940,000 viewers over six months. The film was the second produced in the revolutionary 15/70 3D medium for IMAX 3D theaters; it went on from its Expo debut to be exhibited in theaters around the world. The film is still exhibited more than a decade-and-a-half after its release. Release date: 1990 Duration: 27 minutes Format: 15/70 3D (also available in 2D) Produced by: Wild World Films Ltd., a subsidiary of IMAX Corporation Distributed by: IMAX Corporation Stephen Low Director Roman Kroitor and Sally Dundas Producers Susumu Sakane Executive Producer Andrew Kitzanuk, C.S.C. Director of Photography Noel Archambault Stereographer James Lahti Editor Eldon Rathburn Music

Production Notes

Filmed principally in the badlands of Alberta, Canada, the 3D production of The Last Buffalo employed a two-camera, beam-splitter rig to capture the left and right-eye 15/70 stereo footage. The large apparatus weighed nearly 2,000 pounds, posing unique logistical challenges for the team as they worked to capture remarkably intimate footage of plains buffalo, mountain lions, bears, cranes and other creatures. The film features sculptor William Lishman as he shapes likenesses of these creatures out of molten metal.

Clippings

“…startling… engrossing… must-see”
—Seattle Times

“an absolute must…a stunning cinematic achievement, surely one of the most innovative and majestic representations of the art of film…”
—Raymond Tomlin, The Vancouver Echo

“A landmark in the marriage of art and motion picture technology” ***** [5 stars]
—Michael Walsh, The Province

“breathtaking”
—Bill Brownstein, The Gazette, Montreal

“…a visual tour-de-force”
—Robert Bloomberg, StereoWorld Magazine

The Last Buffalo was awarded Japan’s Minister of the Environment Award (1990) and received the Outstanding Film Award from the Audio Visual Association of Japan (1990).

Skyward

Skyward

Skyward

1985 / 15/70 (IMAX)

Synopsis

Skyward follows a family of Canada geese from birth to first-flight and records the elegance of these birds in extraordinary slow-motion flying sequences. Filmed in the Canadian wilderness, the story of the geese is woven into a tapestry of vignettes that document humankind’s longtime fascination with birds and flight.

Skyward dramatizes our attempts to imitate winged flight, modern society’s effect on the fragile habitat of wild birds and the conservation efforts being made to rescue endangered species. The film features conservation work with Brown pelicans by Ralph Heath and the Suncoast Seabird Sanctuary, coverage of Englands “Birdman Rally” flying contest and aerial footage of the Canadian Forces’ “Snowbirds” aerobatic flying team.

About the Film

Skyward was directed by Stephen Low in 1983-84 for the Tsukuba Expo (1985). Sponsored by the Suntory Corporation of Japan, the film was the featured presentation in their pavilion at the fair and was distributed to IMAX theaters world wide.

Release date: 1985
Format: 15/70
Duration: 24 min.
Produced by: IMAX Corporation
Distributed by: IMAX Corporation
For availability, contact: IMAX Corporation

Stephen Low
Director, Writer

Susumu Sakane
Executive Producer

Roman Kroitor
Producer

Leonidas Zourdimas
Director of Photography

Eldon Rathburn
Composer

Eugene Fedorenko
Animator

Production Notes

As Stephen Low’s giant screen directorial debut, Skyward, illustrates a unique ability to capture the lyrical and mysterious qualities of wildlife on film. To achieve the astounding close-up flying sequences in the film, the filmmaker worked with a small team of naturalists. The production funded the hatching, imprinting and training of a flock of Canada Geese for the project. The geese were trained to fly in close proximity with a boat, making possible unique slow motion footage of the birds taking off and flying in their wetland environment. The team also used a specially developed wind tunnel to film flying geese.

One of the offshoots of the work on Skyward has been the experimental application of this technique for the re-establishment of bird migration routes using ultralight aircraft (Canada geese, Sandhill cranes and Whooping cranes).

Some of the techniques developed for Skyward were used subsequently to capture IMAX 3D footage of flying Trumpeter swans for a sequence in the Stephen Low film The Last Buffalo (1990).

The techniques pioneered for these giant screen productions have since been used by other filmmakers in other formats, but the clarity, intimacy and lyrical quality of these original images has arguably never been equaled.

Skyward is also notable as being the first IMAX film to feature cel animation sequences and the first IMAX film to incorporate slow motion shooting (at 45 frames per second) —a necessity for capturing the rapid wing beats of the geese in the film.

Clippings

“Stunning”
—Variety

“a spectacular visual journey”
—Beth Landman, New York Post

“A Canada goose flies into view, every tiny feather perfectly defined. It is closer and more clear, surely, than a bird has ever been caught on film. Skyward…is stunning.”
—Toronto Star

“A magnificent 25-minute flight”
—Michael Walsh, The Province