Went out for a recce of Priddy pools in the Mendips last week for a new project, and took this time-lapse while I was there. I’ve not done a huge amount of time-lapses in my time and I’m still learning a lot about what works and what doesn’t so criticism is very welcome! In the mean time, enjoy!
It’s been a couple of weeks since we all had to present our ideas for our final films, and things are getting exciting (and stressful)! I’ll be filming my final film at Afi Mountain Wildlife Sanctuary in Cross River State, Nigeria, and it will be about the great work that the guys there do and why it’s necessary for the future of Nigeria to protect it’s natural resources. The rest of the story is a secret, but below is a trailer I showed at the BBC for my pitch. The archive at the beginning is for context, but the second half is all footage from Afi and reflects the observational documentary style I hope to have – enjoy!
It’s the New Year, and a while since I’ve had the time to write a blog post. But I’ve had good reason – 20,000 words to hand in and 2 film projects to edit over the Christmas period didn’t leave me much time for anything else. I’m in the process of writing something a bit more substantial, but in the mean time I thought I’d post the videos I’ve edited from last term. The first one was an action sequence project testing how well we could put together a sequence of something happening (rather than just a montage), and the second was an interview project, testing how well we could film an interview.
Enjoy, and thanks very much to my flatmates Olly and Maks, and my mother Pauline for agreeing to let me film them.
Vision Creative Conference is an annual event that brings together pioneers from the creative industries and showcases their innovative thinking. With a range of speakers from Google employees to founders of Iced Coffee brands, a few Wildlife Filmmaking students excitedly headed down to the Arnolfini to see what it was all about.
Joining some of the Documentaries and Features students, we went to make a promotional video that demonstrated the “creative freedom” theme of the conference, and we intended to absorb as much creativity as we could from the speakers. Kicking off the conference was Alex Hunter, formerly of the Virgin Group, who told his audience how companies should use social media to create personal relationships with customers: wise words for a digital age.
But it wasn’t all about marketing. Jon Fidler is the founder of 3D printing design company Modla, and he explained his vision for using 3D printing to connect children with nature – it costs around £3 for the materials to 3D print the casing for a camera trap, a tiny investment for a young person to learn a valuable lesson about how technology can be used as a conservation tool.
Perhaps the most interesting talk for a Wildlife Filmmaking student however, was a talk from Jonathon Wise, co-founder of Comms Lab, an organisation that works with communications agencies to articulate their positive role in society. His talk raised the point that anyone who produces content for broadcast has a responsibility for the effect their content has on society, and that advertising agencies should be held accountable for promoting mass consumerism in an age when the planet’s resources are dwindling. He envisaged a society where content producers were motivated first and foremost by the positive changes they could make to the way people think, and that – for me at least – was the real vision of the conference.
After a year of honing their wildlife filmmaking skills, on Thursday the day finally came for last year’s students to show their films at the BBC Natural History Unit. Eager to see how high the bar would be set, this year’s students sat among employees from both the BBC and the independent sector as they came to consider the standard of the next generation of filmmakers.
Introductions from BBC Executive Producer Julian Hector, and UWE’s Susan McMillan and Peter Venn set the stage, and attendees were provided with some extra reading: profiles and CVs of each student, as well as a collection of press releases written on the talks they were given and the many extracurricular projects they were involved in throughout the last year. The booklets listed impressive sets of skills and experiences gained throughout the duration of the course, which made for some exciting reading for my colleagues and I – an exciting snapshot of what the rest of our year might bring.
The films were diverse in both species and location, ranging from a studio-based film about mice to one featuring snow leopards shot in the Himalayas; a number of them were very impressive considering that the films were made on a shoestring budget. The three films chosen to be screened first were Walking with Wolves, Wildlife, Who Cares? and Wild Dreams, and between them they showcased abilities to tell a range of different stories from the conservation-based, to the goings on of a wildlife rescue centre, to being able to put together a story when the original plan becomes impossible. Looking at the quality of films that we saw I couldn’t help but feel inspired, but also daunted at the prospect of making films that live up to the same standard. The bar has been set for the year to come, better get back to work.
Been busy the last couple of weeks with Wildscreen festival and editing a video for BBC Autumnwatch as part of #MyAutumn on Facebook. The video was just posted, so go ahead and view it in it’s proper format on the Autumnwatch Facebook page here. It’s about invisible migration of blackbirds into the UK over the autumn months, enjoy!
Since I’ve been too busy on my course lately to write anything that I’m, not going to get credit for (sorry!), here’s a press release I wrote for a talk my coursemates and I went to…
Alastair Fothergill has produced some of the best natural history films to come out of the BBC, and in the last decade has emerged one of the genre’s most prominent pioneers. On Thursday, he gave a talk about some of his finest films in aid of the Starfish Pool Appeal, a campaign to raise money for a hydrotherapy pool for children with disabilities at Claremont Secondary School. A presentation of both footage and the stories behind the making of the biggest landmark series’ produced by Fothergill, the evening was entertaining for everyone in attendance, from families to filmmakers.
Introduced as a “true legend in Natural History film making”, Fothergill began the evening by sharing some of his early career aspirations, explaining that he wanted to make natural history films to paint a portrait of our planet, and the complex animals, plants, and landscapes that make it so beautiful. Before Blue Planet, there hadn’t been many films made about the oceans, and with footage such as that of the deep ocean viewers were shown new landscapes and behaviours they’d never seen before. Five years later, Planet Earth was a series of portraits of different habitats, and viewers were blown away by sequences such as that of the snow leopard; the first time the animal had been caught on camera. Equally as enthralling is the story behind the camera – sharing the area of the Karakorum mountain range with US soldiers looking for Osama Bin Laden, the cameramen had to wait a year for the area to be cleared.
Fothergill admitted that he owes much of the success of Planet Earth to the technology: new gadgets like the gimbal-stabilised helicopter rig allowed for complete sequences to be filmed from the air for the first time. New camera technology that allowed cameras to work in extreme cold conditions meant that filming for Frozen Planet could continue throughout the year, allowing the story of the seasons at the poles to be told. Despite this however someone still had to be there to operate those cameras, and Fothergill told stories of cameramen floating away on ice sheets, and even recording messages for their wives in case they didn’t survive one particularly bad blizzard.
The end of the talk brought a range of questions from the audience, and we learned that Fothergill’s favourite animal is a chimpanzee, and his favourite place is South Georgia, despite the cold. He also told of his frustration that such big spectacles that he sees when on location are often not done justice being shown on small screens, something which has recently caused him to move into feature films for Disneynature. His desire to reach a large audience however has brought him back to television, as he believes it is important to inspire the younger generation to connect with and respect the natural world. And if he keeps making films like he showed on Thursday, I do believe he will continue to do so.
So the day I’d been waiting for all summer finally arrived, and I have now begun the MA Wildlife Filmmaking course at UWE. It’s only been 10 days and it’s already pretty exciting!
We began on a Thursday morning with the standard sort of university induction you get at the beginning of any higher education course (where the library is, how to catch a bus, who to talk to if you have a mental breakdown etc). After about half an hour of sitting with the other BBC collaborative courses wondering when we would get to the interesting stuff, we finally moved to another room to talk about Wildlife Filmmaking. It became apparent that we’re all going to be pretty busy for the next year, with hectic and unpredictable timetables that will be filled (often last minute) with talks from whichever BBC employees are free to impart some of their invaluable knowledge to us, and the expectation is that we will spend most of our free time developing our own skills or reading (watching) things to help us develop our understanding of the industry. We are expected to act professionally and as if we are BBC employees, and should think of ourselves as a production team, which feels much more exciting than just being on a masters course! The rest of that day was spent absorbing information from BBC employees, as we sat wide eyed at the back of a BBC Natural History Unit meeting seeing what the NHU is currently working on. I think its going to be a fun year…
Since then we’ve mostly been spending our time learning the fundamentals of filmmaking and getting to grips with the kit we’ll be using to make our films. We’ve had workshops on the Sony FS700, sound recording, and today we learned a bit about telephoto and macro lenses – filming some creepy crawlies in a set we’d built in a studio. Now that we’ve learnt the basics of our kit, we’re allowed to take it out on our own to do some filming, so watch this space to see some footage of wildlife shot by yours truly, very soon!
When deciding on possible holiday destinations, the Mediterranean offers a plethora of options: whether one prefers to relax on a beach, eat delicious food, soak up some culture or engage in some more adventurous activity, holidaymakers are spoilt for choice. One country that might not come up in the average conversation of where to go however, is Albania – which is where my girlfriend, Louise, and I decided to visit earlier this month. When I told my friends that’s where we were going, I did get some strange looks (one because they had confused Albania with Algeria), but I’d done a bit of research and the “Albanian Riviera” sounded like a great place to go. I wasn’t wrong – set between a beach and a dramatic mountain backdrop, Dhërmi is a lazy town where the main activities consist of eating, drinking, sunbathing and swimming. Other than ticking all the boxes for a relaxing beach holiday it was relatively quiet, with the vast majority of other tourists appearing to be Albanians, and in fact the noisiest thing was the cicadas in the olive groves around our bungalow.
While I didn’t manage to get a photo of a cicada, I did get some photos of this stunning little insect who hung out in our porch for a couple of days. At first I thought it was a cricket, but while I was trying to identify it I came across this helpful page from the University of Florida, which made me think it might be a katydid – it looks in the photo below that there are 3 segments to the tarsi (at the end of the leg, what one might call a “foot”), which according to the Orthoptera order tree on the linked page defines it as a katydid. After progressing with the key offered on this page and my photos as reference, my best guess is that it is from the subfamily Tettigoniinae (shield-backed katydids), although I haven’t yet found any way to identify the species online. If anyone reading this knows of the species or could suggest a way I might be able to identify it, please comment or leave a message on my Contact page. Alternatively, if you’d rather go and find one for yourself, you can book to stay at Altea Beach Lodges here.
Saw this stunning damselfly while walking in Nonsuch park the other day. It looks like the head has been mostly bitten off by a predator, which is unfortunate (for me as well as the damselfly) as I’d love to have seen it flying with those beautiful, iridescent wings. From looking at a few common species of damselfly I’ve come to the conclusion that it’s a male beautiful demoiselle, which is a little puzzling seeing as their habitat (according to the British Dragonfly Society website) is usually the bankside vegetation of rivers and streams, and the place where I found it was fair from either. Given its state of “post decapitation”, I wonder if a bird could have predated it elsewhere and brought it back to the park, discarding it after eating the nutritious head. Nevertheless, I’ll keep an eye out for one that hasn’t shuffled off it’s mortal coil, as it were.