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These sound effects, along with the orchestral music added to nearly all of the high-end wildlife documentaries, set the emotional tone for the vignettes on-screen. And so the wet crunch of lions opening up a gazelle’s rib cage, the hollow clack of birds’ bills closing, the groan and woosh of a calving glacier-these noises are often recorded separately or even created by sound-effect artists and added to the shots later. It is an open secret that the long zoom lenses used to capture animals up close can make recording real-time sound nearly impossible. Partly, this stems from the fact that the films are enhanced.
Something about these programs is hyper-real. And it feels deeply satisfying to see them presented so crisply, so closely, the drops of water they shake off their fur sparkling like diamonds in the far-northern sunlight.
It’s heartening to know that these bears are out there somewhere, living their best life. If the flamingos and the bears have a thematic connection, I’ve already forgotten it, but I feel good. Martin Lukas Ostachowski / Pixabay / Pexelsīack in my bedroom, I watch grizzlies swim in a transparent lake ringed by green-black conifers. By selecting just the most stunning shots and editing people out of the picture, the NHU creates an untouched parallel universe that’s undeniably glamorous-both beautiful and inaccessible. It is, in many respects, an altogether new world. So the stories it tells, the techniques it uses, and the world it has created are all worth examining. Whether through the NHU’s own films or knockoffs, the company has come to define nature for millions of people on a fast-urbanizing planet.
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Silverback also produced a series for Netflix, Our Planet, which not only has planet in the title but is also narrated by Attenborough. A Perfect Planet looks and sounds like an NHU series, but it was produced by Silverback Films, which is led by ex-NHU staffers. Perhaps the greatest testament to its influence is the way it has been imitated. The battle royale among all the new streaming services has created “the perfect market environment for natural history,” says Julian Hector, the head of the NHU.Ī viral sequence of a baby iguana running from menacing snakes, footage of manta rays soaring through the sea set to the strains of a Hans Zimmer score-no one does it quite like the NHU. The NHU is opening an office in Los Angeles this year inking new deals with half a dozen streaming services, networks, and cable channels and currently producing more than 20 projects, including Planet Earth III, set to debut in 2022. According to the BBC, “Over a billion people have watched Planet Earth II and Blue Planet II in the last 3 years.” Those series were produced by the BBC Natural History Unit, the undisputed leader in high-polish nature documentaries since at least 2006’s Planet Earth. Stoned or sober, we are streaming sharks and penguins and lions into our homes in record numbers. And there are no troublesome humans on-screen to kill the vibe. The effect is awe-inspiring but also surprisingly chill.
In between, you are treated to epic, empty landscapes and intense close-ups of the rich colors and textures of the nonhuman world, which pop off like fireworks in your wide-open mind. The stoned attention span perfectly matches the length of each vignette, in which Attenborough’s soothing, avuncular voice guides you through a simple story about animal life. The combination is hard to resist, as my experience with A Perfect Planet proves. Nature documentaries have never been more popular, in part because they offer easy escapism during a rough time, and in part because marijuana has been legalized in much of the United States. Now I am looking at drone footage of a massive colony of flamingos, the classic sweeping overhead shot, what my brother calls “POV God.” Behind the images, a string orchestra sets the mood, giving the coral-pink birds an otherworldly theme in E minor.
I am looking at the red eye of a flamingo, a molten lake surrounding a tiny black pupil. The show is called A Perfect Planet, and it is narrated by Sir David Attenborough. I t’s late afternoon, late pandemic, and I’m watching a new nature documentary in bed, after taking the daintiest of hits from a weed pen. This article is part of a new series called “ Who Owns America’s Wilderness?”