Ollie Laker: ‘More people have been up Mount… | Little White Lies

Interviews

Ollie Lak­er: More peo­ple have been up Mount Ever­est than to the rain­for­est canopy’

13 Oct 2022

A man with a beard operating a professional video camera in a forest setting.
A man with a beard operating a professional video camera in a forest setting.
For rope access and rig­ging expert Ollie Lak­er, film­ing high above the trees is just anoth­er day at the office.

Ollie Lak­er is no stranger to heights. The Bris­tol-based rope access and rig­ging expert helps cam­era oper­a­tors to reach new van­tage points in the for­est canopy on nature doc­u­men­tary shoots, and whether this involves rig­ging plat­forms in 15-metre-high trees or set­ting up cable dol­ly sys­tems for cam­eras to fly” between tree trunks, there is nev­er a dull moment. Here Lak­er speaks about his unusu­al career choice and his recent involve­ment in Super/​Natural, a Nation­al Geo­graph­ic nature doc­u­men­tary series, exec­u­tive­ly pro­duced by James Cameron and nar­rat­ed by Bene­dict Cumberbatch.

LWLies: When did you first real­ize you liked being in high places?

Ollie Lak­er: There was a tree in my par­ents’ gar­den, and as a kid, I spent half my time up there. My dad put a scaf­fold tow­er up around it, and I’d pre­tend I was on board a pirate ship or in a great big castle.

How did you get into pro­fes­sion­al climbing?

I left school at 15, with­out a sin­gle qual­i­fi­ca­tion. My options were lim­it­ed. The only thing that ever real­ly inter­est­ed me was climb­ing, but I just didn’t know how I could mon­e­tize it.

I went to the indoor climb­ing cen­tre in Bournemouth to see if they had any vacan­cies. The climb­ing cen­tre was shut that day, but there was a poster on the wall adver­tis­ing an expe­di­tion com­pa­ny called Raleigh Inter­na­tion­al. Through them, I got the oppor­tu­ni­ty to spend nine weeks in Belize. It was a life-chang­ing expe­ri­ence. When I came back, I became a qual­i­fied adven­ture trav­el guide. That lead to a sea­son­al job as a climber and abseil­er in Ched­dar Gorge, where I removed and sta­bi­lized loose rocks. I loved it, but the wage was low, so I got an IRA­TA (Indus­tri­al Rope Access Trade Asso­ci­a­tion) qual­i­fi­ca­tion to open up more opportunities.

You now do rope access work in the film indus­try. How did that come about?

Ini­tial­ly, I worked as a free­lance rope access tech­ni­cian in an indus­tri­al set­ting, on build­ings, off­shore wind tur­bines and cliffs, both in the UK and abroad. Then I dis­cov­ered the Glob­al Canopy Pro­gramme, which offers train­ing in basic for­est canopy access for sci­ence stu­dents. After par­tic­i­pat­ing in a cou­ple of their cours­es, I then worked for them, trav­el­ling and train­ing stu­dents in diverse locations.

When I came back, I was doing a rope access job for the children’s show Blue Peter, and I met some­one who asked me to get involved in a nat­ur­al his­to­ry shoot. That was about 10 years ago. Now, I have worked on nature doc­u­men­taries for the BBC and numer­ous pro­duc­tion com­pa­nies down in Bris­tol, where I run my own com­pa­ny, Fig­ure Nine, which spe­cial­izes in rope access solu­tions for film shoots at height.

How did you become involved in Super/​Natural?

It was through my work on the Net­flix series Ani­mal. At the end of the 4‑week Ani­mal shoot, fol­low­ing the gib­bons in Khao Yai Nation­al Park in Thai­land, I remem­ber think­ing how great it would be to go back one day. I didn’t real­ize how soon this would hap­pen, though. A few weeks after the shoot, I got an email from the Super/​Natural pro­duc­tion team, ask­ing me and the cam­era­men, Gra­ham Hather­ley and Will Nicholls, if we’d like to return to the same loca­tion for anoth­er gib­bon shoot.

Lush, dense rainforest canopy with a person climbing up a large tree in the foreground.

What did your work on the gib­bon sequence in Super/​Natural involve?

Typ­i­cal­ly, we’d to get to our base by 5 a.m. Then we’d pick up the cam­era equip­ment and rig­ging gear before head­ing into the for­est. We’d rig the plat­forms. Then the cam­era oper­a­tor would get in posi­tion and wait for the gib­bons to come.

In the research stage, the pro­duc­tion coor­di­na­tors had spo­ken to sci­en­tists on site and deter­mined where to place the plat­forms. They’d also iden­ti­fied the gib­bons that they want­ed to film and giv­en them names.

There was a lot of run­ning around because we had plat­forms at oppo­site ends of the val­ley ridge and in the val­ley itself. We were film­ing two groups of rival gib­bons. The val­ley was effec­tive­ly the bor­der between them, but there were fig trees down there, which made it the scene of many a fruit-relat­ed fight.

How high were the plat­forms you rigged in the trees? Were you ever nervous?

Some plat­forms were 35 – 40 metres high, and oth­ers were 15 – 20 metres high. Arguably more peo­ple have been up Mount Ever­est than to the rain­for­est canopy. You don’t know what you’re going to find up there. That makes me ner­vous. Is there a hornet’s nest or a tree-based snake up there? Let’s find out!

What was your most mem­o­rable moment on the Super/​Natural shoot?

We were try­ing to get shots of the gib­bons call­ing one anoth­er across the val­ley in the morn­ing, but it was hard because they do it in a dif­fer­ent loca­tion every day. I had the idea of rig­ging a high plat­form up a tree on the val­ley ridge that would give us a view of sev­er­al trees at once. We installed a rope, and I climbed up. At first, I couldn’t see much, but then sud­den­ly all these gib­bons appeared. They took a good long look at me to make sure I was harm­less, and then they just hung out with me for a bit. I rec­og­nized one of them from the Ani­mal shoot, and the way he looked at me, I like to think he remem­bered me, too.

Do you have any stand­out moments from your career that forced you to be inno­v­a­tive and adapt while work­ing on a shoot?

A few years ago, I was on a shoot where they were film­ing Monarch but­ter­flies. They roost ver­ti­cal­ly on trees, so if the cam­era flies along hor­i­zon­tal­ly and the butterfly’s move­ment is ver­ti­cal, then you only get a side-view. I designed a sys­tem that gets the cam­era from A to B, while also mov­ing it up and down: the Monarch sys­tem. Nature gets you to think out­side the box.

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