The film asks whether people who have been everywhere can still be moved by something. That is answered by faces, not by narration. It lasts under two seconds and it cannot be covered after the fact.
At every threshold: the crater entrance, the first villager, the wreck resolving out of the murk, the moment the sails take. The camera is on faces before it is on the thing. You can shoot the reveal again on the next pass. You cannot shoot the first face twice.
The real thing makes a person turn to another person to confirm it exists. Politeness keeps looking at the view. Guest looks at thing, looks at another guest, looks back: that is the shot. It is two faces in one frame and it is the ensemble in one gesture.
One face is an anecdote. Two faces at once is an event. It also enforces the ensemble at the camera level, because a single reaction shot reads as a lone hero no matter what the narration says. Frame wide enough to hold two people.
The words land after the face. Every solo operator in history cuts two seconds before the line. Keep rolling after you think the shot is over. What you want is usually on the other side of the event.
Thirty seconds: the speed display, engines off, with whoever is sailing her in frame. A rising number is dramatic at any altitude. Twelve knots that beat yesterday's nine is a scene. Twenty two with no context is a fact.
Ask about it, log it, shoot for it. It never appears in the narration. Naming it kills it. On camera the register is wonder, and the spirit of the thing.
Fewer than three entries with faces, and no unprompted line, by the end of Ambrym: the field has answered, and the answer is no. Change the question there, with days still left, rather than papering it in the edit.
Angela clears it first. Ask the chief three questions, not one: may I film, may it be shown outside Vanuatu, and is there any part of this I must not film. Drone permission is a separate ask. A parent in frame for every child. Eye level, never down from a deck. Never a frame whose only content is that they have little.
What moved someone, whether you got the face, whether you got the words, and whether a second person was in frame. Ensemble descriptors only, no guest names.