Spider Movies are proud to make only one film at a time, investing 100% of their skill, creative energy and production experience into the on-going production. This results in them winning numerous Awards for BBC, National Geographic, PBS Nature and Discovery.
Nature documentaries cameraman, Ian McCarthy and producer, Fergus Beeley film lotus flowers in bloom in the Volga Delta near Astrakhan, Russia for the wildlife film that opened the series 'Realms of the Russian Bear'.
Making nature documentaries requires travel to extraordinarily distant and remote places from London. This location is called Talan island in the Sea of Okhotsk, a tiny remote island with 3 million seabirds and 3 of us living in a yurt for the summer. It was a sequence for the award winning wildlife film series called 'Realms of the Russian Bear'.
Living with the Evenck reindeer herders in the larch forests of Jacutia, eastern Siberia, while filming animal adaptations to winter temperatures of 50 degrees below zero. Filming for nature documentaries often requires an ability to work in remote and hostile conditions, though appropriate cold weather equipment was purchased in London for this wildlife film before departure.
Making a nature documentary in the Canadian High Arctic is very logistically complicated, as everything needs to be thought through in advance before departure from London. This wildlife film was based on Ellesmere island, one of the remotest places on earth and one of the most demanding nature documentaries ever made by Spider Movies. The film crew camped on the tundra with white wolves and gyr falcons.
Taking the filming gear up to the base camp of the snow-capped peaks of the Tien Shan mountains in Kazakhstan required the service of many horses. Nature documentaries often require unusual means of transport to reach final destinations in really remote places. This wildlife film was about the mountains of the former Soviet Union and included the Pamirs, the Altai and the Tien Shan for a series on BBC called 'Realms of the Russian Bear.'
The only way to reach the remotest parts of Siberia for a were via helicopter. The silence minutes after the aircraft departed was eerie compared to the hustle and bustle of London, but visiting remote areas of the Planet is one of the most rewarding aspect of making wildlife films.
At the time of making this wildlife film on the peninsula of Kamchatka in the Russian Far East, the Russian Parliament was stormed (the coup in 1991) leaving Fergus Beeley and cameraman, Martin Saunders abandoned in the wilderness as all the aircraft in Kamchatka's capital, Petrapavlovskkamchatski were redeployed as military aircraft back on the mainland. However, we were further from Moscow than London. Nature documentaries can be full of unexpected surprises when one is on location.
Cameraman, Martin Saunders emerges from an igloo (where he had spent more than 8 hours) which we made in order to remain concealed from Stellers Sa Eagles which were feeding on fish carcasses on the lake shore. This was at Lake Kurilski on the southern tip of Kamchatka, for a wildlife film on the Russian Far East for a series called 'Realms of the Russian Bear.' There have not been many nature documentaries filmed in this extraordinarily remote and beautiful part of Russia, though it takes nearly three days to get to the location from London.
The Spider Movies team in action. This wildlife film on the Harpy Eagle in the rainforest canopy in Venezuela was a real challenge for the film crew. Producer, Dr Adrian Seymour ascends on ropes into the top canopy carrying a large extra weight of filming equipment. Much jungle canopy training had been undertaken back in UK. BBC crews returned to the same pair of Harpy Eagles for other nature documentaries such as BBC Planet Earth 2.
The creative team also have considerable experience in digital production. Virry Ap was created in TechHub, Old Street, London and became an Emmy Award and Childrens BAFTA Award 2016. The app contained live streaming from various locations around the world as well as short nature documentaries explaining further aspects of animal behaviour. The technology in this interactive wildlife app was remarkable. Making an app is more challenging than a traditional wildlife film.