All language subtitles for B.W.S04E09.Photoshoot.with.a.Tree.Boa.1080p.AMZN.WEB-DL.DD2.0.H.264-playWEB_track3_[eng]

You
know, these buildings

always provide a lot of
areas for animals to hide in.

You never know what you're
going to find around a building.

So we're always searching,
especially for insects.

Here's an orb-weaver,
a little one.

Yeah.

Let me know if you
see that on camera.

It's kind of
jittering in the wind.

Oh, a snake!
What?

Right there.

Oh, man.

Oh, that's a boa.

Is that a boa?

I think that's a tree boa.

Let's get it out there.

What do you need?

Well, he's in a tight spot.

So snake hook would be
great and a snake bag.

Sure.

You go,
and get Mark.

Ha, literally,
within like 30 seconds

of being here at the jungle
hut and we found a tree boa.

Mark!

Yes?

Mario found a tree boa
curled up in these pipes,

up in the rafters out here.
- Just hang a second.

Yeah.

There it is.
Yeah.

He wants snake hook and a bag.

Yeah, just get
your camera going.

All right.

Come out here by the shot.

Ha!

This is awesome.

I got the snake
hook and the bag.

It's definitely not
fer-de-lance, right?

They don't climb.
- No.

Yeah, I could tell by the coils.

And of course it's not.

It's up high.

Look over here.

See that?

Oh, yeah.

Sure it's a boa?

Yeah.

I think so.

I mean it's not fer-de-lance.
- Yeah.

You sure it's not
venomous, though, right?

Yeah.

It's up here in the rafters.

That's kind of typical of tree
boas and arboreal animals.

You're going to climb up.

And he was probably
hunting here at night--

you know, the bats and like
all the insects and stuff that

are attracted to this area.

All right.

Let's maybe try to take
out some of these pipes.

All right.

So these are the ones
that he's kind of on.

Oh, all right.
Take it out.

Take it out.

You may be able to--

Let me poke his mouth.

Is it trying to--
oh, I see its face.

Its face is right here.

You don't want it
to get any further.

There you go.
It's coming back.

It's coming back.
- OK.

I got him.

Watch his head.

Oh, whoa!
There he is.

Watch out.

Watch out.

Oh, whoa.

Yeah.

Easy.

He might bite you.
You need a hook?

Oh, man!

We got him.

Watch your head on the
top of the thing there.

Dude, this is a tree boa.

Wow!

That's a lot bigger than I
thought it was going to be.

Oh, man, he's gorgeous.

That's amazing.

Hi, buddy.

Look at that.

This is an annulated
tree boa, actually.

Right by the shed.

Oh, man.

That is so cool.

All right, well, this gives
us an opportunity for you

to get a great
photograph with a boa.

Yeah, Mario, we
should show people

how you get your photographs.

Oh, yeah.
Cool, yeah.

This will be a great specimen.

We could take him to the jungle
and actually get some shots

in a natural setting.

And then we could release
them there, actually.

David, you did great.

Oh!

That's so cool.

Nice.

There you go.

There you go.

And I think what
I'm looking for is

I want to show the arboreal
nature of this snake.

So I want to have some
type of vine or branch

that we could actually
put the snake on.

And it could dangle
down, showing

its classic ambush position.

So ideally, branch, a vine,
and then some nice background,

maybe like a stream or
something, which this

looks pretty good right here.

OK.

And down there,
that's potential.

But I think it'd be pretty
hard to put down there.

Very hard to get good spots
to take photos from down there.

Yeah.

Ooh, look at this.

Oh, right there.

There's a vine right there.

Yeah.

Yeah, so this could
be the vine right there.

So you put snake like kind
of the crux to that dusty vine?

Yes.

Maybe put it right here.

Oh, OK.

And then kind
of shoot that way.

OK.

- What do you think?
- Yeah.

Looks good to me.

I'm a camera assist today.

So I've got the snake,
I've got the light.

You want me to get the
snake out of the bag?

Yeah.

Let me get my camera gear ready.

OK.

Like exposure,
some of that stuff.

I'll do that out here.

Yeah.

Let's get your gear out here.

Tell me what you use.

So primary camera that
I'm going to use today

is Canon 60D.

This is an older model.

It's one of the
first Canons that has

this little articulated screen.

And this is really helpful
for the type of shots

that I like to get.

I like to get different
perspectives, wide angle.

And using this, I can
kind of get right up

to the animal and kind of
focus my spot of interest

and take the picture.

Look at this guy getting
in the middle of my shot.

Hey, buddy.

Let's get B-roll right there.

That's not how this works.

Now, I often use a speed
light for fill-in flash.

Interesting.

So yeah, I would
have to say, I've

known you as Mario as a
photographer for quite a while.

And to me, this is the most
unique element of your style.

So explain that flash.

Yeah.

So I often use a
flash during the day.

And it seems counterintuitive.

But during the day, you
have to get shadows because

of the sun or harsh light.

And when there is
harsh light, I'll

use this as a fill-in flash.

And that'll actually
pop the animal,

reduce some of the
shadows without making

it too overwhelming.

Now what's going to be
a little different today

is I've got you guys with me.

Yeah.

Normally, I go out and kind
of do the photography on my own.

But today, I'll have
Coyote helping me out,

and he's going to be
holding a light fixture,

which will actually maybe
prevent me from using a flash.

So that might be my
light, my fill-in light.

We'll see.
All right.

Let's--
- Fill me in, coach.

I'm ready.

Let's check it out.

So Mario, what's
the first thing

you think about when
you find your setting

for your photographs?

Like what's the first step?

Well, it all depends
on the situation, right.

It all depends on
the environment.

Many times, we encounter a snake
or reptile or subject that I

photograph, it's already in the
perfect in situ environment.

Oh, what's that mean?

In situ means as is.

It's just kind of
in the environment.

I don't have to actually
manipulate the animal.

Other times, like
this situation,

where we actually
captured a snake,

we're going to relocate
it into a safer area.

I could actually
pick the location

and have more liberties
in terms of what I want.

So for this, I want to really
showcase the arboreal nature

of this snake.

All right.

So this snake is
highly arboreal.

We found it in the rafters.

And then I want to
look at the background

and see if it's an
interesting background.

I don't want it to
be too cluttered.

So lots of factors
that I consider

when I'm picking a spot.

Right.

All right.

So let's take a--

Do you test before
you bring an animal in?

It depends.

If I am bringing an
animal into the set,

as I'm going to
call it, then I'm

going to take as
many pictures as I

can to get the proper exposure.

Then I'll bring the animal.

But if it's a situation where
the animal is already there,

then I have to try
to get it really

spot on so that I don't stress
out the animal any further.

All right.

So I'm going to go 500.

We're going to add a
little bit more light.

Ready?

Yeah.

- OK.
- Got it?

I think so.

We're ready for the star.

- Yeah.
- Coyote.

I'm here.

No, it's not you today, buddy.

Oh, that's right.

It's the snake.

I get the day off.

Oh, there you go.

OK.

All right.

Let's see how he behaves.

That's definitely a
really cool snake.

We might need the snake hook.

All right.
Cool.

That was going to be good.

OK, now, I'm going to need
you to come on this side.

Me?

Yep.

OK.

Now, we're going
to do slow movement,

so we don't disturb the snake.

Now, there's a lot of patience
when you work with wildlife,

and you do photography,
as you know,

Mark, since we do
videography as well.

And he's kind of behaving
pretty well so far.

And that's what I
want right there.

I want this classic
look right here.

Uh-hmm.

See, it's all about trying
to get the natural pose, too.

You want a pose that's kind
of natural to the snake.

Yeah.

That's the pose I
want, right there.

We're getting it.

That was good.

That's perfect, Mario.

That's a perfect
pose right there.

Wow.

I'm not sure you're going
to get better than that.

That's pretty cool.

That was epic.

Now, how many
photographs do you take,

Mario, like in something
like this to get the one

you're after?

There's hundreds of shots
that are not ideal, that are not

what I anticipate.

If you are with
me taking photos,

you have to be patient, right.

See, that's right there.

That's beautiful.

Get it.

And something that
you might be noticing

and I'm kind of
fiddling my hands a lot

is I'm changing
the focus points.

So basically--

And I hear a lot of clicks.

Yeah.

You aren't taking just one
photo at a time, are you?

No, not at all.

I'm doing continuous shutter.

Great job with the light.

So, yeah, I'm
pretty happy so far.

Let's take a look
at one of the photos.

Yeah.
Let's take a look.

We'll throw it up on screen
for everybody else to see,

but I want to take a look
over your shoulder here.

Check that out.

OK.

So we're isolating
the subject.

- Beautiful.
- Right.

Nice natural looking
light on the snake, too,

that the LED really
kicked it out.

Oh!

See it bite at the camera.
- Did it, really?

Yeah.
Ah!

He's bit the lens.

No way.

Actually, let me
get a shot of that.

All right, guys.

This is the shot, absolutely.

This is what I'm looking for.

This face is just right at me.

Now, this is risky,
Mark, because this

is his strike zone, right here.

Ooh, careful, buddy.

Right position.

Dim light.

Dim light.

Oh, look at that shot.

Oh, man, that's epic.

I think it's getting
a little angsty.

We may need to kind
of wrap this up here.

Yeah.
I got some amazing--

I kind of losing
control of the snake.

Oh, OK.
Coming.

I can't reach off
the edge of this.

You're going to have
to grab hold of it.

- Oh, careful.
- Oh!

Ah!

- Mario, you got bit.
- It bit me.

It definitely bit you.

That was
kind of I deserve that.

I mean, let's face it.

I've been kind of
handling the snake

and focusing on the pictures.

So that was a little bite.

It wasn't a bad bite.
- Not a bad bite?

Not a bad bite.

It's a little warning,
a little warning tap.

All right, guys.

I think I got some epic shots.

And Thank you Coyote for
helping me to wrangle the snake

and to provide some light.

Mark, thank you for taking the
time to get this little video.

Of course.

But I hope everyone at
home learned something.

I hope so, too.

So what we're going
to do is we're going

to take some of the best shots.

And we're going to
put them in the video.

And let us know what you think
in the comments section below.

Ooh, I got an idea.

What's up?

Best comment gets
a signed print.

- Oh.
- on the best photograph.

What do you think about that?

Ooh, I like that idea.

An official Mario Aldecoa
autograph and photo.

Man, the pressure's on.

I hope you, guys,
like the images.

And this is awesome.

I've been wanting to find
any snake on this trip.

And it's an annulated tree boa.

How cool is that?

Got a really nice
environmental shot of them.

He gave me a little bite.

That's OK.

It was a love bite.

And I think we're done
with the photo session.

All stories have a beginning.

This one begins with water.

And as we drove across
the parched terrain

toward the mountains, the
one thing on our minds

was whether or not
you would find any.

If you were to guess, I
bet you'd say the landscape

looks like Africa.

But believe it or not,
this is the dry season

in Northwestern Costa Rica.

And on this adventure,
the team and I

are heading out into the
Palo Verde National Park

to search for
American crocodiles.

Leading the expedition
is Doctor Chris Murray.

A biologist by degree, he
has spent the past four years

capturing and recording the
giant reptiles of this region

to better understand and mediate
this human-crocodile conflict.

Researching crocodiles
is a dangerous job.

So Chris always has with him
lifelong friend and reptile

wrangler, Mike Easter.

Mike is the snare man.

And I'd wager a bet
that he is snared

more crocodiles in
the past five years

than almost anyone
else in this field.

Trust me, he's that good.

Together, these two make up one
of the finest crocodile catch

teams in the world.

And today, they are
bringing me into the fray.

All right, Chris.

So we've been walking
for quite some time

now searching for water.

No water in sight but just a
lot of extremely dry earth.

That's right.

So much so that I'm able to
just break it apart in chunks.

At one point in time,
this was a wetland, right?

That's right.

So where have all
the crocodiles gone?

A lot of them actually
walk about a mile all the way

to the river.

It's over there.

But a lot of them we've actually
found are right underneath us

right here.

Buried down in the mud.

Yep, in the mud.

So as the waters will recede,
they just sit and let the mud

harden over top of them.

And they're estivating
underneath this mud.

OK.

Now, explain to us
what estivation is.

So estivation is when
the animals actually

sit underground, slow down
everything that's happening

internally, and wait
out the arid environment

until the rains return.

So
right now, we could be

sitting on top of crocodiles.

We're standing on top
of a whole bunch of crocs,

all through this landscape.

And they're
waiting for the rains

to come back so that they
can emerge up out of the mud.

In about a month or two.

COYOTE PETERSON
In order

to properly conduct
your research,

you have to find the crocodiles.

And I don't imagine you're
going to dig down into the dirt

after.
No.

So how do we find them?

We're going to have to find
what water still remains.

OK.

So
the search for water continues.

The best way to cover ground
at Palo Verde is by SUV.

And while the goal was
to find crocodiles,

the odds were definitely
stacked against us,

as after three
hours of searching,

we found nothing but a
small stagnant puddle

and the sun-baked remains
of a fallen giant.

Sweet!

It's windy, there's no
water, it's really hot.

Finding crocodiles is going
to be a big challenge.

I see.

What do you think
of our chances?

To
be honest, I think

we came at the wrong time.

Yeah?

Yeah.

There's like an
extended drought,

so we may have missed our
opportunity for a croc

here in Costa Rica.

So with the sun high in the sky

and the heat literally
cooking us alive,

we decided it was best that
we returned to base camp.

Taking an alternate
route back, we

came upon a pair
of drainage pipes

in a low spot that
still held some water.

Oh, here's the water.

Ooh, look at that.

That's a tiny puddle
but without work, Chris.

May be something in that.
- Let's go see.

All right.

Not exactly wetland sanctuary,

but it was worth a stop.

There's tiny bit of water.

- Yeah, it was crocs in there.
- No way.

There's crocs?
What?

Yeah, look down
in there, Mike.

Hold on, let me look.

Way down there
I can see scoots.

Oh, you're right.
I see a tail.

- Wow.
- Cool.

OK.

So we have been searching
and searching and searching.

Finally, I mean, look
at this pocket of water.

This is nothing more than
a couple of inches deep.

Can you tell how big
the crocodiles are?

The
scoots look big.

I think we need a better look.

Wow.

OK, so there are
definitely crocodiles

inside of this drainage pipe.

Now, it's just a matter of
getting them out of there.

It's going to be a challenge.

- That's the challenge.
- All right.

Let's do this.

What do they look
like over there, guys?

If you look in the pipe, I think
they're probably seven feet in.

How long is this
pipe, you think?

40 feet?

You'd have to crawl in there.

Yeah, I am.

COYOTE PETERSON
Both pipes

had crocodiles in them.

So Chris and Mike carefully
analyzed the situation

and began to prep their gear.

Test the snare.
How's that?

- That's good.
- Good?

It'll go around at its top jaw.

Perfect.

All right, Mike.

Duct tape-- we're going
to use these needles.

Those are helper knives, and
we'll stick them right in here.

All the water go into these
little vac containers.

All right.

So we got those out with us.

Measuring tapes here.

Bags for scoots are
here, and all the writing

implements are up in the top.

We have the book?

Yeah, the book's
right here in orange.

All the writing
stuff's right here.

You guys ready?

Yeah, man.

Let's do this.

COYOTE PETERSON
Ultimately, it

was determined that
the croc on the right

would be the easiest
to catch first.

All right.

So right now, we're
just trying to scare

these animals towards
the other end of the pipe

where Mike can snare them.

We're having
trouble because they

know it's obviously
really nice in there,

and we're not in there.

Using a simple scare tactic,

Chris was able to clump together
softballs of mud, which he

tossed into the pipe,
creating splashes that

scared the crocodile out
the far end and right

into Mike's snare.

Pull!

Yeah.

Adam!

Adam, look at that.

Mike, stand by.

Look at that.

That is the American
crocodile right there!

What an effort to get
him out of that pipe.

Good job.

COYOTE PETERSON
We work quickly

to record the animal's length.

121 centimeters.

And Chris pulled a blood sample.

Just like getting a little
booster shot at the doctor,

right?
- Exactly right.

COYOTE PETERSON
It was

important to put
as little stress

on the crocodile as possible.

And in a matter
of minutes, it was

released back into the wild.

Now onto the other one.

However, this croc was
significantly larger

and tucked in the drainpipe that
wasn't nearly as accessible.

Is there any way you
can see in the pipe

what's moving right now?
- I'll try.

OK.

Any movement at all?

I would probably normally go
right into this drainage pipe.

But Chris says that is way too
dangerous because if I do--

Mike?

- those crocodiles
may ambush me.

We have a lot of crocodile
down near you already.

OK.

So that means he's only
going to go your way.

Yeah.

He's biting the stick.

OK.

As long as it's the
stick and not your hand.

OK.

So what we're going
to do is completely

reverse our scenario.

Chris is going to
come on this side.

We're going to try to flush the
crocodiles out the other end.

The biggest one obviously
can't turn around in the pipe,

so we're going to try to
coax him the other direction

and snare a snout
from the other end.

We're not giving it up.

If
you thought snaring a crocodile

out in the open was
dangerous, imagine doing

it from inside a drainpipe.

All right.

Mike, tell me what you're doing.

All right.

So I'm going to head in there.

And my hope is that--

Wait, you're going in there?

- Yeah.
- OK.

I'm going in there.

My hope is that crocodile
continues to face forward,

and I can slip this
right over the snout.

We're just trying
to get these crocs

by any means necessary at
this point, keeping ourselves

and the croc safe.

So I can't stop trying.

COYOTE PETERSON
With that said,

Mike Easter looked danger
in the face and climbed,

head first, into the pipe.

This is like that
game of operation, only

big teeth and a lot of power.

COYOTE PETERSON
My role

was to shine the crocodile
with a flashlight,

so Mike could see it.

While Chris splashed
water on the far end

to coax it toward the snare.

All right.

So if Mike does snare
the largest crocodile,

it's going to take both
of us to be able to pull

it out of the pipe.

So I have to run back
to there, grab the rope,

and help him pull it out.

All right.

Mike is now moving even further.

Mike is all the
way in the pipe now.

We're all the way
at the pipeline.

COYOTE PETERSON
We all

held in silence as the master
snares man worked his magic.

OK.

So Mike is getting
further into the pipe.

The largest
crocodile is actually

coming towards us right now,
which is exactly what we want.

And then it happened.

Got him!

Got him.

Pull back.

Pull back.

Go, go, go!

We need everybody on this one.

Just keep going.

Oh, my gosh!

This is like a super tug of war.

It is a big animal.

Here we go.

1, 2, 3, back up, back up.

Whoa!

1, 2, 3.

Here we go, big fella.

Whoa!

Wow!

That!

Try and catch an
America crocodile

out of a drainage pipe.

Wow!

We need more rolls.

I know.

Holy cow!

I'm not hungry anymore.

I just ate some dirt.
- Yeah.

You got a little mud
on your face, Mike.

This crocodile sells a
lot of energy left in it.

Mike's covered in mud.

All right.

So what Chris is
doing right now is

we've got to get a towel over
the eyes of the crocodile,

so we can keep it calm down.

They're both going to
jump right on its back.

1, 2, 3.

Perfect.

This big fella,
what might happen

if I get the back legs up?

Get those legs up, Coyote.

Yup.

Get him up over your calves.

All right.

All right.

Both back legs are secure.

This is a croc that we
have been after all day

in that drainage pipe.

It is the biggest one
that was in there.

Look at the scutes on
the back of this tail.

This is a big animal.

All right.

So right now, Chris is
using all of his body weight

to keep the animal
locked in place.

Mike has now secured the
jaws with electrical tape.

I've got the back legs and
part of the tail under control.

But this animal could erupt
in power at any second.

Still a lot of fight
left in this beast.

All right.

I'm going to sit up.

- OK.
- Good.

- Wow.
- Great work, guys.

Wow.

That's a big crocodile.

Following protocol, we

worked as a team to record
the crocodiles length

from snout to tail tip.

All right.

We are 3 meters on the dot.

Nice.

I
verified the animal's gender.

And it's a female.

And
then Chris carefully extracted

the always important blood
sample, which when taken back

to the lab will provide
him with vital hormone

data for his ongoing research.

Definitely intimidating to
sit on an animal of this size.

And right now, she's
been completely calm.

But I can't lose
focus at any point

because she's actually
building her energy back up.

So it doesn't look like it,
but I am holding on as tight

as I can right now to make sure
she doesn't thrash her body

around and throw me off.

We have searched all day
for any water that may

possibly have crocodiles in it.

And lo and behold, right
here in these drainage pipes

is where we found the
American crocodile.

I'm Coyote Peterson.

Be brave, stay wild.

We'll see you on
the next adventure.