LIVE PRODUCTION
into team members’ own homes so they could monitor in shifts from their kitchen tables,” says Edwards. “Overall, we managed to streamline our
OBs down to a team of five or six. This also had a positive effect on our carbon footprint, which has been important – we have Albert (sustainable production) certification and try constantly to improve it each year.” Another change was the addition of
many more long lens cameras to film British wildlife in more intimate and striking detail. This was due the enforced grounding – and so increased availability – of many top-end wildlife camera people who would otherwise have been filming overseas at that time of year. So successful were a number of the key
most of their days cooped up at home became clear. “We wanted to keep the ambition of the
show to celebrate British wildlife and the great outdoors,” Edwards explains. “And it quickly became obvious it was even more important than ever for us to bring nature into people’s living rooms last year.” One obvious change was to have the
three main presenters presenting not from one central location but from their own local patch. This involved putting together significantly
scaled-back OB infrastructure for live presenting by Chris Packham, Gillian Burke, and Iolo Williams from their home bases
in the New Forest, Cornwall, and Wales respectively. The addition of guest presenters including Steve Backshall, Gordon Buchanan, and Ellie Harrison further widened the coverage, with live input from the Thames, Scotland, and Gloucestershire. Investing in new technology was critical.
WE WANTED TO KEEP THE AMBITION OF THE SHOW TO CELEBRATE BRITISH WILDLIFE
“Our static remote cameras to film wildlife
are essential and usually monitored round the clock by a dedicated team. But using Gallery Sienna, we could patch all those cameras
components from the 2020 series that they are now set to stay. These include live broadcasting from multiple locations to cover more nature stories happening in more parts of the country, covering new locations where it was too costly – or logistically challenging – for the previous large-scale OB operation to visit, and the 90-second nature-focused mindfulness films the team produced. “The genius of the tech team was a big
part of the success of Springwatch 2020,” Edwards continues. “So too was how we connected with the
audience and brought them something that proved so incredibly important to them at such a challenging time. As Chris Packham said when we were making the series, we needed to make the ordinary extraordinary. And looking back, I think that’s what we did.”
with project planning, technical supervision, unit managing and technical crewing.
Recent credits include Glastonbury 2021 ‘Live at Worthy Farm’, Damon Albarn at Shakespeare’s Globe, Everybody’s Talking About Jamie Live Soundtrack Performance, O Come All Ye Ravers - an Ibiza Classics Global Livestream, and Russell Brand - Our Little Lives: Shakespeare & Me.
Supporting clients nationwide, we welcome enquiries at any stage of production. Filming in the US? No problem, our New York branch is there to assist.
procamtake2.com Social @procamtake2
Photographs by Adriano Martelli
televisual.com
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