National Geographic’s Disney+ Original Series A Real Bug’s Life inspired by Disney and Pixar’s A Bug’s Life, embarks on an extraordinary adventure into the minuscule world of bugs. Spanning nine micro bug worlds globally, this series reveals how tiny creatures employ astonishing abilities and form remarkable alliances to navigate the colossal forces of nature. The series presents a rich tapestry of stories narrated by Awkwafina, showcasing the incredible lives of these tiny heroes, from a New York jumping spider’s quest for a home to a Costa Rican orchid bee’s inaugural day creating perfume. Each episode, including “The Big City” in New York, “Welcome to the Jungle” in Costa Rica, “Braving the Backyard” in Texas, “Land of Giants” in the African Savanna, and “The Busy Farm” in Britain, offers a unique glimpse into the lives of bugs as they tackle survival, family, and challenges in their tiny, yet immensely complex worlds. Full of astonishing behaviors and vivid characters, A Real Bug’s Life proves the real world of bugs is as enchanting as any fictional universe.
Nathan Small specializing in filming teeny tiny things and showing people their fascinating lives. He set aside some time to discuss his work on A Real Bug’s Life.
Tell me about A Real Bug’s Life.
The premise of the show is rooted in celebrating the 25th anniversary of Pixar’s A Bug’s Life. The pitch was straightforward: envision A Bug’s Life in a real-world setting. Our aim was to merge the genres of natural history and drama-led animation to craft a series that intertwines the two. We strive to narrate remarkable stories in a dramatic fashion, ensuring that everything is deeply anchored in real-world, natural history storytelling.
The film features some amazing detail and really close-up shots. Can you just give us an overview of technologies you used to get those shots?
Starting with the cameras, we are utilizing the highest-spec resolution cameras available, such as REDs and Sony Venoms, allowing us to capture incredible detail. Moreover, we’re harnessing the potential of a new generation of lenses released in recent years. These include specialist macro lenses and notably, probe lenses. These are long, thin, tubular lenses capable of shooting at high magnification. They also allow us to shoot extremely close to the subjects while maintaining a wide depth of field. This feature enables us to capture a subject, like an ant, prominently in the frame while still retaining clarity in the surrounding geography and context.
This is revolutionary. Traditionally, macro photography and filmmaking—a technique for filming small subjects—were limited because these lenses didn’t exist. Backgrounds tended to blur into an indistinct smudge, focusing solely on a subject’s minute details, like the eyes, while losing the broader context. With these new lenses, we can now situate the subject within its natural environment, offering a perspective that feels more authentic and closer to how we perceive the world at our scale.
In addition to these advancements in lens technology, we’ve been integrating robots and motion control units for precise camera manipulation. This technology is elevating our filmmaking, allowing for unprecedented precision and creativity in capturing the minute and magnificent world of our subjects.
The images look so realistic. They look realistic, almost as if they weren’t real. If you have to choose between the two technologies, which is more important?
Indeed, it’s the synergy between the two that truly brings the magic to life. You can’t isolate one from the other; if you have subpar lenses with smooth camera movements, the result won’t be appealing. Conversely, high-quality lenses paired with unstable camera work won’t suffice either. It’s this interplay that’s crucial, and although it’s tough to choose between the two, I must admit I have a penchant for lenses—I’m quite the lens nerd! Nonetheless, the allure of working with the robots is undeniable. They introduce a whole new dimension of coolness to the process.
What were some of the unique technical challenges that you had whilst building?
Capturing the minute details of small subjects presents unique technical challenges. The primary difficulty lies in positioning the camera close enough to the animals to ensure they appear impressively large on screen. Achieving focus is an ongoing battle, especially since the smaller the subject, the narrower the depth of field becomes. Consistently, I find myself striving for more depth of field in every shoot, seeking to shed sufficient light on the subject to counteract this limitation.
Furthermore, the integration of robotics and advanced systems is pivotal. Our objective is to craft storytelling that echoes the cinematic and intentional camera movements seen in high-end Hollywood dramas. This approach to storytelling through camera work is relatively unexplored in macro shows. We’re pushing the boundaries beyond what has been done before, aiming to present this series not as a traditional natural history show but with the narrative depth and visual sophistication of a drama. This approach is evident in our ability to capture various angles of the same action, allowing for seamless editing and storytelling.
Another significant challenge is locating the subjects themselves. Ensuring the presence of the tiny creatures we wish to film is an intricate part of the process, often requiring as much attention and precision as the technical aspects of filming.
How much of a problem was lighting when it comes to shooting something so small?
Indeed, the battle is continuous, particularly given the nature of the lenses we use. These tube lenses, such as the one we primarily use starting at F 14, are inherently dark, necessitating abundant light for effective use. This requirement becomes even more pronounced when capturing the swift movements of these tiny creatures. We often shoot them in slight slow motion—not enough to disrupt the viewer’s experience, but just enough to capture their rapid movements more distinctly.
However, this filming technique further complicates matters. Working with such small apertures while attempting to capture fast-moving subjects in slow motion exponentially increases the demand for light. It’s a constant struggle, my number one battle on every shoot.
Additionally, the unpredictability of the subjects adds another layer of complexity. Every time we aim to capture a particular moment, the creature, as if on cue, decides it’s the perfect time to flee. The hours spent waiting, the patience required to finally get the perfect shot—these aspects of the process are often underestimated. It’s a challenging, sometimes painstaking endeavor, but the end results, those perfect shots, make it all worthwhile.
IMAGE CREDIT: National Geographic.
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