The size and scope of producing a single season of “Deadliest Catch” is hard to fully fathom. There are seven different producing-camera teams on seven different boats, rolling cameras around the clock, producing 25,000 hours of footage over the course of a fishing season.
To ensure visual and narrative cohesion and quality, series editor Rob Butler and cinematographer David Reichert — both 2023 Emmy nominees — must stay across an enormous team and complicated workflow. It’s a task complicated by their limited ability to shape what is being shot as the stories unfold.
