Drone Footage by BBC Captures Auschwitz-Birkenau 70 Years After Its Inmates' Liberation

Seventy years ago, on January 27, Russian soldiers arrived to liberate less than 8,000 prisoners still remaining at Nazi-Germany's deadliest concentration camp, Auschwitz-Berkinau. During the camp's operation, Auschwitz' officers were responsible for an estimated 1.1 million deaths. To mark the historic liberation of the camp, BBC treated its audience to a unique view that embodies the eerie and gruesome history of the vast camp.

As important and historically significant as this moment is for the world, BBC's filming of the grounds are, interestingly enough, slightly odd. There's no doubt the time of year chosen for this filming (evident in the apparent weather) was selected to mimic the time of the actual liberation — in the middle of winter. The cold grey skies also contribute to an appropriate sentiment for the occasion. The music that accompanies the montage of aerial views is equally fitting. However, there are a few slightly peculiar aspects to the cinematography of this production.

As beautiful as it is, the opening shot following the tracks running alongside the camp is at a slight tilt. It doesn't quite seem like an intended "dutch angle" tilt meant as a creative decision, either, especially given that a similar attitude can be found in many of the shots. Instead, this almost seems like an unintended consequence of not perfectly leveling the camera on the base of the drone before shooting.

Likewise, several areas of the film seem plagued with issues of jerky operation. The second shot is executed perfectly, coming over the guard tower that gives a reference of size to the camp behind it; Yet at the 34-second mark, the camera movements seem rather jarring in comparison to the scene preceding it and to the lovely score played throughout the piece.

Starting almost immediately at 1:22 is another example of an odd movement at the end of another shot about which one might ask, "Why wasn't this simply cut two seconds earlier?"

In consideration of those using new equipment to shoot an assignment, this makes for the always-good reminder to know your gear well before you shoot — to be in absolute and commanding control of everything with which you're shooting. This video was not shot by an inexperienced filmmaker. There are clear signs that someone with a strong background in cinematography shot these scenes. But drones are still new to many, and it seems apparent that this operator was not exactly as prepared for creating these shots as he could have been.

On the other hand, every filmmaker has been there. That point during which there simply isn't enough time to re-shoot a single shot. The camp's museum could have been opening. The regulating agencies involved may have limited shoot time. Winds may have been stronger than expected or intended. A larger and heavier drone may have been more suitable for the task, but was unobtainable with the fixed budget for the project. Any of these situations are entirely possible. Perhaps for some, these small inconsistencies in the quality of the work are too small to be considered.

What do you think? Are these issues noticeable? Do they distract from the meaning, emotion, and dedication of the produced clip? Or are these all non-issues because one simply doesn't notice these unless watching the clip on its own online as opposed to on a television as a short part of a BBC program?