NETFLIX Our Great National Parks - Eps. 5 Mt. Leuser: Salt Lick
Each shoot offers unique challenges and rewards, and the salt lick shoot was no exception. This particular expedition lasted just a month, much shorter than the tiger shoot I had completed earlier. Located deep in the forest, the salt lick area was a natural gathering spot for wildlife, where animals come to consume salts found in the soil. The lack of minerals in the surrounding earth meant this spot was a vital source of nutrients for many species. To get there, we set out on a two-day journey from the nearest village, passing through secondary forest. The track, though hilly, wasn’t too difficult, and the remnants of logging activities were still visible in the man-made rivers used to transport timber decades ago.
When we finally arrived at the main camp, built by a clear river surrounded by dense trees, the sense of isolation was unmistakeable. From there, it was another hour’s walk to the salt lick itself, where the previous team had already placed trail cameras on a scouting trip. These cameras had captured some fascinating footage—orangutans, elephants, and deer, all visiting the salt lick. Knowing that the location was ideal, I started setting up my hide.
The trees and vegetation around the Salt Lick.
The salt lick was like a bald patch in the forest, surrounded by thick tree canopy but strangely open in the middle. The salt lick itself was an incredibly pristine area. One of the main reasons for this was its remote location, deep in the jungle, far from the nearest village. While some villagers rely on the forest for their livelihoods, harvesting its resources, this particular spot was relatively untouched due to its distance. Additionally, a civil war had ravaged the area for over a decade until 2004, making the forest inaccessible and, therefore, largely avoided by people. This had helped preserve the salt lick’s natural state, allowing wildlife to thrive undisturbed.
For this shoot, I decided to set up two hides: one on the ground and another in the canopy, 35 meters above. The ground hide was similar to the one I had used for the tiger shoot—an A-frame tent where I could sleep and a small dome for filming. But the canopy hide, a wooden platform with a tree tent, had been built almost a year earlier by the Assistant Producer, Ed Anderson, to give wildlife time to adjust to it. It was a remarkable piece of rigging, securely perched high on the trunk of a massive tree, providing a unique vantage point.
Filming on the ground had its challenges, particularly the heavy rains that drenched the forest. One night, the rain pooled on my tent’s roof, and as I pushed it away, I accidentally let some of the water spill inside. Nearly everything was soaked, but thankfully, I had kept my camera equipment wrapped in waterproof bags. Despite the weather, I managed to capture footage of Thomas leaf monkeys, monitor lizards, and some general shots of the forest. At one point, I heard the territorial roar of a tiger, which echoed through the forest for almost two hours. The forest, usually teeming with life, fell silent as the tiger asserted its dominance, though it never came into view.
A picture of me descending using a rope access system.
Once I had enough footage from the ground, it was time to move up to the tree canopy hide. Climbing 35 meters into the treetops was thrilling, even though I was new to tree climbing. With the help of professional riggers, Arwind and Ano, I settled into the tree tent. Filming from the canopy was unlike anything I had experienced before. The light was much better up there, unimpeded by the forest canopy, and I had an uninterrupted view of the salt lick. From this vantage point, I filmed hornbills, more Thomas leaf monkeys, and some fantastic shots of the mineral-rich bubbles emerging from the ground.
Living up in the tree came with its own set of peculiar challenges. Using the bathroom was a memorable one—after some laughter from the riggers, I was told to simply cling to the rope and “give it a go.” It was awkward at first, but soon became part of the routine. The constant need to wear a full-body harness, even while sleeping, was another adjustment, but it was a small price to pay for the incredible view and the opportunity to film from such a unique angle.
Sony FE 24-70 GM on a Sony FX6, mounted on a Sachtler Cine 30 HD and a 150 hi-hat.
My gear setup for this shoot was crucial to capturing the wildlife footage I needed. I used the Sony FX6 paired with a Canon CN20 50-1000 lens for long-range shots, giving me incredible reach and clarity. For wider shots, particularly for general views (GVs), I switched to an FE 24-70 GM lens.
Instead of using standard tripod legs, I opted for a 150mm hi-hat with a Sachtler Cine 30HD. The reason for choosing the hi-hat was that I wanted to get as low as possible when filming from the ground hide, allowing me to capture intimate, close-to-ground shots without the bulk of a taller setup. In the tree hide, space was even more limited, and bringing standard tripod legs would have been impractical. The hi-hat offered a compact solution, perfect for the confined space while still ensuring stability and versatility.
Though the footage we captured didn’t end up as a standalone sequence, it was used to enhance other scenes, like the shots of the Thomas leaf monkeys and for opening and closing sequences. In the end, it didn’t matter. This shoot wasn’t just about the final product—it was about the experience of being in the wild, adapting to the environment, and capturing nature from angles I had never tried before. The salt lick shoot was a reminder of why I love what I do, offering new challenges and perspectives that continue to shape the way I see the natural world.
