SERENGET I | WI LDLI FE
If we could shoot at 8K, we’d shoot at 8K. That’s just part of the process now
before – and the cost is lower. The other thing is the stabilisation systems.” All of this technology, Downer says, adds up to “a huge array of camera systems that we tested for about a month before we even started shooting properly, to see what we would need to get this more dramatic style”. He wanted to get subjective viewpoints and multiple angles of the same event, “so we could film it more the way you would film a drama”. RED 8K Serengeti was principally shot on 8K Red Helium cameras. Other cameras,
particularly the Panasonic Lumix G7, were used for situations where the Helium was too bulky. “We had remote cameras triggered by the animals themselves,” Downer continues. “The Reds are sometimes a bit too big.” With all the cameras capable of at least 4K, the crew shot at the highest resolution they could to better facilitate reframing and stabilisation in post. “If we could shoot at 8K, we’d shoot at 8K. That’s just a natural part of the whole process now. We can creep into the heads of the animals when they’re reacting to something. That’s where the extra headroom you get if you shoot 8K was really useful.”
SEPTEMBER 20 1 9 | DEF I N I T ION 45
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