First day shooting in Nairobi was remarkable…incredible…fascinating and overwhelming. We had been given special access by the passionate Tim Oloo, country manager of the Born Free Foundation along with Will Travers, president of this most unique of wildlife charities. I have never felt so stimulated and thrilled; as we drove down the dirt track through the Nairobi National Park, a remarkable sight met us.
There were 10 enormous stacks of 105 tonnes of tusk that pointed towards the foreboding darkening skies. A storm was brewing, and the worlds media were preparing for this most monumental of events. The Kenyan authorities have been preparing to burn not only the ivory but also the pelts of wild animals, seized sandal wood all to highlight their determination and dedication to eradicating this most abhorrent of acts. Armed Kenyan Wildlife Service personnel prowled among the gleaning white teeth of over 6000 elephants. Pressure has predominantly being coming from conservation groups and the government to end this trade, and an incredible array of passionate individuals will be taking their stand against this atrocious act of killing an animal for ornamental decoration and status on the 30th tomorrow. Journalists, reporters, filmmakers and conservationists from around the world will also be coming to witness the burn- including us! I’m producing a film A Lion’s Taleas part of my UWE Masters and this will be my 3rd day of the 10 day shoot.
Being here in Nairobi as this is all unfolding is truly an incredible experience… I never thought in my wildest dreams that I would be given the privilege to cover such an important issue with one of my conservation heroes. This event is more than justified in my opinion, I know the are many out there who disagree with the act of burning a potentially financial gold mine…but elephants are some of the most enigmatic and vitally intrinsic species in the world, and I think to lose them for the simple sake of man’s greed and egocentric attitude would be an enormous tragedy. Elephants and ALL living animals are worth more alive than dead. I would not be able to accept that our species would be willing to profit from an evolutionary adaption of another animal, or using that to put into conservation funds for other animals. Cut the supply and destroy the chain.
Tonight we are prepping for tomorrow’s BIG shoot, 5am wake up to get into register and pick up our press passes with Will- its going to be HUGE! I’m incredibly excited to be a part of this and I hope we can capture the sense of hope that will come from the burning. Speaking to Will Travers, Timothy Oloo and David Manoa today, I can really see the dedication they have to protecting all wildlife here in Africa- and it’s going to be hugely inspiring and moving to witness. Right I better get some sleep then…BIG day ahead!
Here is an EXCLUSIVE 360 panoramic video of the scene!
I was 10 years old when I stood up in front my my somewhat small class of 8 students in Southern Spain to talk about my heroine and great inspiration in life…Virginia McKenna. Having seen the Born Free film, and found out about the astounding efforts of the actress turn conservationist I felt compelled to learn more about this beautiful, spirited and passionate individual. 11 years later, little did I know that I would be producing a film about the plight of lions and my heroine for the Born Free Foundation! It truly is a dream come true and I am incredibly excited to share this with you all. I am certain you’ve all loved watching the Born Free, a story of true determination, passion, love and drama – and one of the most successful conservation stories ever told all. Lion’s need our help more than ever, and this is why I want to share this story now…
After several trips to the car with various tripods, c-mounts, pro mic kits, radio mics, cameras, lenses, lights, gaffa tape, XLR cables, mixer… we set off! Virginia lives in a most beautiful part of the country, Surrey. The skies were clear and a deep azure, you could even see the reminiscent red silhouettes of the Red Kites as they soared with the thermals over the A4. Trails of happy holiday goers could also be seen with white airplane clouds trailing behind. I was reading over my questions with great excitement, I could not believe I was about to meet my childhood heroine.. she had been part of my early life through television, books and of course podcasts and audio books where her powerful words would inspire me to write, and read poetry about wildlife.
We were let into one of the most beautiful houses I’ve ever seen by her incredibly passionate son Will Travers (president of the Born Free Foundation). He looked remarkably like her, with those dazzling blue eyes and handsome face. Down the bluebell woods which were dappled with a soft spring light, under the trees that whispered in the wind…and into Will’s gorgeous home to set up the kit. Gosh has he travelled. Adorned with relics from every country, the place had such a welcoming and warm feeling. The garden was such a retreat, with its quiet still and calmness– the birds and bees clearly sought refuge in this little piece of Surrey serenity.
After discussing plans with Will about the trip itself and the interview, we met Virginia who had come up from her house.. I must say my heart was pounding! She was even more beautiful in real life and her voice so welcoming. We sat down and began the interview after setting the sound and framing with the cameras. From descriptions of the intense pulse of Africa, her Born Free role, her brilliant husband… to the future of Africa’s lions…to me there is something more remarkable than this woman’s countless number of achievements over the past 50 years. More than her bravery in changing her entire career path onto one of conservation, more than establishing one of the most successful animal charities in the world, more than helping thousands of individual animals and people through her hard work and determination.. it is her sense of hope and light that emanates from her. You not only see it but feel every word she says with such verve and passion that it truly resonates with you. I’ve conduced many interviews before but never felt so moved and inspired afterwards- her ability to listen is something that I believe has allowed her to help change the lives of so many.
After the interview we chatted more about her love for Meru National Park, and I mentioned that I would be thrilled if I saw a naked mole rat (don’t ask me why but its something about their incredible evolutionary strategy which rather excites me..!), and she jumped in delight for my love of them, she was also a lover of all creatures small and mighty. We filmed a few cut aways of her in her garden and sauntered through to her stunning section of the house. Through the pathway an amazing view caught us by surprise, “That’s where Christian the lion use to stay when we helped keep him for Ace and John..” I had to restrain myself from squealing with excitement- CHRISTIAN THE LION! The famous lion from the YouTube video where he remembered his old owners in a fond and loving embrace. And then further down the garden was the most resplendent carving of a lion you’ve ever seen! By a very talented welsh chainsaw artist…the eyes were soft in contrast to the sharp, crisp details of his lustrous mane. Along his back perched a small butterfly; what could be more iconic as a sign of hope…Virginia’s very own butterfly lion although I am told he is called the Lion Guardian.
After visiting her beautiful home, we thanked each other after an embrace and wished each other the best of luck on each of our journeys. This was the most incredible day of my life! There is always that fear at the back f your mind that one of your heroes, should you be so fortunate as to meet them, might not like you, think you’re somewhat annoying or downright boring…but Virginia’s warmth and compassion came through and I felt so welcomed by both her and Will. I now see that this is their haven to retreat to after all the suffering they see with the animals they fight so hard to save. They are different to any other charity I’ve seen. They truly believe in what they do and care about every individual, and I feel greatly honoured to be starting my journey with them next week as I travel to Kenya, Meru National park- the original heartland of where George and Joy Adamson released Elsa the Lioness into the wild. It’s remarkable to think that now in 2016, the Year of the Lion and the 50th Anniversary of the Film, that the Foundation they set up is still going strong and making such a difference- keep up the hard work! And last week Virginia was awarded the Inspiring Lives Award in San Francisco- she couldn’t be more deserving.
Please help support their work, and also please check out my IndieGoGo site for A Lion’s Tale (https://igg.me/at/alionstale/x/11469504) for more details, and I’m giving $1000 to Born Free if we can reach our target; thank you! More to come soon about the story and film I’m making for my MA Wildlife Filmmaking course (Bristol BBC NHU) as I travel with my camera assistant Adrian to Nairobi, but for now, asante sana and Hakuna matata!
We dived into the BBC Big Blue Live Masterclass in Bristol to learn about the secrets of their latest live wildlife-drama hit.
Laura Thorne, Paul Deane and Sam Hume took to the stage to reveal the digital highs and lows of this new immersiveand multiplatform series celebrating the wildlife of our oceans co-produced by the BBC and PBS. “Bringing the world to Monterey Bay” created many logistical, technical and editorial challenges for the team. The boats out in Monterey had been rigged with live cameras but nobody knew which individual animals would be filmed! Back in the UK we’re used to seeing the similarly formatted “Springwatch” with a more regimented character appearance, but as experienced producer James Honeyborne said, “Nature is literally writing our script!”
However the adorable Southern Sea Otters at the Bay offered the crew a life line, allowing them to follow the story of a female mother, Bixby and her young pup. There’s nothing cuter than a literal ball of fluff- a single looping vine clip had over 4 million views on social media. Now that’s transoceanic!
The social campaign was hugely successful with experienced Digital Development Lead Paul Dean on board, where the stories, wealth of archive material (70% digital exclusives) and hot-off the platter video-bites were served up on the BBC Earth Unplugged social platforms to some of the largest audiences the broadcasters have seen online. In a world of increasing content, there is little time to grab an audience’s attention.
And so the wealth of GIFs, videos, Vines, stills and infographics kept both UK and American audiences entertained and enthralled by this little known oceanic part of the world.
Even 360 got a test dive… a virtual interactive reality video where you can dive among the verdant and colossal kelp forests, or have a swim with seals and Steve Backshall in an equally engaging virtual world. The BBC were however careful to choose the right video clips to fit a particular platform, and were able to partner with PBS and Monterey BayAquarium to promote their content.
Influencer campaigns of people with ‘big accounts’ such as conservationists and presenters were also targeted to “re-tweet” material, with the Blue Whale’s last minute appearance stealing the headlines.
This indeed proved to be a crucial element in making Big Blue a splashing success worldwide. Co-branding the BBC and PBS worked surprisingly well for the team as well, despite traditional ways of publicising programmes. The team shared their top tips for getting your content out there:
Know your audience
Try out material
Know your team
Pre-release your best content
Listen to you audience
But most of all, be HUMAN. Audiences want to be entertained on Digital Platforms as well on TV, with stories that are risky, humorous and inspiring. Big Blue Live was a truly ground-breaking and thrilling interactive experience. The Live Team are now looking for the next big series where the logistical issues of filming at different times of the day can be overcome, but not at the expense of finding amazing wildlife. We racked our brains for a few places we thought might fit the bill- let’s hope they have potential!
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!
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).
At the festival, anyoneand 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 whichprovide unique access to some of the sectors most influential, powerful and innovative individuals.
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.
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!
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!
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…
Patrick Ayree hosting the Wilsdscreen Re-launch event, at the rather resplendent Bristol Old Vic.
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.
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!
Chimanuka– a 200kg male silverback Grauer’s Gorilla gently grooms his 3 year old sons back, carefully picking out the burs and ticks…meanwhile wildlife filmmaker Gordon Buchanan captures the most amazing sequences of these gentle giants in the Kahuzi-Biega National Park, one of the last retreats of these elusive Gorillas. Can you imagine watching this in 360… live? This might become a reality very soon…
If you’ve all been watching the superlative “Gorilla Family and Me” on BBC 2 over Christmas, I am certain you’ve fallen for the protective 30 year old male silverback of the 25 strong group of Eastern Lowland Gorillas (or Grauer’s) and his adorable son, Marhale. The bond between these two is emotively captured in this compelling new series by executive producer Ted Oakes, DOP David Johnson and cameraman Gordon Buchanan.
As a lead contributor to this beautiful, heartfelt piece of storytelling, Ian Redmond OBE– (wildlife filmmaker, conservationist and ambassador for the protection of wildlife) has developed a pioneering way in which to view these amazing apes from the comfort of your own home. Yep you heard me, ZERO risk of being sat on by a Grauer, bitten by parasite ridden mosquitoes or blown to bits in a potentially volatile conflict. vEcotourism (http://www.vecotourism.org/) is a virtual reality project that uses interactive on-line tours connects you at home with conservation projects and local communities in ecologically and culturally sensitive areas worldwide.
Founded in 2004 by director Mark Laxer, current vEcotours are primarily being produced in Uganda, the Democratic Republic of the Congo, and Indonesia to highlight the plight of the great apes in those countries, but as they grow they intend to tackle the challenge of conservation world wide. Ian films, presents and narrates all the content that is being brought to you on-screen on his travels and conservation work in these areas.
It’s innovative and fresh– allowing you to interact and take control of the content you want to see and find out in certain hot spots. Together with a team of volunteers (including myself), we are using our skills as editors, scriptwriter and social media associates to help Ian to be able to host these virtual eco tours and spread the message about the plight of the great apes.
What we’re looking to do is have LIVE tours of these beautiful biodiversity hotspots of the world, where you can join Ian and a co-host via 2 virtual live streams and pan the virtual 360 world of the apes. With these panos (panoramas) you have the power to be able to zoom in/out during the tour, whilst having a team of wildlife experts guiding you. Interactive chat boxes allow you to ask questions with live feedback from Ian throughout the tour. You can take a look at some of the content (non-live tours) and where Chimanuka and his family live RIGHT NOW!
Of course, there’s nothing that can beat a real-life encounter with these magnificent great apes, but such virtual reality tours are a fantastic way to learn about the fascinating behaviour and life of an incredibly threatened species…the hope is it will inspire you to help protect the environment in which they live, take up a career in research or simply share your love for these gentle giants.
Time is running out for the largest Gorillas Species, as civil unrest continues to take its toll in the Democratic Republic of Congo (DRC). In the last 50 years, its range has decreased from 8,100 square miles to 4,600 square miles today…and less than 9000 individuals remain. Please do what you can for this remarkable species and donate/share if you can:
REMEMBER tonight on BBC Two (27th December at 9pm to 10pm) is the last episode of the beautiful “Gorilla Family and Me.” So much emotion and storytelling with the 25 strong family, led by the charismatic Chimanuka silverback male. Shout out to my roommate who was the assistant editor- Charis May!
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….
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….
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 planetthey 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 beautifulway, 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.”
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.
“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.
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.
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].
Okay so bats might not seem frightfully important to us…surely they’re nothing more than flying rats? You’d be mistaken! These incredible mammal species are a highly evolved flying and echolocating species- the only ones to do so. They ensure our skies aren’t ridden with biting insects, prevent crop damage, provide medicine in the form of draculin, give vision to the blind and lets be honest, MAKE Halloween! I conducted 10 months research on them a year ago, and here’s what I found out about how our urban lifestyle is impacting them in the UK.
Importance and impacts of an urban landscape on bats: Urban foraging
Each bat has evolved is perfectly adapted to each habitat, in terms of wing morphology, diet (ecological niche), echolocation call, hibernacula and behaviour (Altringham, 2011; Threfall et al., 2008). Thus, it is of vital importance to study the effects of particular habitat features on bats, as each specie uses the landscape differently (Altringham, 2011, Coleman & Barcley, 2011).
Some exhibit behavioural plasticityand can adapt to urban environments, enabling them to effectively exploit their habitat without the disruption of roads, light pollution or buildings (Russo & Ancillotto, 2014; Stone et al., 2011).
This has been seen in bats with long narrow wing morphology with a high wing loading, as open air foragers are largely unaffected by urbanization (Norbeg & Rayner, 1987).
The ability of synanthropic bats to dominate urban foraging areas can be problematic for the less well adapted species (Silvis et al., 2014, Russo and Ancillotto, 2014). Urbanization may result in greater competition between the synurbic and less well adapted species. Arlettaz et al., (2000) suggested that the decline of Rhinolophus hipposiderosin Wales may be due to the expansion of Pipistrellus pipistrellus, whose populations have increased as a result of greater feeding efficiency with artificial lights normally avoided by the lesser horseshoe bat (Warren et al., 2002; Lacoeuilhe et al., 2014).
Water in urban areas
Bats are vulnerable to evaporative water loss as a consequence of their morphology and large surface area to volume ratio (Razgour et al., 2010). Within urban areas, open artificial sources such as ponds, ditches and swimming pools provide bats with fundamental opportunities to drink and forage.
Certain species show preferences over these larger, less cluttered and open bodies of water (Seimers et al., 2001). The reduction in pulse-echo overlap, ability to detect spectral shift and high insect abundance over still water sources can attract large numbers of bats to urban and modified sites (Altringham, 2011).
Such examples can be seen in North Carolina, where studies looking at the importance of managed water bodies over natural wetlands revealed significantly higher bat activity by heliponds, despite equal densities of insects at both sites (Vindigni et al., 2009). Equally, studies on Greek islands showed that bats will also use artificial water sources such as swimming pools due to the lack of natural sources in such arid habitats, with minimal annual rainfall (Davy et al., 2007).
So this Halloween, cast a glance into the skies at night and spare a thought for this remarkable little evolutionary quirk of nature…