Pixar’s 1998 film, A Bug’s Life, bringing tiny CGI ants to the world’s biggest screen. National Geographic’s new documentary series, real bug life Turn it upside down and turn insects into giants in our homes. The only thing digital about the creatures in the Disney+ series, though, is the technology used to film them. But like the animated version, the show explores the world they live in and their adventures in ways we’ve never seen before.
Focusing on insects, real bug life Not restricted to specific remote habitats. Over the course of the series, you’ll visit a dry desert plane, a tropical jungle, a concrete jungle, a British countryside farm, and even a humble backyard. But thanks to a range of innovations, we can see these worlds from a whole new perspective. “I think the look and feel of the show, and it’s not just me saying that, I don’t think anything else looks like this or has ever looked like this.” Nathan Small, a selfie producer/participant in the show the show’s director told Engadget.
The show is set in New York City and follows the misadventures of a cute and bold jumping spider. As our eight-legged hero begins his journey on a city rooftop, it’s not long before we’re out on the streets, where we’re joined by a swarm of brave ants, diligent flies, and menacing mantises. Some shots stand out immediately and you have no idea why. But Small did.
He explains that macro professionals have long favored 60 or 100mm lenses, which offer incredible detail but have a very shallow depth of field (DOF). “It means there is no context once, Without geography, you’re always in this very muddy, blurry world,” he said. “In the past few years, there have been a number of so-called ‘probe’ lenses released. The main one, which was a bit of a game changer, was made by a company called Laowa, and it was 24mm,” he added.
Small explains that the detection lens looks exactly like you would imagine — more like a vacuum cleaner accessory — but the footage it produces has two key advantages. The first is practical: the 16-inch barrel means you don’t need to be too close to the bug you’re shooting. The second, and the real reason these photos stand out, is the use of a 24mm lens, which allows for deeper depth of field and sharper focus. “You get that location, you get that setting, which gives it a really cartoony and fresh…kind of funky look.” What I would say after watching that episode is, the whole New York Beef will never look the same again. You also see a fly eating a burger in excruciating, stomach-churning detail.
Perhaps the most surprising thing about the Laowa lens is its relative affordability. At $1,600 it’s not cheap, but it’s the same price as the regular (albeit very good) version that serious enthusiasts might consider.
Small also explained that sometimes technology doesn’t change the shot, but rather it improves what happens within it. “Not so long ago, all the lights I used were classic film lights, Arri Blondes and so on. They were very hot,” he says. “LED lights are very bright but very cold, so it means we can get all the light we need without having to cook the animal, which obviously no one wants, while allowing it to function in a natural way,” he added . Catching critters trying to escape the heat is far less fun than watching them do their thing naturally.
But it’s what led to many of the most cinematic shots real bug life You can’t buy it, at least not off the shelf. “I never really touched a camera again,” Small said. “I’m doing everything on a custom motion control unit. I have a robot that I’ve been working on for the past five years, gradually changing everything. ” Small’s “robot” is a machine-engineered device with the same precision as a medical tool — which he says is crucial because any vibration or shaking at the scale at which he works is greatly amplified.
The robot allows him to work from a distance and monitor through large monitors to better understand what is on the television. Two rails with sliders provide dual-axis movement, while the swivel stage and tilt controls provide a full range of motion, and combined they open up shots you can only achieve with a tripod and slider. The robot’s “brain” uses a PlayStation 2 DualShock to direct it all. After years of updates and refinements, the robot can finally deliver the dynamic macro shots we love on the show. If you want to see Small’s robot movie footage firsthand, head over to the series set on a British farm.
But some things still require humans. If you’re wondering how they capture seemingly impossible moments, like a spider spinning its web, the answer is…patience. In the show, we see an elephant hawk moth emerging from its chrysalis. “I just didn’t really sleep for about five days, which was too short,” he said. “You collect a lot, so you have choices. I put the camera on a big rail, and then when I see one of them start twitching and moving, I slide the camera, and boom, you’re on that rail On.” The show’s final shot lasts less than 10 seconds, but without it the narrative falls apart. Such is the life of a wildlife photographer.
If you’d like to try recording an emerging elephant hawk moth or a bold jumping spider, but don’t have a Disney-level budget, don’t worry. Today’s consumer products are already more powerful than many of the professional devices of not too long ago, Small said. Especially when working in low light. “Before, you were stuck at around ISO 200, which was a nightmare for macro because everything was too dark or too noisy,” he says. “[Now] You can shoot at 3200 and still get very clean images. ” As he mentioned before, these higher apertures (such as f11 or above) avoid those “mushy” backgrounds. He also said a lot of his gear is put together from parts (that’s okay).
As with the camera itself, it depends a lot on what you want to capture. For close-up macro photos (as opposed to film), Small says the Olympus system is the industry’s top choice, largely due to its internal focus stacking/bracketing. Like HDR photos that blend multiple exposures for more even, natural light, focus stacking does the same thing, but with a focal point so you can make your subject and background come into focus.
More like Birdman? According to Small, Canon appears to be the industry favorite. Especially the larger sensor models and RF mount lenses. Canon’s excellent autofocus locks onto animals very quickly and stays locked even when the subject is moving (which birds often do). RF lenses also have a reputation for their speed and excellent built-in stabilization, making them a good choice for general wildlife photography as well. When shooting outside of work, Small uses a Canon EOS 5DS. “I think it’s a great all-around camera that does everything I need. Stills are like my hobby now, which is sad isn’t it? Because it’s so close to my job.”
real bug lifeNarrated by Awkwafina, it premieres on January 24 on Disney+.
This article originally appeared on Engadget: https://www.engadget.com/disneys-a-real-bugs-life-docu-series-review-143009674.html?src=rss
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