by Shayley Blair
The project aligned perfectly with Painting in Pictures’ signature values: a commitment to ethical practises and low carbon footprint.
It also worked out perfectly for Team WhaleX, contestants in the $100 million challenge sponsored by the Musk Foundation, with the resulting film winning the XPrize Best Film award, promoting their inventive carbon removal solution on a majestic scale.
Kirsty B Carter explains from her insider view what WhaleX is all about: “The WhaleX project stands as a testament to what can be achieved when science and creativity unite. Focused on innovatively mimicking the nutrient distribution of whales to enhance phytoplankton growth, it has the potential to be a significant player in carbon sequestration.
“As filmmakers chronicling the WhaleX project, we’ve taken a deep dive into ‘ocean nourishment’, WhaleX’s groundbreaking initiative. This project involves creating artificial whale excrement to replicate the nutrient composition of natural whale faeces, with the aim of enhancing phytoplankton growth — a key player in the marine food web and crucial for carbon sequestration.”
Carter relays some of the challenges involved when tasked with getting everything necessary packed into a short, but impactful film. “Condensing vast information and ocean footage into a 7.5-minute film was challenging, much like fitting an array of pieces in a complex game of Tetris. It required a diverse skill set; part scientist to grasp the nuances of ocean and climate science, part storyteller to weave an engaging narrative, and part whale advocate to highlight their ecological importance.
“Delving deep into research, it was crucial to not only understand the intricate details but also to distil the academic language into a film that resonates with a broader audience. As the narrator, my goal was to bridge the gap between complex scientific concepts and general comprehension.
“A pivotal part of bringing this vision to life was the collaboration with my filmmaking partner, Joe Harrison. His expertise in capturing the unpredictable beauty of oceanic environments was invaluable, especially his ‘human tripod’ steadiness while on the rolling ocean waves.”
In response to the question of whether the venture is environmentally safe, Carter shared more on the WhaleX approach. “WhaleX’s commitment to using natural, organic materials ensures their product’s harmony with the marine ecosystem. Their approach, centered on minimal intervention and a deep respect for natural processes, which forms a central theme in our documentary. Rather than altering nature, WhaleX aims to enhance it responsibly.
“They aim to specifically target areas with dwindling whale populations, replicating the natural cycle with a strong emphasis on safety. The artificial whale excrement undergoes extensive testing to ensure it poses no risk to marine life and helps maintain ecological balance. Addressing environmental and safety concerns is fundamental to WhaleX. They strive to restore, not disrupt, the natural balance.”
A positive outlook radiates from the award-winning film. “The project’s participation in the XPrize carbon capture competition reflects a broader effort to tackle climate change,” Carter says. “This collective endeavour, bringing together various innovative solutions to carbon sequestration, highlights the importance of collaboration in addressing global environmental issues.
“Specifically, regarding WhaleX’s impact on whale populations, the project goes beyond being a mere technological venture. It serves an educational role, increasing awareness of the importance of whales in marine ecosystems. This awareness can catalyse conservation efforts, potentially leading to an increase in whale numbers. By demonstrating the ecological significance of whales, WhaleX can inspire a shift in how we view and interact with our oceanic environment.
“I maintain a hopeful outlook on the WhaleX project. It’s not just about removing carbon; it’s about fostering a deeper understanding and connection with the ocean and its inhabitants. The project’s success, in my view, will be measured not only in its technological achievements but also in its ability to instigate a transformative change in our relationship with the planet.”
Painting in Pictures’ ethos sets a useful example for green filmmaking practises. “We integrate eco-conscious principles into every facet of our filmmaking, from initial concepts to final cuts,” Carter shares. “We make conscious efforts to use renewable energy sources, and utilise local resources and communities, ensuring that our production processes are as green as possible… We focus on maximising the use of our resources, prolonging the lifespan of our equipment… We opt for hybrid vehicles, and car sharing… Additionally, our carbon footprint is meticulously monitored using specialised carbon calculator tools.
“In our pursuit to minimise environmental impact, we’ve found that limitations can spark imagination. We often find innovative ways to repurpose materials, transforming ordinary objects into reusable or adaptable props. This practice of resourcefulness has shown us that constraints can be a powerful catalyst for imaginative thinking.”
Carter’s passion to make an impact through film continues, with a feature documentary, Dayakland, now in post-production. “Our work transcends mere creativity; it’s driven by a profound desire to address real-world issues, particularly in the realms of environmental and social justice. Dayakland began as an initiative to shine a global spotlight on the unfolding environmental and human rights crises in Sarawak, Borneo. Yet, as we delved deeper, the project transformed into a powerful testament to resilience, both human and environmental.
“In the heart of Borneo, we were confronted with the stunning beauty of the rainforest and the stark realities faced by those fighting to protect it. A key moment was when we documented a standoff between locals and a palm oil giant; our cameras transformed from storytelling tools into instruments of truth. This footage led to the company’s retreat, but it also brought us into harm’s way, necessitating a quick escape to Brunei for safety.
“The challenges we faced were constant and diverse: the aftermath of a murder, the relentless jungle with its giant leeches, mosquitoes, sandflies, and tropical borne illnesses. These experiences, though harrowing, solidified our determination to tell impactful stories.
“Dayakland is more than a documentary; it’s a reflection of the global struggle for environmental preservation and indigenous rights. Our cameras do more than capture images; they amplify voices that need to be heard, illuminating stories that might otherwise remain in the dark.”
