The film will be shot outdoors, using natural lighting. Therefore, the project requires an in-depth light study as well as a subtle approach in order to always be able to shoot from the best angles and to make optimum use of sunlight.
As far as the wide shots are concerned, says Sebastian, we will only shoot in the morning and in the evening to benefit from the most beautiful natural light hours. I want a light that reflects the mood and the magical encounters of the little boy. It must be in phase with the depicted moment: a warm light for moments of joy and a colder light for moments of fear.
I know that there will be quite some post-production work to be done but I want all the intentions of the director of photography to be met during the shooting itself in order to reduce the post-production workload.
We must seek to achieve contemplative framing. The resulting effect must be pictorial, almost ethereal.
The framing should always be dynamic and very rarely still. Movement is very important in this film because it is a cycle, punctuated by the seasons and by the passing of time where things are in constant evolution and never remain what they once were.
What I am trying to do in this movie, says Sébastien Pins, is to depict an unspoiled forest, infinitely large in comparison with the size of the young boy.
I would also like to play with very little depth of field in certain shots in order to build up an emotion, to emphasize the little boy’s state of mind.