All language subtitles for Gold Rush - S02E09 - Behind the Scenes HDTV-720p

Behind the scenes of Gold Rush, an army of production people covers the every move of three

gold mining crews.

Cameratines are spread across three claims.

We're gonna die!

On 600 miles of unforgiving terrain, from southeast Alaska to the Klandai.

Copy that on our way.

Every step of the way, production battles the brutal landscape right alongside the miners.

There we have our culture that's waiting for something to die.

We're gonna go for both miners and TV crew.

The danger is real.

Something you'll get.

There are runnings with wildlife.

That crazy?

Everything's straight eating.

Cameratines down.

Funny mishaps.

A lot of them are injured.

They're sounding stuck.

And the TV crew can help the catch cold fever.

Gold fever, baby.

A never before seen footage.

Get the story behind the story.

I'm worried right now about everybody.

And find out what is tougher.

Back in the bucket.

Getting gold.

Or getting it all on film.

I see why they have a lot of camera.

I think they go through them pretty quick.

At the beginning of their second mining season.

Let's pay back on.

The Hoffman crew suddenly had to leave the Porcupine Creek claim.

I own Orcupine Creek.

I'm going to mind his claim this year.

Hey, hey, not only did the miners have to up and leave,

but producers in Cameraman also had to pack up and head north in search of a new claim.

There we go.

Todd led everyone to the legendary goldfields of the Klandai.

The hopes of both the miners and the TV crew rested on the new court-screate claim.

They've had a bad season since I thought of that Porcupine taking away from you.

They're kind of bribing running on this side.

Todd reckons he's got the answer here.

We want to see gold.

The viewers want to see gold.

We all want to see gold.

The Hoffman crew set up camp in the Klandai wilderness.

Oh, oh, oh, oh, oh, oh, oh, oh.

Perfect.

Going from Porcupine in ice-moist green environment,

like we just got dropped in Mars.

Adjusting to their new home was tough for the miners,

but even more so for the mainly British production crew,

many of them fresh off the streets of London.

This is how for the film crew.

We're going to be up there for months on end, living, working, sleeping.

That's hot.

plumbed like paradise. It's a retreat from the Hoffman's. You know, good

fences make good neighbors, okay? That mean you heard that turn, but we're

going to be paving in the same hull, so we're going to have to get

everyone so well. We just hit the horn. They have to carry bare horns. And so when they

if they're not looking, you just hit their horn once and so on, everybody jumps.

It's not easy for the camera crew to adjust. Their first problem is that the ground, the

Hoffman's plan to mine is on the other side, of course, creak. The mine is across the river.

We are the get wet feet and get the hat to get a vehicle, lose them. So we're going to

take them time off and fix a bridge. We live it. We're in the dirt with them. We're in the

side. We're in the Mosquito, you know, infested forest. We come from very different backgrounds,

but we experience it with them. Now we can go across the river without getting wet

and quickly, so that's pretty good. But the miners are less than impressed with the cruise

efforts. This is the best you guys could do. Seriously. It's pretty decent bridge. I don't know,

man. No bathroom for a bunch of guys from London. What is this? Huckleberry fan?

The miners in production team have made themselves at home. But up in the

clandak, the wildlife doesn't respect men-made boundaries. A young grizzly is in the heart of

the camp. But Todd's 12-year-old son Hunter is oblivious. Someone go round and tell Hunter.

Luckily for Hunter, the crew all carried bear horns. They're one just walk right from the

base truck and it's right over there. To everyone's surprise, there's more than one bear in

camp. I have an air horn and some bear spray. So I gave a couple of tubes because the black bear was,

I don't know, 15, 20 yards maybe from our trailer where I was cooking some nice

parodies and care boost sausage. So I thought it'd be a good idea to make my presence known to the bear,

so it doesn't get too convinced that he's going to get some of her dinner. I'm not going to

let that bear take any of our caribousos. The first thought was shoot it, but then with the camera,

not gone. But then I just filmed Hunter on his trommel, down the way there. So we sent a lovely

salmon, down the wall, Hunter about the grizzly. Todd arrives back at camp to learn they've had not

won, but two wild intruders. So you're telling me that there's a grizzly bear and then a black

bear right behind it. Like, yeah. Right through camp. The grizzly bear is going that way and the

black bear comes up that way. What is this? A circus for some? It's not a zoo here. That's the first

bear I've seen. Well, I actually, I said a lie first, but I've seen that I'm not being in a vehicle

pounding down the highway. It was brilliant. The first I was, oh, everything's trying to eat you.

In the in-house pitiful clandike, the film crew and miners quickly find out that there are

dangers around every corner. This road is treacherous today. Now there's a loader off that will never

get out of there. The only way in and out of the court's creak claim is the perilous 40 mile

mountain road, which has already claimed two lives this year. Really, there's a lot of things that

can hurt you or kill you in the making of the show, but probably the greatest risk that we face

has road we drive on. James to base. One of the tourists has ran off the road up on Hunter.

This is just a mush. You get any weight on it and it's going, you're going down.

The dangerous road to the new plane became a major story line as the Hoffman

set up their mining operation. We'll be something from the civilization, basically,

out to the wilderness and there's only one guy who can do it. And it's his truck driver Tom

Fetton. So he's going to go up and over the mountain and deliver the first piece of real big

gear to the claim today. Everyone thinks the road's the biggest danger on this job.

Someone died in that last week and I said treacherous it is. So just pay attention.

Nothing's worth, can he's up for? With last week's fatality fresh on their minds,

the camera crew will have to keep up with legendary Klondike trucker, Tom Fetton.

Can he sound me? Why are you the only guy who'll do it? No, they went domino?

This guy is tough. The Hoffman's 228 excavator weighs 50,000 pounds,

meaning once Tom gets going, he won't slow down for anyone. The crew ricks a mini camera to

the cab, but to get the shots they need, they have to drive in front of Tom's massive truck.

I'm shooting in front of the excavator. So we're struck the camera in here.

Mitchel is all safe. He wants the guy. So I'm just going to make myself comfortable.

A lot of his comfortables can be.

That was the second vehicle he's doing. Tom is anxious to get going and pulls out before

the crew is ready. The camera crew scrambles to catch up, but his left eating

Tom's dust. He's highballing. He's not waiting for anybody.

Sure he's hell can't overtake him in this. The only way I can get past him is when we get him

going up a hill that's wide enough and not dusty so that I can see and then I'll try to sneak

in by him, but otherwise he takes up the whole road as you can see.

Passing on this road is extremely dangerous, but to get the shots they need, the crew will have to

risk it. It has to be a huge, huge dust bowl. The block gave us the elephant.

A huge excavator. We may never get past him.

The dust is not slow Tom down, but luckily for the camera car, a steep hill climb does.

It's now or never. Unit manager Rob Tui has to hope the soft ground at the edge of the road

holds. If it does, the car will flip off the road.

This guy's a matman. We'll stay in front of the lab now.

It takes three hours of shooting on a bumpy dangerous and dusty road, but director of photography

Gary Clark finally gets what he needs. Great shots. And fearless truck driver Tom gets

Todd's excavator safely to the claim.

They're first piece of heavy equipment in the mine. It feels good like we're just kind of moving

into an apartment and you've got your water red in. Got some great shots.

That entire car is like the Goldbee Desert. Look at Gary.

That's what he's asking there. Just a little too. It's just a little bit more, man.

Up ahead, miners and film crew battle, thick, clondike, I'll tell you why I'm not afraid of

that. Down south with the big nugget mine. The camera is getting away of the relentless

shovel family. We gotta go. Literally the ground is taking fun of a fate. And disaster strikes

for the production team in the clondike. Sound as a Gold Rush producer falls victim to the deadly

mountain road.

Every day, the Gold Rush camera crew set off from their base in Dawson City to relieve the

team overnighting at Quartz Creek claim. Their commute is 40 miles of treacherous mountain road

in the middle of the wilderness. After only five days in the clondike, a radio call reaches base

that one of the production vehicles has gone off the road. Director of photography

Gary Clark is first on the scene. Sound? Sound you okay? Yeah, I'm good. Gold Rush producer,

Sam Brown has had a brush with death. He break too hard and skidded off the road. Luckily,

a tree stump stopped him rolling hundreds of feet to the valley floor. Sound me or lucky?

Yeah. That's one of my nine lives. It's going to roll otherwise in that hill.

It's been held up by a stump. The jib, which is like the crane for the camera,

the front rattered popped off. And so it's swung around over the roof. So I slammed the brakes on a

bit too hard and I was on a muddy patch and the backs lit out from behind me.

Claim on her Greg McNeil shows up to help. He's one of the few people to regularly drive this road.

There's been more than one lost on the hill here in a year and years past. But it's a

treacherous road. It's going to take Greg's experience and extra horsepower to pull the camera

car from its precarious perch. We're just going to go real easy. Is that me, Bill?

I mean, it's turned those wheels.

So I'm going to get out of the boat vehicle. Time out.

Greg, do we have a straight edge straight edge?

There we go!

Had a pool on who was going to go off the road first, which one of the breads and

Sam Brown won hands down.

Siphon's out. We're going to eat for the next four months. We might have to call

it and you do it again. Shoot you out! 24 hour service.

Nope. They can't drive for f***ing.

In these harsh conditions, the camera crews are not the only ones having vehicle problems.

Dave Turin got into trouble as he started stripping the court's Creek Prima Frost.

The Prima Frost is melting. It's making it harder for me to get any tracks and it's just turning

everything into mud. It's man and machine versus the Hustle-Clundite landscape.

There we go. And wherever the miners go, the film crew has to follow.

The miners' problem is our problem. They're dealing with Prima Frost. So they're stripping

this stuff off the top. Exposing this frozen mud and then overnight, you get six or eight inches

of it thawing out. And that is just like slurry and we have to wait through that.

It's really hard going out there. If you're like a drum start going to slip it and slide

all over the place. You're running on ice in this muck and next you know all the

your equipment slide and around. It's scary. And then you got some cameraman two

three feet away trying to get a picture of it and he's stuck in the mud so he can't move.

Camera man down. I'll take him out with the hose.

I see why they have a lot of camera men and sound guys. I think they go through them pretty

quick. I am stuck in the mud. Up to my knees. Let's try giving you the camera.

You know the wildlife can cruise right through there. So as you're standing there squirming

and yelling for help, you know they go, who's an easy meal.

You can't tell until he's stepped in it. What consistency it has, some of its firm and some

of it you sink down to below your knee. You need some help? Oh no. It is needy. I thought he was

kneeling. The black muck is a big problem for everyone. To show just how wild and unforgiving

the clundagland scape is. The gold rush crew has to get out of the mud and into the air.

One of the biggest characters in the show is nature and the environment and how our miners deal

director of photography Patrick Smith will shoot out of an open door. The only thing between

him and the ground is his safety harness. Patrick is going to be shooting out the door of this

helicopter. He's afraid of heights. So that's always fun. He's been quite brave for us and we're

just going to fly around and shoot some really pretty pictures today. We've had word from the

claim that the weather conditions are good. So we're off.

Patrick you ready? Yeah I'm ready.

This is our new perspective on the area. The scale of it is something quite hard to call for

when you drive through and go to see a little pocket. When you're up to the air, you really see how big this

is located.

Back there. Where? Right on the road, father. Black there on the road on the left

pocket. Jeff, you've got it. I don't want to get out of the garage.

I don't want to get out of the garage.

Camera in the sky is kind of intimidating, I think. You don't know if you're being watched or not.

We're told, don't look at the camera. Can't look up, even though you want to just stare at it like

wow, that's cool seeing the world. Just get hotter on the watch lamp, pretty damn epic.

Oh, question, the name doesn't matter. Okay, I'm pushing. That's good, nice nice circle around

that means you want to help me. I'm going to throw up. Wow, that was so cool. I'm pushing along,

pushing that mud, Patrick's leaning out of the helicopter. I'm going right for him and he's

turned sideways and all of a sudden I'm like right underneath them. He just takes off. I just

feel the wind blowing over top of me. Yeah, that was cool. It's definitely a good day to film me.

Coming up. You would like me to talk to you like that after a fight with Fred,

Dustin hurt, goes E-wall. I'm going to cover that. Damn camera crew, sending

production into chaos.

At Porcupine Creek in southeast Alaska, the production team is back for a second mining season.

Many of the crew know this place all too well. After spending five months filming the

hoppins mining here last year. It's weird being back. So we got how beautiful it is right here.

And obviously a lot has changed at the mine. Fred's obviously come up with his own plan to

get as much gold as he can. Dakota Fred's plan is radically different from the Hoffman's approach

and he isn't waiting for the cameras to get going. I need to change Fred's battery and his

radio mic and he's down on his pole and it has to happen super quick otherwise everybody gets mad.

I'm dangering him how to do it a little quicker. Trying to train him like a NASCAR pit crew.

Let's go. All right everybody, shit. All right, dust in. Here we go.

I think Fred's on a mission and there's no stopping him. I've never seen him like this.

I can't believe he's asked.

I'd say that Fred and his team all have a pretty amazing work ethic. They're up before everybody else

and there's the last ones to bed and they're 18 hour days like seven days a week.

But weeks of breeling hours. Just lay it down. With no gold at all.

Good job. Take their toll on Fred's undusted. We'll get big rock, Nick.

When the aging loader breaks down, the crew worries that dust it might just snap.

Feel free to start with dusting. Here he is, poor thing. It's a pretty bad day for equipment.

Just makes you want to just quit.

The production team shares their concern with Fred. We're slightly worried about dusting.

Well, it's all my. I don't know exactly what to do.

The mind needs dusting. Dusting is here. He's the muscle. He's here to help find gold.

Okay. No, I'm not. Okay. What's the only line?

Just exhaust him. He's getting a wall. He could. He could. You kind of get involved in their lives.

And you end up caring for them. You end up caring for their troubles, for their highs, their lows.

When you ask me a question, you go, what the hell you're doing?

They're f***ing weird on me. I apologize if it sounds like it is.

You would like me to talk to you like that all the time.

Just intent enough. He storms off the clean, leaving production scrambling to catch up.

Fred, you have a bit of a dust off here. I'm not sure what's going on, but we're going to take that to them.

Okay, cover that. We are on the right.

The bottom line could be that dusting is no longer going to be involved

with the gold mine. So this is a crucial pivotal moment for our film.

The crew chase as dusting 30 miles to hains. They have to follow the miners wherever they go.

But now dusting is missing an action and the crew is missing the story.

What we're really worried about is that we're going to lose dust in

out of this story completely. At the moment, that is going to leave Fred with a one man gold mine.

He just doesn't want to be filmed. He just doesn't want to be filmed.

The next morning, word reaches production. The dust in is on his way back to Porcupine Creek.

Whatever happens between dust and in Fred, the cameras need to come.

There is a finite between being too pushy and at the same time, we're making an observational

dock and I think, yeah, you need to be in there and get the action and get people's immediate

reactions and emotions and whatever it comes. But at the same time, the same time you know what

them to punch your camera. At the end of the day, he's here to find gold. We're here to film him

finding gold and that's what we're off to. We're off to gold. The crew treads lightly,

but they've got to follow the drama and that means getting a microphone on to dust as soon as he

steps back on the claim. All right. I snapped. I'm sorry for that. You didn't deserve that.

I wish I could take it back. They blame it on fatigue. I just lost my

yesterday. So I love you. Love you too. All right. You can see you back. Good to be back.

So that's really tough. That's a real situation with a guy fighting his emotions and we have to

get back into our film as well. No, no one pushed the camera. I was hoping for at least this,

you know, or you know, get out of my, I think face or something like that. But no.

All by hand, at Quartz Creek, the arrival of the test drill puts both the miners and production crew

on edge. This is a big moment. That's why we're covering it. Pretty much every camera we go.

There's more than one set of livelihoods in the line here. Over 100 people work on the gold rush

production team. They come from a dozen countries around the world, including the US, Canada,

Britain, Ireland, New Zealand, Russia, and Albania, as well as the clinket and Trondiquitian nations.

At Quartz Creek, the miners and the production team have been living at the claim for

seven grueling weeks, but no one has seen any gold. I've heard Jack say that it's down there.

We're close. We're going to pull it out so many times and I've believed him so many times and

I've been ready for the shot of the noodles of gold so many times. And I just want to see it now.

It's been quite a lot of time working already and they haven't really achieved that much,

so we really need to for us and them move forward from this point quite quickly.

People in television talk about Jeopardy all the time. In many respects, it's a bit of a dirty

word. I've worked on loads of television where the executive producer said, where is the Jeopardy

go mining? You don't have to produce any of that Jeopardy. It's naturally here.

With a third of the season gone, the Hoffman's decide to drill the claim. The miners and

camera crew are about to find out if there is any gold the Quartz Creek.

I'd love for them to have the mother load of gold right under their feet.

If you go another direction, it's where they could have nothing.

Right here you're open the best for us. Yeah, I'm open for all sides.

They think they're preparing you up for the work. I wouldn't want to go mining without

first testing the ground because all it takes is one bad thing. You can lose a fortune right there.

That nervous if we don't find gold in these holes.

The only thing we got to figure in the ferry to move to, if they don't find gold today,

it's the end of potentially the end of their season. So that's the end of our season as well.

The future of the Hoffman season and the future of gold rush hang in the balance.

If there is gold or not, the story has to be captured. The drill showed up and made a

camera crew really happy because it gives them a new piece of equipment actually to film.

And Henry's a lot better looking than either one of us. Yeah, hands down.

This is a mini camera. We have just stuck it to a tent pole and we're dropping it down a whole

simulating a drill shaft and also kneeling in the mud which is special.

It's the glamour of television. On the vehicle topped up little red momma,

Henry heads into the wilderness to drill the boundaries of the claim, carrying the jiff or camera

crane. The film crew goes to great lengths to get the shot. It's not an insignificant task

trying to get all of this through 200 feet of mud and 200 feet of pouring.

Every machine that we meet in this program was driven so it gives it kind of a

one we saw a hero shot. What's your head? The claim drill miners and camera crew wait to hear

their feet. This is a big moment. That's why we're covering it pretty much every camera we've got.

We don't get good numbers on this testing. Not only do we have seven miners to go home. We have

about 25 camera crew guys going home too. We're here to film guys gold mining and if there's

no gold to mine then we've got nothing to film. There's more than one set of livelihoods on the

line here. It doesn't look too good. It looks like results that they're getting at the moment

of not fantastic. It's a test moment. Not good. It seems they could be the end of this

season. There you go. That's a nice one. That's pretty good in these. Some of them have been kind

of poorer than they hoped. But I think the last one was quite positive and they're feeling back

in the getting of this. I saw these 20, 30 pieces of gold in there. 20, 20. That's good.

We got eight bucks yard up against the side. Do a lot better than what we did last year. It's amazing

how much difference it's highly amount of gold actually makes. I'm not just to the miners but to us

as well. The miners are seeing that gold we've seen that gold. Both our futures depend on it.

It's definitely a turning point to see them find gold. It's a late, it's very late and the question remains

you know all they're going to be finding enough. But at least a tenacona through its refreshing.

We finally had a day that wasn't bad news. After the drilling proved there was gold in the ground,

everyone's attention turned to getting the wash plant working since those drilled results came in.

It's been a much more kind of frenetic. The miners are ready to test run water through their wash

plant and the camera crew wants to catch it from every angle. We use a lot of these mini camps

and he's rigging one now. They're going to fire up this wash plant and it's the first time

they're running with water wet so we're just going to get that moment where it's just bound.

The cameras are these little housing. The water proof, they're crash proof. We put them everywhere.

I mean they're very little toy to play with. There he goes. Run in the camera monkey.

This guy can put a camera anywhere.

And I mean anywhere. He's good.

They're coming up the home.

Water, let's get this here compared to last year.

Get that one going.

While the miners focus on the water flow, the crew monitors how the mini cameras are capturing the

action. One of the top things we're catching all the action we wanted. This one isn't as good,

but we're going to move it again in a second. It's successful so far.

It needs more water. Turn it up a little bit. We open this up over here.

I didn't anticipate Todd turning out to pose the water directly on it, but it's supposed to be splash proof.

It's not going to be meant for direct immersion like that.

It's turning on, but it's coming with a message SOS, which is not an expert, but I think it's probably

a bad thing.

What killed us?

Are you talking about a kill that turned on the hose and that one? That wasn't the water.

Let me ask you a question. Is that car in my responsibility or your drama?

Coming up, down at Big Nuggetmine, the film crew fights to stay ahead of three very determined

generations of Schnabel, man. There we got to go.

Move back.

At Big Nuggetmine in Alaska, the gold rush film crew struggles to keep up with the new

mind boss, teenage or Parker Schnabel. Let's go for an adventure.

Parker, wait, Parker. I guess sometimes I'm kind of going 100 miles an hour.

I'm not that bad. They can't go that fast because they're all out of shape and old.

Sorry, we got a walk. One of the biggest challenges of the show is just trying to keep

pace with that kid. Today I'm going to start building the road up on Smith Creek and my dad and

brother come on to help me out. So he's digging a road which looks like he's put straight up

him out. He's got this great plan that is going to find gold up the Smith Creek area and the

trick is how do you get to it? And to my eye, that's a very, very steep hill. You don't even know if

it's possible. The golden rule for the production never get in the way of the miners.

But with three generations of the Schnopts, now working together to find gold and save the

family mind. The film crew scrambles to stay ahead of the action.

I've got the whole family here, so just two crew shooting today and we need it because

there's so much going on and it all happens so quickly.

His dad's the kind of guy who's never taken a launch break in his life.

He's got a job to do. He's really not looking out for a camera crew.

Danger all around. He found there. He got a danger to the excavator to the dump truck up here.

He's the nature of trying to get here. He's just clearing a path, uh, getting a little farther away from

Rogers. He's digging right on top of where we just stuck.

It's not a deal. I'm sorry, hang on a second.

Literally the ground was taken from under my feet, so it's got to get out of the way pretty quick.

They are one of the fastest moving families here. Three generations of them.

Oh, they're pretty bad. We just start moving when they move.

Come on, Max!

Keep just on our toes because we've got to move this car so they don't get the story.

It's like, they don't tend to like it first. Hey, it's exciting to live on the edge.

After an epic six days, Parker and the film crew make it to the top of Smith Creek Hill.

Parker, man, amazing.

5, 5. All right. You know what I'm saying?

But there's little time to celebrate.

Scramble and they get this set up before he comes up here.

He's going to come back in the rock truck up the hill and take his first load of

Peter down the mountain. So he's been working all week for this.

We're really excited to see him finally get some gold out of this hillside,

and we want to capture the moment.

I'll take a ride with you.

Oh, I see. You're hooked up with him.

That's that.

Oh, that's the camera. We're on camera, huh?

Three is. We can't get away from these people in no way.

Go on up.

That was it.

I hear.

I'm nervous with you in here.

Parker starts up the hill before the camera crew is in position at the top.

7 is front wheel sinks into the soft ground.

Parker stuck and the main camera crew is 500 yards too far up the hill to get the shot.

Copy that on our way.

The crew races down to the action, but as they run down the hill,

Parker is on his way up.

What the heck is going?

Go look at the truck.

Well, I first trip up here seems to be a little difficult.

Apparently he's going to go to the excavator to help dig out the rock truck.

So maybe we're so excited.

Watch it, watch it.

The camera crew and Parker's grandpa, John Schnubble,

are now stuck between two massive machines on a dangerously steep hillside.

I'm worried right now about everybody.

They just rest, but we're going to keep going.

Let's see what happens.

If the brakes go on that, it's going to fly down.

It'll end up in the creek in the home.

Yeah, I've grabbed this as the pull it out with the 330.

Our jobs to observe what he does and shoot it.

So it breaks our hearts to watch him.

So we're struggling with this, but this is the process.

So we're rooting for him, but we can't help him.

Usually when I'm making a mistake, there's not five cameras staring at me.

I'm going to go down to look for a cable.

The crew is there to observe, but when 91-year-old John falls,

assistant producer Carol Bowen springs into action.

John's fallen over it.

And just when things can't get any worse.

Parker jams the 330 excavator into the dump truck.

Johnny, you okay? You just had an nasty thing.

Yeah, I'm okay.

What happened?

My shoe hit a loose rock and I lost my footy.

See what we got here in a work with.

Anyone could get Parker out of this.

For curious situation, then it would be Johnny.

Thank you, Lucy, yeah?

I'm doing that.

I'm doing my own judgment.

No one's going to stop John from rescuing Parker.

There you go. That's the right way.

During that last hour of filming, all lives were in hands.

The 16-year-old, and then I see one-year-old.

Nothing has ever happened to me before.

Man, that was one of the stressful things we've shot this year.

I've never been more nervous than I was watching Parker do this today.

I do actually have quite a lot of trust in this guy, not to kill us.

It could have happened several times today, and I'm glad you didn't.

So, well, don't you. We're not telling the crew.

We're not telling the crew.

On the head, the hoppins in the camera crew finally get to the goal.

Great, my mind is stuck coming out of the ground after all of this.

After months of grueling setup, miners and film crew at Courts Creek

are gearing up for a big day.

Well, tough.

Whoa, look at this.

Wow, these guys are running to work.

Almost halfway through their season.

The hoppins crew is finally set to run Peter for real.

Looks like we're gone, man.

Great, so high-of-activity here on the upper-to-payment doors

in the environment. It's running as close to 20 grads as they can.

With the wash plan running around the clock, the camera crew can't miss anything.

Once in the expect, it's something big to happen.

So, you know, we go to stay with it and follow what's going on.

Well, here we have our bolsters up there in their basket.

They're perched. They're just waiting for something to die.

They're branched down on.

Remember, the ball's stuck.

Quick, quick, quick, quick.

The cameras need to capture every problem with the plan.

And that means getting dangerously close to the action.

We have killed a carer, man. Yeah, at least to anybody knows about.

You're not getting good enough pictures. It's because you're not close enough. That's how I feel.

So, this is a place you got to show.

I have to be very careful that I don't get on with you.

As my friend says off at the time, it's really hard to fix stupid.

They wouldn't risk nothing to me out.

That would mean it. I've to stop running for a bit.

Miners in camera crew run hard for days.

But no one is sure if the painter is going to pay off.

This is a really critical moment in their mining season.

I mean, this is Maker Break right now.

Today is the first cleanup and they've really got to find some gold.

Oh, Lord, hey, this is Tammy.

We're here away from our families on location.

Roughening it in the wilderness. This is they are and now we'll find out if it pays off.

These particular machines are going to concentrate our material.

Mining expert Fred Dodge helped design and build their equipment.

The camera crew needs them to explain how it works.

I don't want to break down what actually.

But getting seasoned minors like Fred to reveal the tricks of their trade is a challenge.

Some technical things. I'm just not willing to share it.

It's okay. You can have a secrets. But all I'm asking to do actually is say,

put mud in here and you know, the mud goes out and the gold comes out this end.

That's all I want.

No, you're not going to give it a piano camera because it's giving it to the world if you give it to the

camera, right?

What's it like being up with cameras?

Yeah, how did it work?

You want the truth? Yeah.

Pain in the ass.

Fred won't give away anything.

But the camera crew still captures every stage of the process.

Ready or not, here we go.

And they're just as desperate to see gold as the minors.

There goes the first page, Raiders.

So we're sitting on this table here, but honestly, it's gold.

A lot of it.

I need to show.

Pouring into the hole.

It's exciting to see.

It's brilliant. Yeah, it's going on the table.

This is the last stage of the clean-out.

It's all in two months of work, leaving unbelievable amounts of dirt to get to this.

They're not running their best dirt and they're still some modification to me.

It's difficult to say how much gold it's going to be in there,

but realistically, if they get any more than two and a half or three ounces,

they're going to look very well.

Hey guys, let's see what you hear.

Beautiful though, they're pretty.

One, two ounces.

Three ounces.

Four ounces.

That's not a bad start.

Oh, guys, four ounces.

Five feet above bedrock.

Great mind, this stuff coming out of the ground,

off to all of this, off to the rain, off to the permafrost,

off to the losing soundmen in the mud.

Yeah, it's great mind.

After almost three months, the camera crews finally have gold on film,

and not just in the Klandai, but also 600 miles south

that occupy in Creep.

Gold fever baby.

And a big nugget mind, the race is on to get the gold

and to get the story behind it all.

This is where the game begins for me.

In the second half of the mining season,

the camera's capture is scoring few could have imagined

as the season ramps up across all three claims.

We're going to run like crazy.

Let's get to a hundred ounces.

The miners and camera crew push themselves

and their equipment to the breaking point.

Do you think that would?

If you don't have to get, she don't deserve the glory.

He's doing wheelies.

They go toe to toe with the authorities.

They're going to close on the mine.

Because of some damn paperwork, what the f*** don't do it.

And everyone faces being frozen out by the Arctic winter.

We're getting our butts kicked by the winner.

We're tight.

Desperate times, we require desperate measures.

Running 24-7 will take everything

the crews have got.

Stop!

No, what the f*** stop is.

Get out of the way out of panic.

Come on.

But there's everything left to fight for.

Look at that thing.

Awesome.

If that doesn't take you, I don't know what that is.