Category Archives: Natural history unit

Interview with Digital FilmMaker Magazine

I was recently interviewed for one of my favourite magazines – Digital FilmMaker! Here is the original with some of my photos from my ‘A Lion’s Tale’ shoot in Kenya; exactly a year ago. Hope you enjoy it and feel inspired to do your own!

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  1. Why will this project be of interest to readers of Digital FilmMaker?

Hopefully this will be of interest to anyone wanting to shoot their first short film and have only just begun to delve into this creative, thrilling world of visual storytelling. Also, that it is indeed possible to do on a very small budget, whilst travelling to amazing places in the process! Natural history differs to drama in that you cannot predict what the wildlife ‘characters’ will do; or control a great deal of external environmental factors. However, with careful planning and preparation during the pre-production stage; it is possible to make an emotive and personal human-wildlife story that resonates with your target audience.

  1. What had you done project wise in the lead up to this?

This was one of the first and biggest project that I was completely involved in. I studied Zoology during my undergraduate years and played around with cameras in different university societies; but nothing on this scale. I lived in southern Spain all my life before moving to the UK to study as an 18-year old, and upon graduating I then came to Bristol to pursue an MA in Wildlife Filmmaking at the University of West England. I’ve known for a long time that I wanted to get into filmmaking (since I was 12), growing up watching David Attenborough and living in the countryside greatly inspired me. However, there was no academic support in Spain for me to progress in this field, and so dreamed of getting into camerawork and research at the BBC Natural History Unit in Bristol; where a staggering 40% of the world’s wildlife documentaries are made. The Master’s course certainly helped me achieve this, and part of the MA involved making our own film, drawing upon all the skills we learned alongside it. Whilst my academic background was scientific, I had always loved being creative as a child; storyboarding, drawing and writing took me to the far-flung exotic and biodiverse places I saw on our television.

Screen Shot 2017-04-27 at 21.58.46Where I grew up in Southern Spain – the light and birdlife greatly inspired me.

Watching producers and cameramen/women filming behind the scenes sparked my interest; combining the best of both science and art worlds. Then when I was 13 my father bought me my first DSLR, and could finally capture the Bee-eater birds and Short-toed eagles that were always tantalizingly out of reach. Armed with my telephoto lens, I wanted to share my passion with others but knew that being self-taught wouldn’t be enough to cut it in this competitive industry.

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I therefore had a lot of catching up to do at University; joining the Leeds Student Radio societies, television and photography clubs so that I could begin to create a portfolio and apply for the MA. This included a conservation YouTube Channel about local biodiversity, and two radio programs that I produced; Weekly Wildlife Watch and the Travel Talk Show. Whilst radio and LSTV taught me how to write, shoot and focus on story; PhotoSoc helped me to compose and learn about the fundamental principles of photography.

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  1. Who has done what on the film?

As part of the MA requirement, I saw the entire project throughout each of the processes – from the initial idea as a researcher, producer/director, camerawoman, sound, editor, SFX/mixer, grader and now social media manager promoting the content online. It was certainly challenging juggling the different roles, but I loved learning and trying out a variety of methods, techniques and styles from both the drama and natural history world. Learning through mistakes is certainly the best way forward in all walks of life, and by having total creative and editorial control I feel I’ve made something close to my childhood memory and dream. It certainly has been an extraordinary experience that I will remember forever.

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  1. And how did that utilise your individual skills?

With my camerawork, I attempted to adapt different styles of shooting as well as techniques to create a visual story that would suite a film festival audience. Such immersive filmmaking techniques include those seen on various BBC series capture the animal’s perspective to add an emotional level to the story, leading to a more powerful, captivating documentary. I attempted to capture privileged views of the lion in its environment, and learned a great deal about how different documentaries are made by analyzing the shots in different sequences.

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I shot in high speed in attempt to create a sense of drama for the first and last sequence of A Lion’s Tale, as well as with the use of extreme close ups (in particular the ranger patrol) for an immersive feel. The storyboarding of key sequences proved to be invaluable during the shoot, as it allowed me to focus on what I wanted to achieve in terms of framing, direction, action, speed.

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Early morning starts – shooting high speed with the FS700 and Canon 100-400mm.

Equally, I took the camera off the tripod and onto a small inexpensive rig to allow for camera movement – and emphasizes the feeling and mood for a scene. The use of jibs, cranes and float cams are increasingly being used in natural history to create dynamic movement and a parallax between the scenes as seen in drama. The development of gimbals has now made this possible, although I had to resort to a very crude version of one in the end – my arms!

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  1. So what’s the film about?

The Born Free story began with lions, and now 50 years later since the original film, A Lion’s Tale looks at the legacy that actress turn conservationist Virginia McKenna has left and the conflicts that lions and all wildlife face in Kenya. Set in the original heartland of the true father of lions, we journey to Meru National Park to see the Born Free team and Kenya wildlife service rangers on the front line of conflict and education. The world’s largest ivory burn is about to take place, as a symbol of Kenya’s determination to help all wildlife and stop the illegal trade. Will the next generation take up the challenge? Is there hope?

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This film reveals how Kenya’s new generation of conservationists is looking out for all wildlife, including the elephants, which is witnessed at the world’s largest ivory burn event – a symbol of stopping all wildlife trade and helping humans and nature co-exist. Gaining access to this historical event was one of the greatest challenges and provided me with the opportunity to capture a unique moment in time. It has quickly been adopted in the media with several feature films and documentaries have highlighted the event (The Ivory Game, Hugh’s Ivory War). It was a truly unforgettable experience, which I self-shot and have now begun to edit into a separate film alongside this production. Filming beside my heroes, both in the conservation and camera world was one of the highlights of the shoot. The worlds press and filmmakers were gathered to document it, and it was truly a sobering sight to see the 150 tons of ivory go up in flames.

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  1. Who wrote it and what inspired that?

The story of A Lion’s Tale began with my passion for lions and chance meeting with leading ape conservationist Ian Redmond.

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This love of Africa and felines started during my childhood, when I was encapsulated by the true story of George and Joy Adamson. For me, the purpose of making A Lion’s Tale was to emotionally engage and raise awareness – focusing on one of the major issues not only concerning lions, but all wildlife in Kenya. The original Born Free story captured the emotions of millions during its release in 1956, a time when our relationship with the natural world and ‘wild’ animals was viewed negatively.

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And so, whilst a large conservation movement was seemingly triggered with the momentum of a single film, it was the emotive driving force behind the true story about the real Adamson’s who released an orphaned lioness into the wild that led to actress Virginia McKenna to change her entire career and life plan – from actress to activist. I also felt it timely to produce with the upcoming ivory burn and Convention on the International Trade on Endangered Species meetings in Johannesburg. I didn’t want to write a set script; and by using the characters’ voices in the film I hope this has allowed audiences to connect with and care about the cause – not be lectured on it. The major theme of the film is hope – an emotion that all humans can relate to and a message that I believe everyone involved in the filmmaking and conservation industry can use as a device to inspire and drive change.

  1. And who produced it and pulled the project together?

I was the producer of the project and responsible for all the script-writing, scheduling, budgeting, interviewing, shooting, etc. which did take extensive planning. After conducting all the research, calling and making the contacts; getting out on location was thrilling but accounted for only 20% of the production! Logistically it was challenging, Meru National Park is not a well visited park like the Maasai Mara or Amboseli. I booked a direct flight from London Gatwick to Nairobi to go and film at the Born Free office based there, the ivory burn and then a small carrier plane into the heart of Meru for the lions.

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Upon descending Meru, all I could see was a small office – no runway as such but more of a dirt track – then suddenly a giraffe galloping away from us in attempt to avoid a collision! However, the Born Free team and Kenya Wildlife Service were remarkable, they helped make the shoot a success – driving me to all the locations within this most beautiful and underrepresented of parks. The ivory burn was undoubtedly the hardest to get permits for; but with a lot a patience and incredible support from the Born Free’s president (CEO) as well as one of my contributors, Will Travers, I was fortunate enough to be able to film at the historic event.

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  1. Did you have much in the way of money to play with?

Not at all! I calculated a rough budget of £3000, as most of my negotiations brought the prices down and the park fees to film were waivered in return for me editing a separate version for them. This may seem ludicrous to most drama filmmakers, but in wildlife the budgets are far smaller and so this is where precision also plays a part throughout the production process. In total it cost £2600 for a 10 day shoot – this of course excludes all the pre-production and post costs as I was the one researching, filming, directing/producing, editing, grading, sound mixing; however the music was beautifully composed by MA student Richard Collins as part of his course. The facilities were provided by my university and the training in advance, but also a lot of practical reading and watching hours and hours of ‘How to…’ videos! Kit was also borrowed from the university and so most of the budget was spent on flights and accommodation. I did however set up a crowdfunding campaign and managed to raise half the funds to go; kind support from family, friends and strangers alike. IndieGoGo was the platform I used as it’s less risky if you don’t hit your top target.

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  1. And what were your kit choices for this film?

Kit wise I used what was available at university; the Sony FS700 with the kit lens (18-200mm f/3.5-6.3), the 50mm f/1.8, 100mm Canon f/2.0 primes and the 100-400mm with the EF metabones adaptor. The telephoto was crucial for getting close to the action when it would have otherwise been too far and dangerous. This was especially the case with the lions! For sound; radio mics, Sennheiser 416 with the 522 mixer, and a Tascam for good measure – the latter was used to record atmos in the field. The wild sounds of Kenya truly are as vivid and vibrant as you would imagine. I loved recording the young group of school children who sang to us, it stirs up many joyful memories when played back.

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The film was edited on Premiere Pro, Pro Tools, and graded in Da Vinci. In hindsight, I would have loved to have taken an DJI Ronin MX gimbal, FS7 and a Phantom 4 Pro drone for the aerials; but very grateful for the access to the kit we had, especially as students. You are only ever truly limited by your own imagination.

  1. Where does it sit alongside the rest of your portfolio of work?

In terms of technical difficulty, time scale, and aspiration to make – it’s right up there! As I am sure many of you reading this have experienced, we are our own worst critics. However, this is one project that I was excited and dare I say it, proud to have made. It’s been a life-long ambition to meet my heroine Virginia McKenna, and never thought I would get to experience the true Born Free story alongside the incredible people who keep that spirit of the Kenyan wilderness alive.

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  1. So where are you with the film right now?

The film is now complete, however there are a few colour grading tweaks being done by a professional, as I now have the confidence to hit the bigger festivals! It was something that I lacked skill-wise, and could only grade and colour correct to a certain extent. I’m looking forward to the festivals and so far, it’s collected awards at six in the US, UK, India and Spain; winning recently at the Wild Film Fest in Falmouth. But more importantly, it’s been shared in the schools back in Meru where it was filmed, and where the real difference in changing attitudes towards these amazing animals can be made. They are the generation that can make all the difference.

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  1. How is it looking at this stage in the game?

All finished! It took me 10 months in total, with my fellow course mates and I recently enjoyed a screening of our films at the Everyman theatre in Bristol. It was incredibly rewarding to see in on the big screen with family and friends, as well as some BBC staff who came to support us. A project that you are so involved in does, to a certain extent, take over your life for a while – but it’s such an incredible feeling to see the end creation. Although I always say that if I didn’t set myself a cut-off point, I’d be forever editing! I received a heartfelt letter from Virginia McKenna, my main character, about how much she enjoyed the film – and that was very special indeed as she had a huge influence on me when I was growing up.

Incredibly exciting day at the #premiere of #alionstale @ the #Everymantheatre #Bristol😀😎🦁🐾🎞 #mawfonlocation

A post shared by Tania Rose Esteban (@tania_esteban23) on

  1. And how do you plan to promote it given that this is such a competitive marketplace?

I plan to promote it through a variety of social media platforms; Twitter, Instagram, Facebook, etc. and by connecting with influential Born Free supporters who can use their media presence to share and connect the film with the intended audience. Equally by continuing to enter festivals, I hope to promote it further worldwide. I also shot some 360 VR ‘behind the scenes’ clips to showcase on my website, especially during the ivory burn. Tapping into this market is key to reaching the younger audiences or those not necessarily interested in wildlife. During the run up to the film’s creation, I built up an online audience offering exclusive clips and images from the shoot as well as other stages of its development. It’s really important to engage with them and respond to what they have to say; as well as offer any advice. They also want their voice to be heard.

  1. Can you tell us about the other projects you’ve been working on?

Screen Shot 2017-02-06 at 19.05.27At the moment, I am employed at the BBC as a researcher with the digital team – one of the most innovative, creative and energetic group you’ll meet at the Natural History Unit! I’m loving every moment, most recently we released exclusive Snapchat stories for Planet Earth II in the US, and now I’m working on another digital project associated with the Blue Planet series. It’s incredibly exciting as you get to help out in various productions with different roles. Film-wise I do have a couple of personal project ideas in the pipeline, and I am very keen to shoot another short using the superb Panasonic GH5 – watch this space!

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  1. How do they differ from this one?

They differ in that they are not located in Africa! I’ve always been incredibly drawn to the continent but now have storylines I’m researching in Australia and Japan, both having more of a cultural-human element to them. However, another short I’d love to shoot is more of a pure wildlife blue-chip style, and I now have access to better equipment and financing to facilitate the projects.

  1. What is your favourite genre and why?

I’m a little biased when saying I adore making natural history, but it’s something I live and breathe every second of the day. For centuries, humans have told stories to make sense about the world- illuminating behaviour, making order out of chaos and to create moral meaning. It’s the way we can comprehend and pass on information, with which we have the insatiable need for form and structure in the way we tell them. Natural History has been documented for thousands of years through visual, physical and audible means, whether through the primitive Stone Age depictions of a hunt through cave paintings, to the now pioneering ultra-high definition wildlife films. Nature is endlessly fascinating and beautiful, and as a curious person it’s something that I’m always passionate and keen to share with others. I am certain most of us have this desire to learn about the world around us. I do of course enjoy watching a great variety of programmes and films; adventure, comedy, sports, fact ent, animation and action! You can learn many lessons from different genres.

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  1. Are there other genres that you’d like to tackle?

Natural History will always be my passion – but I do believe you can cross-pollinate genres and get interesting results. A superlative example the award-winning success Virunga directed by Orlando Von Einsidel; where wildlife documentary meets investigative journalism. It combines elements of “The seven key steps of story structure” as described by screenwriter John Truby, and regardless of it being a non-fiction film, Virguna also contains strong dramatic elements and a classical story structure of good versus evil. Battles depicted through the civil war and conflict between the park rangers and the oil companies are also tied in with the need to survive, along with the desire to exploit natural resources for profit. These all conjoin into a single cause and effect pathway through the combined use of a ‘run and gun’ shooting style and profound emotive pauses. It would be interesting to try a more daring, journalist approach with a conservation story – thrilling audiences by being immersed right in center of the action.

  1. So what is the filmmaking climate like in your neck of the woods?

Wildlife filmmaking is quite different to drama in my experience. Whilst we are adopting more cinematic techniques and technology using gimbals and aerials to create a parallax and dynamic edge; the set-up times, cast (!), budgets, and approach are quite different. I worked recently on a drama set as a camera assistant and found the whole thing fascinating; there certainly are no repeat takes when filming a wild animal in action! Equally, whilst in drama you have many specialized roles such as focus pullers, gaffers, and make up; wildlife crews are noticeably smaller as costs for location shoots would soon quickly rise – budgets are noticeably smaller. Most crews are a jack of all trades, and you learn quickly how to be as multi-skilled and useful to a team as possible. It’s the most incredibly rewarding and thrilling industry, and you never quite know what animals you will see and how they will behave. If you’re lucky, you can capture unique behavior that’s never been seen before.

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  1. Are you at the stage of making any money from this as yet?

No, I decided that this project would not be for profit, despite my access to the ivory burn. I wanted this to be an educational and inspirational piece and shared far and wide; available to anyone with an interest in wildlife and Africa. Now that I know I can make a short film – next time may be different!

  1. So where do you see this filmmaking route taking you in the future?

I hope to follow in the footsteps of some of my filmmaking heroes; Sophie Darlington, Sue Gibson, Justine Evans – the best female camerawomen in our industry! But equally, I do want to pursue my passion for producing and continue to create compelling stories. I recently met the producers who worked on Planet Earth II who were incredibly inspiring- their work is truly in a league of its own. David Attenborough of course has been the greatest source of inspiration; and If I can make entertaining, emotive and compelling films that inspire others to want to make even the smallest of positive differences on our beautiful planet, then I’ll be a very happy earthling indeed.

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Burning Kenya’s Ivory: A 360 perspective & CITES 2016

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6am. Adrian was still asleep, I was praying that he felt better after his terrible bout of sickness…. to no avail. I felt so bad for him, that he couldn’t share this moment with me as a friend, filmmaker and fellow conservationist. Today was the largest Ivory Burn in history- 105 tonnes of ivory and all of Kenya’s leaders, wildlife activists were ‘joining the herd’ in Nairobi National Park to stand up against the illegal wildlife trade that has caused over thousands of elephant deaths due to the simple sake of man’s greed.

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Heavily guarded ivory, the Kenya Wildlife Service Rangers on patrol. 

However….

Rain…rain…not so beautiful rain! It HEAVED it down, the ground was quickly assimilated into a large soup bowl of red earth. My already worn out boots seemed to cling to the ground like roots. We had to queue outside the National Park gates and collect our press passes, much to my horror mine wasn’t there, but I was reassured when I had my UK Journalism (NUJ) Press Pass and the brilliant Tim Oloo to help us by pass the armed KWS rangers (the novelty of people with AK-47 guns hadn’t worn out..)

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They searched our pockets and bags for any explosives (I certainly didn’t fit the bill), and we were ushered into a packed mini-bus to drive us through the park in safety. Journalists, reporters, filmmakers and conservationists clutched their camera gear and tripods with gusto as we bumped along the muddy path. It felt rather like we were entering Jurassic Park inside one of their vehicles with its dense scattered Acacia bushes and thick highland trees.

We then we piled out of the bus as we arrived at the site we had done before on the 28th, and once again went through security with all our kit. Droplets of rain began falling, just teasing us as we hauled our kit across the already quagmire site.

The press stands were soon filling up and I bagged two spots with my tripod for good measure. Rather than on the journalist podium, I placed it just offside where a direct shot of the flames and president could be had (we’re talking photographic terms here, not actual shooting!) Then it began raining lions and hyenas…and I schlumped my way across to the press tent…which was like a rather nice watering hole– not the like where you could find drinks but the literally the ground meant your calves were submerged. I got the kit to high ground and worked out a plan of action. Wides and close ups on the tripods with the 200-400mm lens, and roving with the 17-200mm kit lens on the shoulder rig. Tim and Will were busy liaising and so all we could do now was wait for instructions and people to arrive. To say I was excited about seeing Leonardo Di Caprio was an understatement…. I wondered if Elton John would be coming too?

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 The rain at the ivory burn event, Nairobi National Park. Press avoiding the rain 8:45am, 30th April, 2016. © Tania Esteban

 

Being among top journalists from around the world made me laugh and smile, I was nothing if not a minute fly in comparison to their expertise… but I felt thrilled to be among them and curious as to what camera equipment they would be using. A lovely guy from the Huffington post asked me about my Richo Theta camera I was using and showed him my model, his was the updated grey version. Everyone wanted to be part of the new trend! Well I only saw two other people with one, so check out my 360 videos for some exclusives!

I thought I’d leave some of the kit back in the little white tent opposite the main presidential one, and follow Will. Again the floor wasn’t any better here. Heels would not be useful for any dignitaries! There I saw Will talking to Charlie-Hamilton James! One of my fave wildlife photographers, I was very excited to introduce myself and ask about his recent trip to film for Disney Nature. He told me he had just come from filming lions in the Mara, and I told him about my own film I was wishing to find in Meru. Then I bumped into Michael Owino, a local Sound Technician who offered to hold an umbrella for me in the rain- thanks Mike! He was such a help, I managed to get a few steady shots of officials as they prepared the ivory and rhino horn for the main event.

SO much was happening at this point (11am), and many journalists were beginning to set up and capture the events. Also bumped into Ian Redmond, Born free ambassador and Ape Alliance chairman who actually put me in contact with Will about the film, I owe pretty much the entire trip to him- thank you! He was busy filming for the BBC’s new exciting series (more revealed soon!) and I happily agreed to shoot an interview with him for it. So whilst milling around in the mud inside the tent, we shot outside when the weather cleared up. Ian was piece perfect and hit the key points, balancing the emotional and logical science on the issue.

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Ian Redmond at the Ivory Burn talking to Ian Douglas-Hamilton. ©Tania Esteban

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After that I went celebrity spotting! Was quite fun and I did see Kristine Davis who is an ambassador for the Sheldrick Trust (Sex and the City!), the modern lion man himself Kevin Richardson, and I met legendary wildlife photographer Jonathan Scott! Was such an honour to meet him towards the end. Also another of my conservation heroes Iain Douglas-Hamilton! I shook his had with enthusiasm before I realised they were covered in mud…I apologised profusely but hopefully he didn’t seem to mind, I doubt that a bit of mud will perturb this great man, father of one of my heroines Saba Douglas.. what I wouldn’t give to roam around Samburu bear foot and searching for elephants.

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Actress: Sex and the City star Kristin Davis, who is a patron of the Sheldrick Wildlife Trust.
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Kevin Richardson, the  modern Lion Man himself at the burn.

Anywho! I also filmed the legendary Dr Richard Leaky as he walked among the crowd and then approached the main ivory pile. Then it was time to film the events going on inside the tent. I bumped into my new friend Michael as he was setting up his C300 onto the stage. There were dancers and performers as well as upcoming rising eco warrior, actor and musician Luca Berrardi, aged 12 he has accomplished many great things in Kenya, raising awareness about the plight of their wildlife. Check out his twitter profile.

Then after a few more roaming shots I decided to head out and capture the president when he came out to the podium outside. Journalists were clearly thinking a similar strategy…and we all crammed together in mud like penguins looking lost. The ivory gleaned in the afternoon sun, wet from the mornings downpour. Thank goodness I had placed the tripod earlier! Long lens on one camera, the other with the zoom…we were ready for the president and the lighting of the ivory. In the tent the words ‘Worth more alive” echoed in our ears, its staggering to think of the mindless bloodshed because of mans greed. Virginia herself quoted that ivory carvings represent”little symbols of death.” Charlie Hamilton-James and Jonathan Scott also lined up alongside us to capture that perfect shot of the president lighting the ivory pile- the symbol of Kenya’s strength and determination to eliminate the horrific trade as well as all others (including lion body part trade).

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Jonathan Scott at the Burn site, ready to take photos of the president. ©Tania Esteban

The president made his way along the muddy path and took questions from the press, I filmed away in awe of what I was witnessing. Kenyatta then lit the ivory and to our disappointment there wasn’t much of an all-explosive-light-up of the pile; a rather puffed out cough of smoke. But soon enough the smoke billowed and the flames grew

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Surrounded by the world’s media and press, all eyes on the president. ©Tania Esteban

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Billowing smoke as the president looks on and the world’s media. ©Tania Esteban

 

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President Kenyatta taking questions at the ivory burn. ©Tania Esteban

The flames were flickering up towards the heavens as the light fell, and a silence fell upon all of those witnessing this momentous spectacle. 105 tonnes of ivory, 6000 elephants…generations of elephants wiped out because of the simple sake of mans greed. I often reflect upon humanity, and my own existence as a human because of the terrible atrocities many people commit. The smell was overwhelming, a mixture of kerosene but more prevalent still the smell of death…burning carcasses and bone of once living creatures. The sound of the cracking of the ivory was equally powerful, and the burning hiss that resonated across the field. And then the carnage….

We all literally legged it as soon as the tape was removed to get the first shots of the flames up close an personal, the solemn meaning of the event was temporarily forgotten. But first there was a ditch to cross…

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Not pleased with the ditch to cross…its deeper than it looks!
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A solemn moment…Very privileged to have been given access to film but equally overwhelmed by the numbers of elephants slaughtered.

Once over the rangers patrolled the ivory like rottweilers with rifles, their heavy boots sinking into the ground, and posing for eager photographers. You could really feel the heat coming from the 11 stacks, the smell billowing away into the inky darkness

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I continued to film and photograph away, staring in awe at my surroundings. A drone engine suddenly pierced the air and we looked up to see an Inspire capturing a unique view of the burn, something we all would want to shoot! Check out the video by Barny Trevelyan-Johnson.

Here’s me in a 360 video filming at the front where the piles are burning, don’t forget to pan around!

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Filming at the ivory burn was a privilege, I was happy to be there to document this as a my first proper shoot, but I felt truly overwhelmed by what I had seen…
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10 tonnes each; up in flames….On the tusks are individual identification names, with information regarding the origin, weight, elephant sex, age and herd.
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The haze moving in, the smell was very powerful.

After capturing further shots I was the introduced to another one of my heroes, Jonathan having seen him photograph all day, and Ian Hamilton. What a privilege. Also saw the fabulous News anchor/presenter for NTV Wild, Smiriti Vidyarthi there interviewing Patrick Omondi and the KWS officials.

And so dear readers, the emotional rollercoaster of a day came to an end, and Will, Ian, Tim and myself readied ourselves to leave the sight…one last GoPro video….

But before you go, remember that THIS September  over 180 countries will convene in Johannesburg at the CITES meeting to decide the fate of lions and elephants– to upscale the protection afforded for lions and ban the illegal wildlife trade in ivory. Hong Kong’s chief executive C.Y Leung recently stated that they would attempt to phase out all trade in of ivory. Others are yet to act. In fact Zimbabwe and Namibia are planning to ask CITES to approve new legal sales of ivory – a dreadful idea.

SO..

Keep the FIRE BURNING…share on Social media, tweet, Facebook, Pininterest, about how YOU CARE about the fate of not only elephants, but ALL wildlife. In the next 30 years they could be gone forever. The greatest threat however is habitat destruction and this is something I will be addressing in the next few blog post. In the meantime, have a look at this clip by Wild Aid at the end of this article and start talking to your world leaders and politicians to act!

Also some of my ivory burn footage can be seen here in a preview of A lion’s Tale! See what you think (at 1:43 min in):

 

 

Day 2: Born Free office Nairobi & Will Travers

Today we filmed another 3 interviews with the fantastic Born Free Kenya staff for the 30 minute version which I’ll be cutting for them. It was fascinating to see behind the scenes of one of the busiest wildlife charity offices in Africa…and yet the scene inside would suggest otherwise.

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Bliss in the office compared to the hectic streets of Nairobi!

We were pretty overwhelmed from yesterday- I went to bed that night with scenes of ivory towers and AK-47 assault rifles swimming towards me in slow-motion. The smell of death was also pretty horrific; over 6000 elephants were killed for their ivory, and each pile of ivory equated to 100 tonnes.

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10 tonnes of ivory per stack, representing the death of countless numbers of elephants.

So today we interviewed Tim Oloo, the country manager of the Born Free Foundation. He’s been working with them for over 2 years now, having previously worked for KWS as a senior scientist (5 years) and Serena lodges. His undergrad involved extensive research on Rhino’s in India, which he spoke about fondly. He clearly has hope for the future of Kenya’s wildlife and is supporting the efforts of both KWS and BF. We decided a nice set up outside would reflect his love of the outdoors and also avoid the troublesome tungsten lights inside. However the streets of Nairobi weren’t helping- what a noisy city!

Nevertheless, we pressed on, asking some passerby’s to be a little quiet for the interview, and we began. I sat as close to the lens as possible in order to achieve a nice eye line. The prime lens as a second camera was lovely…100mm will never let you down, beautiful bouquet. The wide shot was equally pleasing!

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Timothy Oloo of the Born Free Foundation

Next up was Phoebe, our logistical angel and office manager. She has been the point of contact in Kenya in term of getting hold of Victor, booking the hotels, sorting out the whereabouts of our stay and getting around in the Born Free Landrovers. We then filmed around the beautiful grounds of the BF office, with hundreds of butterflies frolicking, cavorting and mating in a an aerial orgy- spring had certainly sprung here. In this sense there is no spring as Nairobi is remarkably close to the equator. managed to film a butterfly mating in mid air- truly magical!

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The Nairobi Born Free Office
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Got to love a slider shot…
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Filming rain #DoesntGetMoreExcitingThanThis

We then headed into town for some lunch, Pizza for Adrian and a salad for me! I must say its quite weird to be stared at so much, but then again there aren’t that many visitors that are white to this area so I guess we must appear to stick out like warthogs in Wyoming. It then started to heave it down, so we retreated to to the office and filmed some slow motion droplets. I think Will is finding my obsession with the technique quite humorous. Got some nice slider shots of 3 life-like model statues too…roaaarrring success….

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First shot of lions- right here in Nairobi!

Then off to our lovely hotel (House of Waine), where we decided we had to find a sound proof place to interview Will…we struggled enormously… the rain was making such a racket on the ground but we had to do it today as tomorrow is the Ivory Burn! No time! SO we were helped by the lovely staff to find a quieter room upstairs. It was still rather tricky though I must say….however in such circumstances you have to make best use of what is available. We even had thunder…However Will was a master at answering all the questions, he truly is a professional and made our job a LOT easier. Huge thanks to the helpful staff at the Hotel!

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After that we joined him for dinner in the lovely restaurant. If coffee is your thing, then make sure you get it in Kenya- such a delicious earth blend. No idea what I ate, some sort of tomato/potato bake which was rather delectable. Over dinner we chatted away and listened to Will’s fascinating encounters with people at the plentiful occasions where he attends major events/meetings/conferences around the world. What a life he has had!  After that we headed to bed, but then DISASTER….

Adrian lost his potatoes…

 

LITERALLY..he was THROWING UP everywhere bless him! And worse…despite my best attempt to give him immodium and electrolytes, he just wouldn’t hold anything in. We reckon it was the pizza. I was feeling comparatively fine, but terrified at the prospect of taking him to hospital. His condition improved after getting rid of whatever his body was rejecting, but he was very weak…I don’t think he will be able to come to the burn like this, there is no way he can hold a camera feeling this ill..

I’ll have to go to the IVORY BURN ALONE tomorrow..

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With the shot lists, batteries charged and storyboards in mind, wish me luck!

 

 

Natural wonder: Sir David Attenborough

Happy Birthday Sir David Attenborough! As I am sure we all know, last week marked this great mans’s 90th; a person who has more than anyone changed our relationship with the natural world, enthusing countless generations to appreciate the variety of life on our planet. His dedication, passion, relentless enthusiasm has undoubtedly inspired more people in our world to care and want to make a difference. I certainly am on this pathway because of him as well as other incredible individuals (including my mum!).

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SO what makes him our natural treasure?

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1# His enthusiasm

From collecting fossils as a child in Leicester, to loving creatures big and small, ugly and beautiful, his appreciation for all animals is why we love him so. He even says he is no animal lover, much to the bewilderment of many. However he is the ultimate curious intellect and shares a fascination for all of nature, and not the gushy anthropomorphic rantings of a bunny hugger…

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2# His knowledge

Not only has he racked up 32 honorary degrees from Universities across the country (more than anyone else), but having studied natural sciences at Cambridge then Anthropology later…his knowledge of all living creatures and the biological, chemical, physical process that govern them is second to none. Go on, ask him a question!

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3# THAT voice.

His dulcet, hushed tones, as well as powerful vocals mix into just about the most recognizable natural history narration voice of all time. David = Nature God. His warmth and clarity both hooks and fascinated you. I think I’ve spent most of my waking life listening to his voice either through the television or radio podcasts. I’m even starting a petition for a David Attenborough Tom Tom guide…

“..And here, we have the Lyre bird…”

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4# Humble by nature

Despite his numerous awards, degrees, honours..he still remains a humble and grateful being…he loves economy class and never forgets to greet or thank you…

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5# He’s been there for you: in B&W, Colour, HD, 4K, 3D and 360 baby

He is the only person to have produced television in B&W, Colour, HD, 4K, 3D and more recently with his VR dinosaur 360 video clip. He’s so with it  even us youngsters have to keep up with him. I reckon a holographic projection David will be available soon…

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6# Impact

Sir David Attenborough joined the BBC as a trainee in 1952, and his early career included the highly different television debate programme, Animal, Vegetable, Mineral? But his audaciaous and determined nature meant that he wanted to show audiences new ways of making films and a life outside the television studio. The result was the hit series ‘Zoo Quest,‘ which combined live studio presentation with footage shot on location for the first time. He made us CARE about the natural world through education and entertainment. 

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7# He’s SO quotable

A master of verbal carpentry, his written scripts result in some memorable quotes, here are my personal faves;

“A hundred years ago, there were one and a half billion people on Earth. Now, over six billion crowd our fragile planet. But even so, there are still places barely touched by humanity.”

“Our planet may be home to 30 million different kinds of animals and plants. Each individual locked in its own life-long fight for survival.”

GO on, give us another…

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8# His wicked sense of humour

We’re no stranger to his witty, whimsical and wicked sense of humour. He’s been asked onto several major chat shows more than twice and his gentleman like attire and charm  is irresistible. Even Cameroon Diaz can’t get enough of our David! More recently during an interview on BBC Radio One, Sir David was asked to narrate the video for Adele’s new song. He even gave it the trademark Attenborough voice-over.

“Like all pop stars, she needs to hunt to survive,” he begins. “The lesser spotted Adele is about to be everywhere again.”

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9# He’s travelled more than anyone in history

Since his television career back in the 1950’s he started travelling around the world, and is now the most travelled person in the HISTORY of mankind...that’s some impressive migrating. It seems his life has been perfectly timed where he saw the world in its former pristine self… And so he’s not only just seen more wildlife, people and places than anyone else but also witness the greatest amount of change than anybody who has ever lived.

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10# He’s simply the best #WishYouWereMyGrandad

All that said, we simply love him because he is our natural treasure and we all want him to be our grandad…he started the beginning of natural history filmmaking, and still is an amazing filmmaker and producer in his own right…love you Dave’s XOXOX

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Here I write about my own encounter with the lesser spotted David, over 2 years ago…..

It was 6am, Spanish time. And yes, it was the summer, BUT Sir David Attenborough tickets were on sale for his lecture on Alfred Russell Wallace in Cardiff New Theatre! I was poised with my mouse cursor ready to buy a ticket after refreshing the page… then to utter dismay all the tickets had sold out after 2 minutes of pending. I was overwrought. It happened by coincidence that I had a week long field trip to Dale Fort, in Pembrokeshire on the 18th September, and the very same day that David was giving his lecture, and so I had to book a ticket! So I put my self on wait list and hoped for the best. After a week, forgetting that I had even applied, I received an email saying I had 2 places to book tickets-result! Booked them instantly….then I thought about actually getting there.

 

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So bunked off the uni bus journey to go and see my hero- and the reason why all zoologists study their degree… so a pretty good excuse! It took 7 hours in total to get to Cardiff Central, with various stop-offs. Wasn’t cheap getting there but I had worked as a student ambassador to get the money. Went with a friend, and we went for a coffee opposite the theatre at 6pm to await the arrival of the greatest wildlife broadcaster to have ever lived…That hot chocolate tasted so good! I was positively jubilant! I could not contain my excitement as soon as I had received the lecture brochure and meticulously read through the talk. Then we walked out of the coffee shop, and at the same time a dark Mercedes tinted windowed car pulled up alongside the entrance, where he stepped out…I almost fainted on the spot then and there… He had entered the building!
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When we got our seats, which were at the very back, (so we could go out and catch the train we had booked to go to Milford Haven, then to our field trip location) and then as Sir David entered there was a sudden gasp from the audience, followed by a rapturous applause! It was a fascinating lecture all about the great Alfred Wallace, and his humble beginnings and shear enthusiasm for adventure really. Some really hilarious clips and gestures by David, absolutely brilliant, wish all lectures were like this! Before I knew it, it was question time, I was the first to put up my hand, but sadly, at the back I wasn’t noticed until the end when they ran out of question time. They even handed me a microphone, at which point my legs had turned to jelly. After that, we had to rush out to get our bags and then run for the train, only just made it! Onwards to Dale Fort for our own adventures (and a lot of hard stats and collecting data from the field!). However, I did send him a long letter including the question I so wanted to ask, which was,
“Out of Darwin, Gregor Mendel and Wallace, who do you believe has contributed the most to society.”
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He answered back too! His letter takes pride of place on my windowsill, (next to my fossil Archaeopteryx). I think its wonderful that a man who is so busy would even take up his time to read his fans letter, he truly is a remarkable, special man, and I am honoured to have seen him at his lecture and be alive during his lifetime- Thank you David- and may you long keep making Natural History programmes!

Wildscreen Re-launch 2016!

What a first semester it’s been! New Year has kick started with a bang, time is flying by and we’re now planning our final film projects and pitching to the BBC soon… it’s all becoming a reality now and I  can’t tell you how exciting it all feels. I’m trying to catch up on some much needed blogging after all the Christmas shenanigans and deadlines- here’s what happened at the Wildscreen Re-launch 2015!

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Wildscreen…the Natural History equivalent to the Oscars, announced that the 18th Festival will take place in Bristol, UK from Monday 10th October until Friday 14th October 2016 – we can barely wait! I for one am very excited at the prospect of volunteering as well as entering this year. The talent last year was truly astounding, and more than ever conservation is beginning to make a come back in the form of human and animal  characters, with strong emotive storytelling. (*Hint*Hint…along the lines of my final film too).

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At the festival, anyone and everyone in the industry turns up to celebrating the world’s best natural world film event. They all congregate in the dining hall before the main awards event, looking rather resplendent in all that finery. Even the rarest of them all congregates at this most awe-inspiring of talent pools…Sir David has been known to make an appearance despite being a highly migratory species.  At the Festival there’s a whole host of fantastic workshops you can get up to including masterclasses and keynotes which provide unique access to some of the sectors most influential, powerful and innovative individuals.

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SO…a the re-launch we were given the task of filming and vision mixing the event, as well as welcoming guests into the viewing. We met up with two experienced cameramen who positioned us in left and right winds as well as the back. Whilst one of us was in charge of tracking the speakers in a mid wide shot, the other to cameras were either a steady wide or “interest cam” where we could get more creative and get close ups of the face and hands as the passionate speakers gesticulated with verve.

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We also got involved with welcoming VIP guests with a snazzy Wildscreeen T-shirt, and it was quite thrilling to welcome in some of the biggest faces in the industry. Sadly no David but we shall meet again! It felt so humbling to be in their presence, and a real reminder that we have so much to learn- they’ve been there, done it all and literally gotten the T-shirt. They are so knowledgeable, and I feel incredibly lucky to have been taught by a few of them. Once everyone was in, it was time for a quick piece of tortilla and then leg it to the stage, the show wouldn’t start itself!

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Anna modelling and rocking that T-shirt

I was also playing around on the vision mixing desk with Dave, head technician and our lecturer, as well as all round cool, techy, goatee guy. This was an interesting experience for me and really appreciated how important timing is!

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Cue Titles……

During rehearsals I got to see some very interesting speakers including talented and rising star Patrick Ayree. A former UWE student himself, he’s blazing our screens with superb new productions such as his most recent Big Cat series by Offspring Films, Sky 1. His dulcet tones emanated from the stage as he hosted the event whilst we were treated to stunning array of photography. He’s certainly one to watch for in the imminent future…

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Patrick Ayree hosting the Wilsdscreen Re-launch event, at the rather resplendent Bristol Old Vic.

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Then things got fishy…in a good way though, with Wildscreen’s New Horizons Nicholas Röhl, a man with a vision to change the way we recklessly catch fish in an unsustainable manner, through his admittedly bold and humorous photography. Fish Love is at the heart of a global movement
 to protect our seas from destructive fishing practices. The portraits, featuring celebrated individuals with fish have successfully raised awareness for campaigns such as Deep Sea Coalition, OCEAN2012, The End of the Line, and Blue Marine Foundation. Visions of celebrities adorned with fish is something I didn’t envisage, but nonetheless it was a very interesting concept! Check out and support his work here.

Here’s the video too! (Shot on our Sony FS700‘s)

Alex Morris, Creative Director at Barcroft Media talked Digital– where they source amazing photographers using the internet, social media and forums to find the most talented individuals…as there’s a huge demand for eye-catching content. They also a YouTube channel with large global audiences that would even make Taylor Swift go weak at the knees … with over 100 million  views a month! Fun fact of the night:  A staggering 300 hours of media is uploaded every min onto YouTube– that’s a LOT of cute kittens and sneezing pandas…

Violinist Tamsin Waley-Cohen gave a stunning heartfelt performance of The Lark Ascending by Vaughan Williams. Such a beautiful creative display of our relationship with the natural world shown in conjunction with a series of some of the very best wildlife and environmental photography from many talented individuals. This was perhaps one of my favorite highlights of the event as its clean, inspirational simplicity allows your imagination to run wild and feel moved emotionally…a deep routed connection to the natural world that resonates strongly with us all.

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After the event it was time to relax and meet some of the guests! And of course show off our new Wildscreen T-shirts kindly given to us by the organizers, thanks Hannah! You all pulled it off!

So here was out team photo #GirlPower! We’ll see you for 2016!

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The Hunt: With Alastair Fothergill and Huw Cordey

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A tiger sauntering through the long, tall Vetiver grass, an African leopard quietly padding down a gully, a spider delicately reeling out and laying a deadly silken trail….

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Their story begins with the fight to live another day in their unforgiving habitats – these ultimate “villains” of the natural world are given a second chance by Silverback Company Director Alastair Fothergill, Series producer Huw Cordey and their team in an epic visual feast- The Hunt.” Packed with stunning visuals of the like you’ve literally never seen before, dramatic story telling through cutting-edge editing, colours to pop your retinal cones and sound to resonate with your wild animal instincts…The Hunt truly marks the new age for incredibly high-end drama and storytelling.

We (wildlife filmmaking students), were treated to one of the first talks about this remarkable new series….

In the heart of the Chemistry building in Bristol University, barely a student made a shuffle to reveal their presence in the dark. Their only light source permeated from a screen which displayed the never-before seen markings of a new landmark series. Then enters Alastair and Huw- the ultimate documentary predators of our time, a most formidable duo set to storm the wildlife film industry market with a flurry of experience and talented flair… we didn’t stand a chance- we were preparing ourselves to be amazed….

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Alastair Fothergill
Huw Cordey on location in Kenya

They both spoke with such eager passion and confidence about their remarkable 6X60 blue-chip landmark series, which explores the dynamic relationships between predators and prey, each based in a particular habitat, with its own unique challenges. One thing in common that unites these animals is their struggle to survive and fail as predators-something that Alastair really wanted to capture,

“We wanted to put our audiences in the footsteps of a Cheetah. The previous shows have always depicted predators as ‘red tooth and claw, and so this is one of the most exciting relationship to film. We decided to base the animals in different habitats where each of the different ecosystems create these different challenges. Be it the open ocean– a big blue desert with ephemeral and notoriously difficult to find species, or the vast plains of the savannah where there’s nowhere to hide- where competition (interspecific- between different species) between other predators is rife.”

Although he admits that they were going to film the “BBC blue chip” animals (ie: Charismatic species), but also the more unusual such as the ancestral Telophores and Portia Sider.

It took 3-5 years to make, and I’m guessing at least £3 million per episode to make… But when your throwing in all the possible latest kit (Cineflex or ‘Eleflex’ as its known in Episode 2, jibs, cranes, Sony F55’s, helicopters, editing suites, sound crew, SF, musical composers, flights, travel…ect), you can’t expect to get incredible visuals if you cut corners. The remarkable almost mystical image of the polar bear that talented cameraman Jamie McPhearson captured was made possible with the use of the £300,000 cinflex camera and boat crew- and a total of 14 people and 8 weeks to capture that sequence! The co-proability of this series will, I’m certain, make a lot of it back so that we can enjoy even more exciting series to come (such as BBC 1’s One Planet, 2017!)

Alastair mentions he often think about what the next series will be, for example after Frozen planet they decided to look at habitats. But rather than just to look at the polar regions and tropical jungles for a sense of place, they also they turned to a new areas of natural history- animal behaviour…The most exciting dynamic behaviour is arguably between predators and prey. They haven’t forgot about the prey- despite not appearing as the “sexiest” of animals. One such species shown is the snow goose- where it will form large flocks to protect themselves from predators and use instinctive ‘next nearest behaviour’ movements to coordinate the huge triangular flock formations we associate them with.

Off to the Polar Regions in the first episode.  If you live in the poles you have to be adaptable. After frozen planet he was worried there would be no new stories to tell about its iconic wildlife. But again they managed to give us a literal brain freeze with the superlative polar bear sequence filmed by talented cameraman Jamie McPherson– it was absolutely stunning! Hats off to the remarkable colour grading by Adam Inglis, and editing by Andy Netley too. At some point I felt as if I was transported into Narnia with its gorgeous cool colour pallet. These animals are unique in that they change their hunting tactics serval times during the stalk.

“We didn’t manage to capture how this incredible behaviour stats in Frozen Planet, and so we wanted to film it this time.”

This is usually when the ice breaks up and they are no longer hunting seals on the ice. The weather however made it very difficult for the team to make it through one of the most inhospitable places on earth. At the very beginning of summer when there’s meltwater, the skidoos can be used to get through this vast terrain. Polar bears weren’t at all bothered by their presence, if anything they could pose more of a threat to the crew and so they took “polar bear” security very seriously. At the end of summer, the ice breaks into a mosaic of ethereal blue-coloured ice pancakes, which forces the bear to change its behaviour accordingly. The ‘Aquatic stalk’ is where the bear pursues the ringed seals within the water, which is no problem for it is supremely adapted to swim with its webbed feet and high body fat ratio to prevent it from dying of hypothermia. The metal boat allowed the crew to move in the ice and move with the bear, use the parallax of the moving ice in a beautiful way, which led to creating this incredible sequence.

Another polar tale was filmed at Elsmere Island, most northerly Canadian islands. It is the nearest land to North Pole, 8 degrees north, and a total population of UK and Scotland (150 people), most of which are Inuit. This lack of people that makes it perfect for Arctic wolves, they are completely fearless of people. The challenge here for the team was keeping up with these finely tuned long-distance runners which can reach speeds of up to 40mph. So a larger crew was needed on the ice… 2 cameramen, 1 wolf scientist, 1 producer and 1 helicopter pilot. Then it was Arctic hare characters that leaped into the story with the wolves, leading to a rather entertaining sequence!

In this weeks episode we take a look at one of my favorite animals of all time- the Cheetah. This evolutionary powerhouse can run at 56mph at its top speed for 10 seconds, and has to get within 50m of its prey before the lactic acid burns into its fast twitch muscles and need to slow down to recover. The stalk is a very important part of the sequence, and the amazingly talented high-speed specialist camerawoman Sophie Darlington and the team tried to emulate this hugely important behaviour and put the audience in the footsteps of the cheetah… where every detail and sinew of the hunt can be analysed. They filmed it at a level of detail never seen before, capturing a very intimate and tense moment…at which most cheetahs will fails at this point to successfully make a kill.

This sequence was made possible with the use of the Cineflex- slowing the image by 40 times at 1000fps. This ‘black ball’ is home to a very powerful lens, with gyroscopic stabilizers which could make Taylor Swift’s Shake it off look like a graceful ballet. Mounted onto a make shift arm on the safari vehicle…it makes for the most remarkable follow up shots as the animal glides through the savannah grasslands. They were able to track the cheetah alongside it as it stalked without disturbing it from 100m away, preventing any interference. Alastair tells us rather counterintuitively that one of the skills about filming cheetahs is…

“Don’t follow the cheetah… Predict and follow WHERE the prey will go, and then go beyond it to try and capture the “down the barrel shot.”

Talented camerawoman Sophie Darlington

The Massia field guide, Sammy Munene, had the superb ability to get the team in the right place at the right time to capture one of the highlights of the series.

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“The last and most crucial thing is to choose the RIGHT Cheetah.” They spent much time deciding who would be their hero…and it was to be Malaika, BBC’s Big cat diaries star, with four 8 month old cubs. Such a remarkable feat for a feline, as 50-70% of cubs die at within their first 3 months. She was under pressure to kill every day for her young and growing family- and so the action heated up…2 cameras on the vehicle, 2 aerials and 6 weeks later led to the team capturing one of the most detailed and incredible hunting sequences of all time. Make sure you tune in this Sunday (TODAY) 9pm BBC One to see it!

But it’s not just all about mammals- the army ant sequence filmed by the brilliant Jonnie Hughes was a feast for the entomological eye and bliss for keen sound recording artist. Just enough of the tittle-tattle sound of the tiny footsteps of one of the smallest and yet deadliest of predators in the rainforest, which demolished everything in its wake.

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Equally the Darwin’s bark spider featured in episode 2 certainly proved that what it lacks for in size it makes up for in awe and charisma (YES I used an anthropomorphic word!) This spider was only described by science in 2009, and perhaps the reason it has never been filmed before. But nevertheless the teams found that the spiders were quite easy to find, and yet was still challenging in that they required just the right amount of wind and light to film. Huw tells us rather unwittingly that the number of camera kit cases required on such a shoot is inversely proportionate to the size of the animal- and with over 40 cases weighing over 40 tonnes… you can see why!

To really tell the story about the spider, a similar camera set up to the other sequences was required to get the shots they were after with all the dramatic elements and action. This quirky arachnid sprays out a stream of silk for over 20m, with which we are informed by the voice of natural history, Sir David Attenborough, that such material is stronger than steel. This sequences took 5 weeks (almost as long as the Wild dog and cheetah sequences) and so was no mean feat of technical skill and patience… even the smallest of creatures require the same level of detail to pull off a good story.

Of course our beloved hero Sir David Attenborough narrated The Hunt, with such verve and passion that it simply wouldn’t be the same without him!

The sound effects of the silk being expelled sounds rather like a spring coil being trailed along the floor, and is rather entertaining I must say! Anyone hear the sucker squelching sound of the crocodile’s nictitating membrane of its eye opening and closing? Or the mission impossible zipping effects of the Portia spider? The last squeaking breaths of the mantis? Hats off to the foley effects artist for being so brave! The music throughout the series has been quite sublime, the perky little notes with our smaller insect protagonists and action bass heavy chase sequences creates so much depth and engages the audience further. Clearly Alastair and Huw were proud of their music assembly and so they should be. Attenborough’s performance as a narrator and storyteller as always is faultless…a true master of hitting every single syllable and verb with incredible passion and verve- what a true legend!

The shear amount of dedication that went into making this series is truly astounding – and a HUGE inspiration to us up-coming wildlife filmmakers. Now that we’ve learned about how the whole team coordinates and how the industry works, we can really appreciate the hours, blood, sweat, tears, talent and of course money that goes into blue-chip productions like this. But if you have the right team, you end up with a remarkable piece of natural history that will inspire others to want to protect these fascinating species, with their array of intriguing animal behaviours.

Can’t wait to see what’s next for the team! (**Hint hint.. Keep watching out on BBC 1 and Netfilx!**) Tune into BBC One tonight 9pm to see the Cheetah hunt!

 

[All images above were taken by BBC staff and I do not take any credit for them, simply sharing their content in a review/analysis/report].