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Eric Greenspan is Hungry is a cross-country, off-the-beaten-path adventure, a wild ride that leaves nothing to the imagination. World-renowned climber Jimmy Chin and filmmaker Elizabeth "Chai" Vasarhelyi talk about the challenges of making Meru, a documentary about Conrad Anker, Jimmy Chin, and Renan Ozturk's attempt to make the first successful ascent of the Shark's Fin on Mount Merua€”a climb that has thwarted every previous summit attempt by the world's most elite climbers.
Grizzly Creek Films specializes in filmmaking that marries compelling storytelling, dynamic characters, and unparalleled imagery. National Geographic photographers describe the moments behind the shots, and editor Annie Griffiths explains the concept behind the new National Geographic book, Simply Beautiful Photographs.
Additionally, I am trying to get BASE jumping legalized in our ‘Land of the Free,’ the USA. Walking on the rope is another name of adventure that was really daring to walk on the rope at this height.
After a close family friend died of pancreatic cancer, 15-year-old Jack Andraka began working on a way to help future patients.
Chef Eric Greespan and his co-pilot Captain Mauzner are hitting the pavement, making their way on a great American road trip, documenting their carnivorous quest for the ultimate meat experience. Eric and Mauzner go straight to the source tracking down some of our nation’s most unexpected game to discover the homegrown and home-cooked traditions the locals they meet along the way have to offer. While hogs make a tasty meal, Eric and Mauzner discover putting one on the table is easier said than done. If the guys can land a hog during the hunt, Doug has promised some of his most-prized recipes to bring to the table.
Read more about Meru, the film.Upcoming Events at National Geographic LiveThe National Geographic Live series brings thought-provoking presentations by todaya€™s leading explorers, scientists, photographers, and performing artists right to you.
From our home base in Montana to the far corners of the globe – we deliver productions defined by authentic emotion, heart-pounding action, and breathtaking natural wonders. This video features stories by David Doubilet, Jodi Cobb, Michael Melford, Sisse Brimberg, and Jim Blair. This pursuit of the unknown and following dreams that may or may not be attained are the most important principles we portray in the National Geographic Special. I also pioneer a new route on El Capitan, where I free solo the most exposed portion of the 3,000-foot wall by down climbing a route called Lurking Fear, traversing across Thanksgiving Ledge, and then finishing up the last 600 feet of the route Freerider, to the summit of El Capitan. Now 17, Jack is a 2014 National Geographic Emerging Explorer who studies cancer diagnostics. Each presentation is filmed in front of a live audience at National Geographic headquarters in Washington, D.C. The show captures Potter’s quest for true human flight, with first feats in free soloing and wing suit flying in Yosemite, California, and British Columbia, Canada.


I focus completely on my breath, my connection with the line, and making it safely to the other side. From my vantage point on the summit of the Cathedral Peak, the moon was higher in the sky and it looked as the moon always looks to us mortals on the ground.
Here in the United States, those of us who pursue human flight are treated as criminals and are forced to travel abroad to seek one of man’s most fundamental desires, to fly free. The episode examines Potter’s unique blend of daring, determination, and pursuit of the unknown. First I visit ‘bird scientist’ Brett Tobalski at the University of Montana and learn about wing shape and flight efficiency.
Shortly afterwards, my closest companion-dog-friend, Whisper, and I travel up the West Cost to Squamish, British Columbia.
There I free solo across a much more demanding highline on the Chief and also refine my wing-suit technique, by flying from the beautiful cliff tops to the sea. Tony makes me a custom wing suit and teaches me how to fly it effectively while skydiving together. Then I team up with my friends Wayne Crill, Damien Kelly, and Jimmy Marinello, for the first free ascent of the massive big wall  Mount Bute, in the British Columbia coastal range. We called this talk The Making of Meru to try to give you guys some insight on how a story like this, you know a climb like this of rather epic, historic proportions can be translated into a film for a general audience that may have absolutely no knowledge of climbing. And finally, I wing-suit fly off of Mount Bute for one of the most amazing flights of my life. Pete custom tailors my wing suit and smoothes out the back curve of the airfoil by integrating the BASE container to the suit itself. For years and years and years Conrad, who was my mentor had been dreaming about this climb.
We went and made an attempt and failed, and then made a second attempt and through the process I made multiple edits of the film and it didn't quite get to where I wanted to get and so that's when I actually met Chai in 2012.
I'd just heard that she was a filmmaker and we met at this conference I was supposed to give a talk, actually about Meru.
And when I finally had a chance to watch what Jimmy had sent me, I was just struck this material, I'd never seen anything like it before. And what was so special about this material is unique to Jimmy and Renan and their particular skill-set where they are professional climbers and also professional shooters.
I mean, we struggled for a while in terms of exactly what needed to be included what was the point, like how do you set up the stakes in a way that makes sense because just the accuracy of how we described the mountain was very important to you. And I do different types of expeditions all around the world and some expeditions are really based on the production where the production kind of almost finances or funds the trip and it's really about shooting and coming back with a story.


We had, you know, 400 yaks and a huge team when we went to Everest to shoot The Wildest Dream. And there's, you know pros and cons to that kind of shooting because you miss a lot of shots that you wanna set up but you know, you're obviously very busy climbing. And we set out to climb with seven days of food we brought this two person portaledge that barely fits two people and we were fitting three people in it but with like tons of alpine climbing gear. So, you kinda keep your mouth shut and you know that the climbing is the priority and so, in a way there's this pressure almost like sometimes you're almost scared to bring out the camera because you might be slowing down the climb. I mean, just a zillion details here that, you know they're not backing up their footage they're bringing a finite amount of cards up on the mountain, alright they have no batt-- like no way to charge their batteries.
And so, weight is a real issue but I can't, you know, as a documentary filmmaker I can't conceive of not being able to back-up my footage. So, it just charges these shots I mean-- it's a lot of pressure and that's one of the things that makes the footage just so special.
You know, so that there's five seconds in front of it in the beginning of the shot and there's five or ten seconds at the end of the shot so the editor has some space to cut.
It posed this, you had these like kind of jewels of footage yet with some very real-like narrative constraints around it where there just wasn't that much.
Gangotri, I'm like, a€?Great!a€? No, it was classic because we'd be sitting in the editing room and everybody would be glued to the screen and we'd be watching this clip and it'd be like this great, great clip and everybody is excited and then it would end and then everybody would look at me. We're at 20,000 feet, I'm like trying to stack the rope because Conrad's basically starting to get to the point where like, You're still shooting? You should be re-racking the gear.a€? But that's hard to explain to your editor when you're trying to make a film. Jon Krakauer: The Shark's Fin in Euro Central (unclear) This climb has seen more attempts and more failures than any route in the Himalaya. It's this weird nexus that sort of it's the point where heaven and earth and hell all come together. The thing that gives it the name the Shark's Fin is this 1500 foot blade of this beautiful, flawless granite way up high, you know, 20,000 feet. You gotta be able to ice-climb, mix-climb and you gotta be able to do big wall climbing at 20,000 feet. It's all that stuff wrapped in one package that's defeated so many good climbers and will probably defeat you and maybe will defeat everybody for all time.



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Comments to “Nat geo adventure making tracks”

  1. Aska_Padnoska writes:
    Leading cause of non-traumatic death and severe injury.
  2. Nomre_1 writes:
    Safe exposure (.1mW/cm2), but opinion as to what is in fact.
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