:04:01
The idea that she spiraled down,
spitting objects.
:04:05
My name is Charles Pellegrino.
:04:07
I was one of the historians and
biologists on the expedition.
:04:11
We tend to think of it
in 21st-century eyes.
:04:15
I'm Don Lynch,
and I studied the "Titanic"
:04:18
based upon the testimony and
accounts of passengers and crew.
:04:21
The people who were there
and witnessed it.
:04:25
My name is Ken Marschall.
:04:27
I've been studying the "Titanic"
for over three decades now.
:04:31
I checked it out.
The Straus suite.
:04:34
Through those years and study,
:04:35
I've sort of become
a visual historian
:04:38
about the ship and her structure
and appearance.
:04:43
It was an amazing expedition
:04:45
in terms of all of
the state-of-the-art technology
:04:49
and engineering we were using,
in terms of the camera system.
:04:53
The R.O.V.S were amazing.
:04:55
On the cutting edge
of technology.
:04:58
Just try to keep the light in
right where I've gone in.
:05:01
I'm gonna explore these cabins.
:05:02
There is no script. We don't
know what we're gonna see.
:05:05
We don't know
what we're gonna encounter.
:05:08
The crucial thing
about deep-sea photography
:05:11
is lighting.
:05:13
Just come up over and light
all this business down here.
:05:16
- You see what I mean?
- Yeah.
:05:18
So we had a sister ship on
the expedition called the "EAS."
:05:23
The "EAS" had
this giant lighting chandelier
:05:26
called Medusa.
:05:28
The theory was to lower the
chandelier down over the wreck
:05:32
and do this overlighting,
almost like moonlight.
:05:36
There was no manual
for any of this.
:05:38
Nobody had ever combined
this many elements
:05:40
into a single-dive operation
before at these depths.
:05:45
We were pushing the limits
of technology,
:05:48
which was a little eerie
:05:50
given the fate of the ship
we had come to explore.
:05:58
This is where it all happened.