City-based wildlife documentary filmmakers believe in venturing into the most roughest of locations to get the best grabs for their film.
Shooting in the wild not only entails a lot of risk but also getting special permission from the forest department. However the filmmakers feel it is worth the trouble when they look at the final product.
Most of them concede that it isn't easy to make a wildlife documentary film. It requires a lot of time, patience and perseverance, says Sandesh Kadur, who is also a wildlife filmmaker.
"Shooting a film in the wild is a long and laborious process. It requires a lot of time and patience to capture the right shot. I believe that there must be a lot of personal interest in shooting the film because otherwise the project will not shape up well," says Sandesh.
He says that it is important to justify your work and build a certain relationship and equation with the officials in the forest department.
"It is only mutual trust that helps get the required permission to make a good film. The officials must be convinced that you are serious about your work and that there is a certain authenticity to your work," he adds.
Wildlife filmmakers always have interesting stories to narrate about their experiences of shooting in the wild.
Prakash Matada, another filmmaker, finds it hard to pick a memorable shoot from the numerous ones he has done.
There are a few problems that he has encountered while shooting in the wild.
He says, "Independent filmmakers are charged Rs 25,000 a day for shooting and the forest officials never seem to be able to distinguish between a camera used to take
photos and those used for videography. This leads to a lot of confusion when it comes to getting permissions."
Prakash has explored the most interesting places.
His latest film, 'Wild seve' is based on the human-wildlife conflict in and round Nagarhole and Bandipur.
Award-winning wildlife filmmaker Amoghavarsha J S confesses that it is his curiosity that made him become a naturalist first and then a filmmaker. He feels that it is always better to work together with the forest department.
"There is a lot of exchange of information. One also gets to learn a lot when you work together with the forest department officials. They give you an insight into the forest. The
officials are also helpful in getting your films screened at government schools and in the local villages," says Amoghavarsha, who has never faced difficulty working with the forest department.
Asked about his recent films, Amoghavarsha recollects, "I recently shot an elephant capture in Aloor in Hassan. It is about how an elephant was captured and taken hostage, after it entered a human settlement and killed one of the villagers. Personally, it was hard for me to watch the elephant being captured."
Nina C George![]( "Sandesh Kadur")
City-based wildlife documentary filmmakers believe in venturing into the most roughest of locations to get the best grabs for their film.
Shooting in the wild not only entails a lot of risk but also getting special permission from the forest department. However the filmmakers feel it is worth the trouble when they look at the final product.
Most of them concede that it isn’t easy to make a wildlife documentary film. It requires a lot of time, patience and perseverance, says Sandesh Kadur, who is also a wildlife filmmaker.
"Shooting a film in the wild is a long and laborious process. It requires a lot of time and patience to capture the right shot. I believe that there must be a lot of personal interest in shooting the film because otherwise the project will not shape up well,” says Sandesh.
He says that it is important to justify your work and build a certain relationship and equation with the officials in the forest department.
"It is only mutual trust that helps get the required permission to make a good film. The officials must be convinced that you are serious about your work and that there is a certain authenticity to your work,” he adds.
Wildlife filmmakers always have interesting stories to narrate about their experiences of shooting in the wild.
Prakash Matada, another filmmaker, finds it hard to pick a memorable shoot from the numerous ones he has done.
There are a few problems that he has encountered while shooting in the wild.
He says, "Independent filmmakers are charged Rs 25,000 a day for shooting and the forest officials never seem to be able to distinguish between a camera used to take
photos and those used for videography. This leads to a lot of confusion when it comes to getting permissions.”
Prakash has explored the most interesting places.
His latest film, 'Wild seve’ is based on the human-wildlife conflict in and round Nagarhole and Bandipur.
Award-winning wildlife filmmaker Amoghavarsha J S confesses that it is his curiosity that made him become a naturalist first and then a filmmaker. He feels that it is always better to work together with the forest department.
"There is a lot of exchange of information. One also gets to learn a lot when you work together with the forest department officials. They give you an insight into the forest. The
officials are also helpful in getting your films screened at government schools and in the local villages,” says Amoghavarsha, who has never faced difficulty working with the forest department.
Asked about his recent films, Amoghavarsha recollects, "I recently shot an elephant capture in Aloor in Hassan. It is about how an elephant was captured and taken hostage, after it entered a human settlement and killed one of the villagers. Personally, it was hard for me to watch the elephant being captured.”
Nina C George
Shooting in the wild not only entails a lot of risk but also getting special permission from the forest department. However the filmmakers feel it is worth the trouble when they look at the final product.
Most of them concede that it isn't easy to make a wildlife documentary film. It requires a lot of time, patience and perseverance, says Sandesh Kadur, who is also a wildlife filmmaker.
"Shooting a film in the wild is a long and laborious process. It requires a lot of time and patience to capture the right shot. I believe that there must be a lot of personal interest in shooting the film because otherwise the project will not shape up well," says Sandesh.
He says that it is important to justify your work and build a certain relationship and equation with the officials in the forest department.
"It is only mutual trust that helps get the required permission to make a good film. The officials must be convinced that you are serious about your work and that there is a certain authenticity to your work," he adds.
Wildlife filmmakers always have interesting stories to narrate about their experiences of shooting in the wild.
Prakash Matada, another filmmaker, finds it hard to pick a memorable shoot from the numerous ones he has done.
There are a few problems that he has encountered while shooting in the wild.
He says, "Independent filmmakers are charged Rs 25,000 a day for shooting and the forest officials never seem to be able to distinguish between a camera used to take
photos and those used for videography. This leads to a lot of confusion when it comes to getting permissions."
Prakash has explored the most interesting places.
His latest film, 'Wild seve' is based on the human-wildlife conflict in and round Nagarhole and Bandipur.
Award-winning wildlife filmmaker Amoghavarsha J S confesses that it is his curiosity that made him become a naturalist first and then a filmmaker. He feels that it is always better to work together with the forest department.
"There is a lot of exchange of information. One also gets to learn a lot when you work together with the forest department officials. They give you an insight into the forest. The
officials are also helpful in getting your films screened at government schools and in the local villages," says Amoghavarsha, who has never faced difficulty working with the forest department.
Asked about his recent films, Amoghavarsha recollects, "I recently shot an elephant capture in Aloor in Hassan. It is about how an elephant was captured and taken hostage, after it entered a human settlement and killed one of the villagers. Personally, it was hard for me to watch the elephant being captured."
Nina C George
City-based wildlife documentary filmmakers believe in venturing into the most roughest of locations to get the best grabs for their film. Shooting in the wild not only entails a lot of risk but also getting special permission from the forest department. However the filmmakers feel it is worth the trouble when they look at the final product.
Most of them concede that it isn’t easy to make a wildlife documentary film. It requires a lot of time, patience and perseverance, says Sandesh Kadur, who is also a wildlife filmmaker.
"Shooting a film in the wild is a long and laborious process. It requires a lot of time and patience to capture the right shot. I believe that there must be a lot of personal interest in shooting the film because otherwise the project will not shape up well,” says Sandesh.
He says that it is important to justify your work and build a certain relationship and equation with the officials in the forest department.
"It is only mutual trust that helps get the required permission to make a good film. The officials must be convinced that you are serious about your work and that there is a certain authenticity to your work,” he adds.
Wildlife filmmakers always have interesting stories to narrate about their experiences of shooting in the wild.
Prakash Matada, another filmmaker, finds it hard to pick a memorable shoot from the numerous ones he has done.
There are a few problems that he has encountered while shooting in the wild.
He says, "Independent filmmakers are charged Rs 25,000 a day for shooting and the forest officials never seem to be able to distinguish between a camera used to take
photos and those used for videography. This leads to a lot of confusion when it comes to getting permissions.”
Prakash has explored the most interesting places.
His latest film, 'Wild seve’ is based on the human-wildlife conflict in and round Nagarhole and Bandipur.
Award-winning wildlife filmmaker Amoghavarsha J S confesses that it is his curiosity that made him become a naturalist first and then a filmmaker. He feels that it is always better to work together with the forest department.
"There is a lot of exchange of information. One also gets to learn a lot when you work together with the forest department officials. They give you an insight into the forest. The
officials are also helpful in getting your films screened at government schools and in the local villages,” says Amoghavarsha, who has never faced difficulty working with the forest department.
Asked about his recent films, Amoghavarsha recollects, "I recently shot an elephant capture in Aloor in Hassan. It is about how an elephant was captured and taken hostage, after it entered a human settlement and killed one of the villagers. Personally, it was hard for me to watch the elephant being captured.”
Nina C George