One Day on Earth





The sheer amount of work that was put into each and every set-up and their impeccable quality; keeping in mind that the camera rig was composed of two, in order to mimic the stereoscopic effect of the experience of human eyesight (“3D”), with immaculate camera moves, using everything from Skycam, where the rig is mounted on wires, flying above and through the treetops; to “hothead” cranes, where the ability to manipulate the rig in an up-and-down, side-to-side and every-which-way of rotation, going straight from the tree canopy to the forest floor, to a shot produced by an incomprehensibly small crane, which takes us from underwater, in the teeniest, pristinely-clear, little sylvan streamlet, to follow the footsteps of a brightly polka-dotted salamander, which looks, for all the world like a living piece of jewelry. 

There is also the adept use of every kind of lens and focal length, from the intense depth-of-field, compressing herds of animals within their majestic landscpes, offered by the longest of long lenses, down to the widest possible macroscopic angles, achieved from fiberoptic lenses, giving us the sense of intimacy that would come from being the same size as the smallest of amphibians and insects and of living inside a fox den with a vixen, nursing her skulk of the most adorable kits…

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