Brian Drysdale
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I suspect you should approach the people who shoot wildlife and natural history programmes via suitable specialist forums. Asking here just isn't going to change anything, since it's unlikely the right people are going to see your concerns.
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Film is back BUT cameras are dying
Brian Drysdale replied to Boris Kalaidjiev's topic in General Discussion
It might be worth contacting Ilford regarding making a motion picture version of their black and white stocks: https://www.ilfordphoto.com/black-white-film -
Usually dialogue, spot effects are recorded mono, with the atmos track recorded in stereo. Normally, there's no reason why you can't record the action dialogue and V.O. in mono and just have the music in stereo. In this case, you should check the delivery requirements. Bear in mind that computers can have external stereo speakers and phones can have ear buds.
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What is this technique called?
Brian Drysdale replied to Cisco Clifton's topic in Lighting for Film & Video
I would assume they're using the flags for negative fill, so that there's no light reflected from the ceiling. -
These trains were used on steep inclines
Brian Drysdale replied to Daniel D. Teoli Jr.'s topic in Off Topic
The boiler becomes level when the loco is going up a slope. You can see it on this Swiss mountain train: https://www.railadvent.co.uk/2018/06/swiss-steam-locomotive-to-steam-to-the-summit-of-mount-snowdon-on-the-snowdon-mountain-railway.html -
More mainstream, Spielberg knows how to use the camera.
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Arri has released a statement on their future plans. This seems to affect their lighting, rather than the cameras. https://www.redsharknews.com/arri-future-2026-statement-lighting-cameras
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As is always the case with the BBC, it has editorial guidelines regarding natural history programmes: https://www.bbc.co.uk/editorialguidelines/guidance/natural-world However, these only apply to BBC productions, there are other documents and sources: https://www.sciencedirect.com/science/article/pii/S235198942100531X https://www.documentary.org/feature/wild-ethically-nature-filmmakers-need-code-conduct https://www.researchgate.net/publication/357193054_Ethical_considerations_in_natural_history_film_production_and_the_need_for_industry-wide_best_practice https://www.nationalgeographic.com/adventure/article/140116-wildlife-photography-film-ethics-manipulation-feeding-staging-science I suspect approaching more specialist organizations and websites would be the best approach for this subject, rather than a general cinematography forum.
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I gather it's not recommended to feed live mice and rats to pet snakes, the prey can be quite capable of defending themselves and can injure the snake with their bites.
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The BBC has video diaries that are transmitted in the UK after the main documentary. These show the techniques and filming difficulties on most of their major natural history series e.g. "The Blue Planet" "Frozen Planet" "Planet Earth" etc
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This explains how the BBC filmed a rattlesnake hunting in the wild: https://www.bbc.co.uk/sn/tvradio/programmes/lifeincoldblood/techniques.shtml Also, some studio filming (although not furry prey).
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The BBC flagship nature series do show animals catching their prey in the natural world. Big cats, wolves, are commonly shown chasing down and killing their prey, snakes are also shown dashing at and catching baby Marine iguanas in the Galápagos islands and bears catching salmon in the rivers as they make their spawning run.
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This may be of interest - the tale of how Kodak made the first digital camera: https://www.bbc.co.uk/future/article/20251205-how-the-handheld-digital-camera-was-born
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Here's info on the latest Arriscan: https://www.arri.com/en/applications/archive-technologies/arriscan-xt
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Many years ago, I shot night scenes using the 16mm f1.4, it was definitely soft when wide open. This was a brand new lens. It had rather nice circular lens flare, which worked when driving down the road with the street lamps flaring in and out - in the final film the music beat matched the flares.
