Gunton paid tribute to the perseverance of the crew, who filmed in 43 countries across six continents. It is thought that the colour yellow is attractive to the young creatures.Īnother first is a podcast that will accompany the series, featuring Attenborough, Gunton and other programme makers. One episode is devoted to “hero” conservationists and includes two women who dress in yellow to become foster mothers to baby bald ibis chicks – teaching them how to fly using microlights. Local conservationist Keiran Murphy is shown saving stranded turtles, saying: “Governments and big business need to get real.” Photograph: John Schwarzrock/BBC Studios/QPWSĪttenborough also contrasts his 1957 visit to tiny Raine Island on the northern Great Barrier Reef – the world’s largest green turtle breeding ground – with the situation today, where as a result of climate change it is set to disappear beneath the waves. He said that while the drama of previous series remains, Planet Earth III has another context, which is how animals are adapting their lives to meet the challenges of a rapidly changing world.Įxamples include a rhino walking through a Nepalese town and long-tailed macaques stealing iPhones from tourists to negotiate their return in exchange for food.Ī green turtle returns to the sea after nesting on Raine Island, watched by wildlife experts. And that selection pressure is humanity.” Executive producer Mike Gunton said Planet Earth III looks through “a new lens … where the planet is changing and there’s this huge force which Darwin would call a selection pressure. The series also shows Attenborough in a Kent meadow that Charles Darwin walked in, reminding audiences about evolution. There are also scenes which show humanity’s impact, including flamingoes in Mexico desperately trying to protect their chicks from being wiped out by storms hastened by climate change. Other highlights include seals escaping from fishing nets, a father ostrich helping his chick survive, a jacana bird that issues a special “freeze” call to its chicks, rarely seen footage of an angel fish and a breath-holding fish that fakes its own death. Easton said a shoot in one of the world’s biggest caves featured, “a drone ballet” with one drone “flying around in the dark lighting the space” while communicating with the other which was filming.ĭrones were also used to capture what Attenborough said was an “astounding” seals-versus-sharks sequence in South Africa that took director Georgina Ward four years to capture and which Brandon said was “new behaviour”. The environmental issue was also helped by the use of drones, rather than helicopters. Photograph: Dave Benett/GettyĪround a third of the series was shot using remote cameras, partly due to Covid, but also to help reduce the team’s carbon footprint. Sir David Attenborough attends the launch of Planet Earth III on October 12 in London. That certainly wouldn’t have been possible for the original Planet Earth. Series producer Matt Brandon explained it was made by director Will Ridgeon in Bristol in his bedroom, “directing a camera on a remotely operated vehicle thousands of miles away, two miles beneath the surface of the ocean. The eight-part Attenborough-narrated BBC Studios series also features never-before-seen footage of the world’s largest colony of pearl octopus mothers slowly starving to death on the seabed as they protect their eggs for two years. “There’s a human guinea pig somewhere in Bristol who was swimming up and down a swimming pool with that camera. So they developed a soluble clamping mechanism made of corn starch that released the camera after 20 minutes.Īlthough only two of the stunning shots feature in the show, Easton said it was worth all the effort. In the end the thing that was the most difficult and took the longest time to develop was how to detach the camera once they had used it. So over six months the team discussed the ethics of a “whalecam”, followed by another year of development and consultation with whale scientists. Episode one’s producer/director Nick Easton said the team wanted an “onboard view” of a whale in Argentina to show its point of view, but the technology did not exist.
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