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вЂњWhat helps is the frame rate - we have the ability to shoot up to 120 frames per second. вЂњBefore, we would have gone with more action, but this was a very strong opening, stressing how the crewmembers are thinking as the storm comes.вЂќ Reichert adds that simply holding shots for more than a few seconds is something that they used to not do. вЂњEveryone is on their own, and it is incredibly moody,вЂќ says Lovett. As 30' waves the height of the wheelhouse crash by, one captain says, apparently to himself, вЂњI am, like, seriously scared.вЂќ And you believe him. By contrast, in 2019, the 15th seasonвЂ™s fifth episode (вЂњShifting StackвЂќ) - in which the fleet is also facing an approaching storm - opens with the camera holding on waves in slow motion, and then we see a captain in his darkened wheelhouse framed with plenty of negative space, and a lingering shot of a deckhand looking wistfully out to sea, with a soundtrack of a plaintive ballad in the background. In 2005, the first seasonвЂ™s fifth episode (вЂњDead of WinterвЂќ) opened breathlessly with rapidly paced shots of waves crashing over decks, crab pots swinging dangerously, and men getting injured, as the radio warns of a growing storm and announces that five men are still missing from a capsized boat. When Reichert and Lovett spoke with AC, in separate conversations, they each made it a point to illustrate this evolution by comparing how recent episodes have dealt with situations like an approaching storm, as compared to episodes from the early seasons.

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вЂњA big difference in the show now is that we are shooting more cinematic material, with different frame rates, different depths of field - and the editors and producers have figured out how to use it.вЂќ

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вЂњIn the first season, they went out there and pretty much sprayed and prayed,вЂќ says David Reichert, who has been director of photography on the series since 2013.

вЂњThe technology has changed, but what hasnвЂ™t is the environment - the intense and deep cold, the saltwater, the heavy equipment on deck.вЂќ Deadliest Catch cinematographer David Reichert shooting in the Bering Sea. The series has both adopted new technology for filming in such unforgiving environments, and encouraged the camera operators on each of the six (or sometimes seven) boats they are documenting to be more creative - and intimate - in their shooting. Now it has evolved into danger, drama and characters.вЂќД¬entral to this evolving storytelling style is the enhancement of the showвЂ™s cinematography. вЂњIn the early 2000s, at the beginning of reality TV, it was all about danger, drama and death. вЂњAfter 15 years, the audience has seen a lot of the scope and it could become repetitive - so we had to find a way to make it more cinematic and get people more involved,вЂќ says Brian Lovett, who was part of the original team that created Deadliest Catch in 2003, and is now an executive producer of the series.

The show has done this by keeping its viewers invested in the people on the fishing crew as they confront the power of the ocean and their own inner demons, often simultaneously - and turning some of the boatsвЂ™ captains into minor celebrities on the side.

вЂњCollaborating with HyperPower Game Group and Tapinator enables us to offer a new, fully immersive second-screen experience that enables fans to head out to sea even after the season has concluded.This would clearly make for a successful 90-minute documentary - yet the brilliance of the Discovery Channel series has been its ability to keep the audience coming back for 16 seasons and more than 260 episodes, with Season 17 currently in production and anxiously awaited by its fan base. вЂњ'Deadliest Catch' fans are among our most passionate fans, and we always seek new ways to engage them further in our programming,вЂќ says Conal Byrne, senior vice president, digital media, Discovery Communications.

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A marketplace will allow players to upgrade equipment, obtain crabbing licenses and customize their gameplay experience. After successfully hooking a buoy, the game will take players down to the ocean floor, where they must navigate each level's haul of crabs, protecting lines and pots from impending obstacles and enemies. 'Deadliest Catch: Seas of Fury Mobile Game' will introduce a two-phased gameplay dynamic, in which players begin as a deckhand onboard one of six boats from the show.

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The free-to-play iOS, Android and Kindle mobile game takes fans deep into a turbulent Alaskan crabbing season with more than 20 levels.

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Discovery Channel has teamed with Tapinator and mobile game licensing company HyperPower Game Group to launch 'Deadliest Catch: Seas of Fury Mobile Game,' based on the hit TV series.

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