Aerials cinematography can be beautiful and very beneficial in film. In natural history projects, it helps to contextualize the macro imagery shown throughout. It can illustrate the grandeur of some of nature's epic phenomena.
The past 2 days were spent in a helicopter, capturing as much of the Zambezi Valley and its features as possible; the Matusadona mountains, the valley floor, herds of animals, birds, Lake Kariba and its winding shoreline. The most beautiful part of the aerial experience is to see how, with time, nature unfolds. Water will flow down the escarpment into the lake. Plants will begin to grow around these sources of water. Herbivores and prey species will gravitate towards this growth, and eventually predators will eat these animals. The bones of these animals will help to fertilize these areas for future growth. As long as we humans do not take more than necessary, intervention is not necessary. Even through floods and draughts, nature has a way its own system of recalibration and balance.
Spending hours each day filming from ground level, from the truck or off a tripod, your mind becomes accustomed to both the size and perspective of the daily sights: a blade of grass, a herd of impala, the mountains in the distance. Viewing the world from the air, flips this axis, and puts into perspective just how insignificant all these elements really are in the grand scheme. Within seconds, we can hover over a tree that moments earlier we stood at the base of, gazing up in awe. The roads we tackle each day, often a battle even to gain a single kilometre now just a warn out thread running through this endless green carpet. This existential contemplation was not aided by the lengthy conversation we had last night about the universe and the grain of sand that is the earth within it.