An adventure taking us to some of the most remote places on earth over several months. These jobs are often surprisingly difficult, but not for any technical reason per se. The difficulty lies in the fact that we always shot with two cameras, wide and tight, unscripted and unplanned. There never is a 'take 2' - What we get is ....well, what we get. As a sound recordist, I had to live with my first and only instinct of how to mic it and record it. There are no pickups in this style of shooting. It's impossible to get complacent. Once it's over - and some takes last an hour and a quarter with no camera cutting - it's over.. and we never revisit any section of the story. We'd be physically exhausted after 40hrs travel to arrive at location and go straight into a filming day in dense Asian humidity. Extensive technical planning was required, with three layers of backup plans for every single key component in the sound chain. If anything broke, I could swap it out in minutes and keep the crew rolling. Recorded on a Sound Devices 888, SL2, 2 x Wisycom MCR54 Rx, MTP60 Txs, DPA4061 and 6061 mics, URSA mic mounts, stickies and waistbands, Sennheiser HOPS and IEMs, VDB QT-M internal cable pole and the following shotgun mics - Schoeps Mini CMIT/Cinela COSI and Sanken CS3-e in a Cinema Piano with long pile fur