Sci-fi films on the Red Planet with medieval legends on Far-Earth, the Unknown has always been a source of inspiration. Wonderful, mysterious, disturbing, terrifying. What eludes us does not cease to be a hot topic of debate. , and the night is no exception.
Yet it is under the mantle of night that many species evolve. Out of sight and men, life explodes. If you pay attention, it is not uncommon to hear a vole slipping between our legs or the hooting of an owl pierce the silence. The capture of images in low light progresses in a dazzling way and it is finally possible to put images on these wires. To demystify the realm of shadows. The success of "La Nuit des Animaux" is a reflection of a growing enthusiasm for this type of images and in…show more content… An attractive scenario with a large palette of emotions, but sometimes far away from the realities of filming a wildlife documentary.
The experience and knowledge acquired during this internship have been very different from those envisaged by applying to it. I wanted to track and find nocturnal mammals and raptors. Learn how to film them in their environment without being invasive. In the end, it was more a matter of learning about the realization and construction of a cinematographic work, as well as reflection on ethics in animal cinema.
The biggest difficulty I encountered was during the past week at "Animal Contact". We had to think of how to make a sequence with the marcassin and thus prepare the different values of plans, fields / counter-fields ... Inner panic and artistic vacuum. As a beginner in the realization of wildlife documentary, my work on the field up to now has been rather opportunistic. I let the place and the animal dictate my frame. I film different plan values giving priority to the aesthetic and arranges to connect the whole. But "a film is not only about beautiful plans" as Lucas repeated. This exercise, destabilizing, pushed me to lean more on the different techniques of narration in the cinema. From the simple meaning of the camera movements to the colorimetric compositions of the shots.
The second major learning of this shooting is regarding studio work and lighting. It was