Electronic Cinematography:
Recovering the Bell from the Edmund
Fitzgerald
by Jeffrey Cree
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The only knowledge most people have of the
729 foot ore carrier the Edmund Fitzgerald is based on
the 1976 ballad by Gordon Lightfoot, "The Wreck of the Edmund
Fitzgerald."
The song depicts the last living moments of
the 29 crew members and the ship that was the queen of the Great
Lakes fleet. On November 10, 1975 in heavy seas, what had once
been the longest ship upon the Great Lakes sank to the depths
of Lake Superior. All aboard were lost when she broke apart just
16 miles short of her destination, Whitefish Point, Michigan.
With no survivors to tell her story, and the
difficulties associated with exploring in waters over 500' in
depth, very little was known about how the Edmund Fitzgerald found
her way to the dark depths of Lake Superior.
Although earlier expeditions had photographed
the wreck it was not until the 1994 Great Lakes Expedition by
the Harbor Branch Oceanographic Institution of Fort Pierce, Florida
that the fate of the Edmund Fitzgerald was fully documented.
The mighty Edmund Fitzgerald lay on
the bottom ripped and torn into two pieces 125 yards apart with
her cargo scattered in mounds between the two sections.
After several early expeditions many of the
family members joined together in an attempt to halt any further
exploration at the wreck site. Fearing exploitation of their
loved ones, the families requested that the wreck be designated
as a permanent maritime grave site and enlisted the aid of Tom
Farnquist, Director of the Great Lakes Historical Society.
Having participated in the Harbor Branch Expedition
and having seen the wreck, Farnquist had a vision of providing
a fitting memorial to the ship and her crew at the Great Lakes
Shipwreck Historical Museum at Whitefish Point.
Farnquist outlined a proposal to mount an expedition
to recover the ship's bell. The bell would then be restored and
used as the centerpiece for an expanded exhibit featuring the Edmund
Fitzgerald. As part of this project, a documentary would
be produced about the bell recovery for use at the exhibit and
as a means of supporting the project.
Previous expeditions to the wreck site had
been limited to low-quality research video. Due to lack of light
at these depths, video imaging is generally confined to small
fields of view and the low resolution of most high sensitivity
camera systems. It was not until Tom Farnquist connected with
Emory Kristof at the National Geographic Society that the concept
of using movie quality lighting and high definition recording
systems began to take shape.
Kristof had been a member of the 1991 Titanic expedition
where the use of deep water HMI lighting had been used to produce
the IMAX film Titanica and the CBS Television Special, Titanic,
Treasure of the Deep [photographed by Bob Keys, SOC, this
year's (1996) Cammy winner for video camera operating].
Since that project, Kristof has used the HMI
systems successfully with many deep water projects. Kristof had
also participated in a series of tests using Sony's HDVS cameras
and had seen the potential of producing high quality images in
less than ideal conditions.
Kristof arranged for the loan of the required
HDVS camera and recording system from Sony Electronics Inc. The
deep water HMI lighting equipment was secured from DeepSea Power
and Light, The National Geographic Society, and Producer/Director
Jim Cameron.
Since only one HDVS system was available, topside
shooting would be completed using a DVW-700WS widescreen Digital
Betacam Camcorder and a 35mm Arriflex BL camera. The Digital
Betacam and 35mm formats would be converted to High Definition.
Kristof realized that these lights and camera systems would add
a whole new dimension to the images of the Edmund Fitzgerald.
Since I had been a participant in the 1991 Titanic expedition
with the Russian MIRS vessels and the Deep Water Geothermal Expeditions
with Woods Hole Oceanographic Institution's ALVIN, Kristof knew
of my interest in deep water imaging.
On these previous projects our team had produced
images unlike any seen from the deep waters beyond the capability
of surface divers. The use of state-of-the-art video and film
imaging systems in conjunction with HMI lighting had introduced
the deep water world to high quality imaging.
Now higher resolution images and expanded fields
of view could be achieved, adding excitement and entertainment
value to projects. Because of my background and experience with
the Sony HDVS camera system and deep water imaging I was asked
to DP the project. Topside imaging would be handled by Scott
Erlunder and Larry Elliot, using 35mm film and Digital Betacam
equipment.
The success of deep water projects is largely
dependent upon acquiring a proper operating platform. In this
case we needed interior space sufficiently large to support the
HDVS equipment, including enough battery capacity to run the
video equipment and lighting system for prolonged periods.
Since the wreck settled in Canadian waters,
Kristof enlisted the aid of the Canadian Navy's 245-foot HMCS
Cormorant , which housed two submersibles that were capable of
the task.
SDL-1, a five-man submersible could provide
the space and power required for use as the camera platform.
Pisces IV could be used as a second light source. Kristof then
contacted Phil Nuytten of International Hard Suits Inc. about
the use of a newtsuit.
This one-atmosphere diving system is known
to be exceedingly articulated and capable of diving more than
1,000 feet. Unlike the two submersibles it would be perfect for
maneuvering in the tight confines between the tower and the many
antennas atop the Fitzgerald.
Nuytten arranged for his most experienced operator
Bruce Fuoco to be available for the dives. Fuoco's unique experience
operating the required torch in 500-foot depths would later prove
invaluable. Once the rig-support tug Anglian Lady was secured
as a work platform for the newtsuit all the elements were in
place to remove the ship's bell from the Edmund Fitzgerald.
Arranging for all the permits, the specialized
hardware and the funding for a project of this magnitude was
a monumental undertaking. Farnquist and his staff at GLSHS spent
months working their way through the governing bodies of two
countries encountering court battles along the way before all
preparation details were complete.
Space and power are always major concerns when
it comes to rigging video systems on deep water submersibles.
SDL-1 is spacious compared to most deep water systems. The front
chamber provides space for four people with a large 24" view
port at the front. At the rear is a lockout chamber that allows
egress from the submersible. A tunnel connects the two chambers.
This interconnect tunnel became home for the HDV-10 UNIHI HDVS
Recorder and the camera control unit for the HDC-500 HDVS camera.
Installation of the hardware was no easy task.
The recorder weighed almost one hundred pounds and had to be
lifted up from the bottom of the lockout chamber to the tunnel
with every dive. The camera head was suspended by stretch cords
at the center of the view port since there was no room for a
normal fluid head. The camera had to be supported by hand at
all times. Power was another issue. All the HDVS equipment required
110 volts. This substantial load required two inverters operating
from the submersible's batteries.
The HMI lighting was powered by special ballasts
connected directly to the DC batteries of the submersible. Mike
Cole of the National Geographic Society and the submersible crew
of the HMCS Cormorant were responsible for replacing three of
SDL 's five external lights with two 400 watt and one 1200 watt
HMI.
These lights would provide the basic illumination
for the camera. Great care was taken to place the main lighting
as high and off the center line as possible.
One of the 400 watt lights was mounted low
and to the right on a pan and tilt system which allowed trimming
of the light's position at depth. This positioning would minimize
the back scatter from the sediment particles in the water.
The Pisces IV was rigged with basically the
same configuration with one exception: the 1200 watt HMI was
placed at the center above the view port so it illuminated the
crew's field of view. This would simplify positioning the submersible
once we reached the wreck site. It is very rare to have two light
sources when working in deep water, but the Canadian Navy's ability
to operate three submersibles on the site simultaneously greatly
improved our imaging capabilities.
On June 24, 1995 the first of the series of
dives involving the SDL-1 and Pisces IV began. We started to
familiarize ourselves with the site and experiment with the lighting
and camera systems.
Our initial contact with the Edmund Fitzgerald was
at the bow. Sitting upright, this 200 foot section of hull was
entrenched in the lake bed almost to the summer draft line. Damage
was extensive, both from the storm and the impact with the lake
bed.
The 220 foot stern section lay about 125 yards
from the bow inverted with her powerful prop sitting almost 40
feet from the bottom. The name Edmund Fitzgerald could
still be seen just a few feet above the bottom sediment. Much
of the cargo was visibly scattered on the lake bottom between
the two sections of the hull. Extensive imaging of the wreck
site provided the first complete record of the damage to the
ship.
Afterward, a series of experiments determined
that Pisces IV should be positioned at the front of the wheelhouse
to provide the required side fill light. SDL-1 could then shoot
and light from the starboard side to provide the clearest viewpoint
while allowing the submersible to steer into the prevailing current.
Pisces, having an articulating arm capable
of supporting the full weight of the vessel would have the advantage
of holding on to the metal rail at the top of the wheelhouse.
This would allow us to maintain and control the light position
precisely for long periods of time.
SDL-1 would have to be "flown" to hold its
position against the current. The 9mm lens I was using on the
HDC-500 provided approximately 80 degrees of view angle. To maintain
the desired field of view the submersible had to be located just
six inches from an antenna stand on top of the bridge. After
three days of testing and image-making we determined that all
systems were now ready to begin the final series of dives and
the removal of the bell.
The HDC-500 worked flawlessly in this environment.
The HMI lighting allowed for an exposure of between f/4.0 and
f/5.6 for most of the production. The large dome of the SDL accommodated
some camera movement, even considering the wide angle lens supplied
by Fujinon.
Besides the typical problems associated with
making images in a black underwater environment, operating the
equipment in the cold wet submersible interior added further
difficulties.
With outside water temperature about 30 degrees
Fahrenheit the temperature inside the submersible would drop
considerably as the dive progressed. In addition, large amounts
of condensation would develop on all of the metal surfaces. This
condition would increase considerably as the submersible surfaced
to the warmer water above.
It was critical that we keep the tape machine
running at all times to prevent condensation from developing
on the drum and destroying the tape. Towels were used constantly
to wipe down the metal surfaces preventing water from dripping
into the equipment. After every dive we quickly removed all of
the video equipment from the submersible.
On July 2nd the Cormorant sailed into position
over the wreck to join the Anglian Lady as we began final preparation
for the bell recovery dives. Upon arrival we discovered that
the Anglian Lady had slipped her moorings during the night and
had to be repositioned over the Fitzgerald." This "minor problem" took
8 hours to correct but was important and necessary due to depth
of the wreck and limited tether of the newtsuit.
Early on July 3rd I boarded the SDL -1 along
with Petty Officer Frazier, Chief Petty Officer Bilodeau and
Emory Kristof. The addition of the Anglian Lady required us to
modify the launch procedures from those used during the test
dives. The position of the moorings from the Anglian Lady limited
the Cormorant's ability to launch the submersibles directly over
the wreck site. The added distance would increase the required
time to position the submersibles on the wreck by more than an
hour. This put an additional drain on our battery capacity and
decreased our dive time by 30%.
All problems considered, this was still the
beginning of a dive that can only be described as "space-like." The
illumination on the newtsuit gave it an iridescent appearance.
The bright yellow and silver oversized "body" maneuvering as
though it were weightless around the ship was like a scene you
would expect to see from a space shuttle.
To prevent blinding clouds of sediment from
developing, operator Fuoco had to move slowly as he got closer
to the deck of the Fitzgerald. If generated, sediment clouds
could take 20 to 30 minutes to settle, stopping all activities.
After a brief photo opportunity around the
pilot house Fuoco settled down to the work at hand. He first
attached lifting straps to the bell and secured it to a line
from the Anglian Lady above. When the cutting began we witnessed
a bright orange glow as the bell was carefully separated from
its watery grave. The cutting proceeded slowly as the right mix
of gases had to be found. It took several hours just to separate
the main stanchion and one of the two forward supports. By then
the battery levels of the submersibles required our return to
the surface.
July 4th was the celebration day for the project.
Both local and national press members were transported to the
Cormorant to record this historic moment. Much of our morning
was spent answering questions about the equipment and procedures
used to record and recover the bell.
Family members were transported to the site
on the yacht Northlander so they could view the recovery privately.
Anticipation mounted as the decks were cleared and the submersibles
were launched for the final bell recovery. As green surface water
covered the dome and the SDL slowly dropped to darkness, all
the equipment was shifted into its working positions.
Emory Kristof stayed topside to help with
the press and to record the bell at the surface. Capt. Ken McMillian
assisted me in the submersible, nervously assuming the tape operator
responsibilities. It was amusing to see a man of command responsible
for hundreds of men so worried about hitting two little buttons!
Petty Officer Frazier guided the SDL-1 into position with Pisces
IV following quickly. Turning on one light at a time, we could
see the bridge of the Edmund Fitzgerald gloriously illuminated,
revealing its prestigious bell. Even after a night of large swells
it was still securely attached to the deck as if refusing to
let go.
After a cloud of sediment settled Fuoco positioned
himself for the final cut. After a minor miscue by the captain,
we now began to document the orange glow of the torch. As hundreds
of bubbles rose to the surface, the last support was cut clear.
The pull line on the bell had been carefully positioned so that
it would clear the wreck in the opposite direction of the two
submersibles. As the bell broke free it almost "jumped" from
the deck, clearing the wreck by almost 30 feet. Fuoco then flew
to the bell and guided it through the torch lines and ship moorings
to the surface. With this phase of the project completed we returned
to the surface to face the difficult part of the day…the press!
Over 30 journalists had gathered to document this event for posterity.
On July 5th we readied for yet another dive
to the Edmund Fitzgerald. This time a replica bell inscribed
with the names and positions of the lost crew members would be
returned to the wreck to mark the gravesite for eternity. Earlier
that morning Cheryl Rozman, daughter of Watchman Ray Cundy had
walked the deck of the Cormorant , marveling at the effort and
cooperation needed to execute this project. Eighty-five Canadian
sailors, the cooperation of two countries, extensive financial
contributions, 3000 pounds of specialized equipment, 180 hours
of bottom time, three submersibles, plus a small armada of support
vessels! But all was not complete. In a fitting final tribute
to her father, Mrs. Rozman placed a can of her Dad's favorite
beer on the SDL . Bruce Fuoco later secured it on the bridge
of the Fitzgerald. One last gift from a daughter to her father.
Finally, the launch to permanently affix the
replica bell. This symbolic memorial was lowered into position,
guided by the newtsuit. The large weighted base just fit between
the radar masts, so it took Fuoco some time to position the platform
properly. When the replica bell was secured in place it was time
to make one last survey of the wreck. Fuoco and the newtsuit
retreated to the safety of the ship's tower so that the two submersibles
could reposition on either side of the wreck. From SDL , the
blue glow of the HMI mounted on Pisces was just visible through
the windows of the bridge. The newtsuit then entered the scene
from the bow using the light of the submersible to survey the
bridge. These steps were repeated until we completed our documentation
of the bow.
On July 6th we moved our operation to the stern
where we planned to shoot what would be the title shot for a
National Geographic spread. Again, the Pisces was used to back
light the scene as we positioned the newtsuit on the prop shaft.
Even the enlarged man-figure of the newtsuit
was dwarfed by the size of the mighty prop that had propelled
the 729-foot ship. After selecting and positioning the lights,
Fuoco then surveyed the stern. One final shot and our job was
complete. The newtsuit and SDL traveled the length of the inverted
hull of the stern to survey the damage. SDL had to travel the
length of the hull backwards to insure the safety of Fuoco and
the newtsuit. Petty Officer Frazier guided the vessel, carefully
maintaining a position just clear of the deck as Fuoco followed
using the light from SDL and the 200 watt HMI he carried in his
hand. As we cleared the rudder we lowered the submersible to
reveal what was to become my last view of this mighty ship. The
proud name Edmund Fitzgerald came clearly into sight.
The material recorded on this expedition will
have many lives. Cinenova productions of Canada has produced
and aired a one-hour program on the Discovery Channel using converted
images from the HDVS recordings. The National Geographic Society
produced a 12-page article for their January 1996 issue utilizing
nine HDVS images in the spread--a first for the Geographic. But
perhaps most inspiring for me will be the future HDVS presentation
slated for Great Lakes Shipwreck Historical Museum at Whitefish
Point, Michigan. The images that our team produced will forever
memorialize the brave crewmen lost that fateful night 21 years
ago--just 16 miles from safe harbor.
Jeffrey Cree, a three-time Emmy Award-winning
video recordist, is Marketing Manager for Sony Electronics
Inc. Jeff is also Sony's Corporate Affiliate Representative
to the SOC and a past contributor to this magazine.
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