News
Contents:
1. Two Years
On
2. New International Office for NatGeo
3. Call for Submissions for The Ocean Channel
4. MiniDV
5. Fieldnotes Update
6. NHNZ library now Southern Hemisphere’s largest
7. Hope and Dreams Film Festival
8. The Future of the Large Format Film Industry
9. Sharks: The Silent Killers
10. The Crocodileman
1. Two Years
On
Yes
- issue 24 means two years of Wildlife Film News
- now read in over 100 countries by a readership that continues to grow daily.
To mark the occasion we have developed a new range of advertising opportunities
- so if you would like to reach the largest database of wildlife filmmakers
in the world (producers, broadcasters, distributors, freelancers etc.) - for
a fraction the cost of print advertising - please see http://www.wildlife-film.com/advertising.htm for
more information.
2.
New International Office for NatGeo
National Geographic
Film Library – Images you’ll be proud to call your own
National
Geographic Television have opened their first international office
to market and sell their award winning film library collection throughout Europe,
the Middle East and Africa.
The new central London
office offers a full range of services for all stock footage needs. Clients
benefit from the location and in-house access to the library. In addition the
web site, using digital asset management technology, means that material can
be viewed online and mastered material will be ready in London for same day
delivery.
With over 25,000 hours
of high quality footage and years of experience, the National Geographic Film
Library offers the production industry a unique opportunity to use its images
in new original programmes, commercial production, corporate marketing, web
sites, digital presentations, pop promos and more.
The experienced team
works with clients to understand their needs, provide creative solutions and
licence footage to meet the brief.
The film library naturally
offers the very best in both wildlife and nature footage but also images beyond
which you would normally expect from National Geographic.
For further details
please contact Ian Morris:
National Geographic
Television - Film Library
12 Great Newport Street
London, WC2H 7JA
TEL: 020 7632 5970
imorris@ngs.org
www.ngtlibrary.com
3. Call for Submissions
for The Ocean Channel
Would you be interested in contributing
content to the world wide web's portal to the sea, ocean.com?
Do you or someone you know have a veritable closet full of ocean stories, articles,
pictures, videos or other interesting media which may be entertaining to other
'ocean people?'
Have you always wanted to write about a specific ocean experience, travel adventure,
or animal contact but never been motivated enough or given the forum to do so?
Do you have video or pictures of the sea which sit gathering dust, never finding
an audience beyond family and friends?
If you answer yes to any of the above, read on!
As the official president, janitor, book keeper, marketer and content
aggregator for this amazing web site dedicated to bringing people all over
the world 'everything ocean,' I need your help. With tightening budgets all
around the tech and dot-com marketplace, ocean.com is in need of support
from those who know and love the sea the most.
Below are the details of all the information you will need to offer your support,
and money is not what we are looking for here! It's a new commodity that
we seek, one which is even more important than money in the realm of cyberspace...CONTENT.
"What kinds of content are you looking for?"
Two main categories: editorial and images.
EDITORIAL
250+ words on your favorite adventure on or under the water...or your favorite
marine animal or destination...or your feelings on conservation of the sea...or
a travel experience you had to an exotic, ocean place.
Basically, "the sky's the limit." If you have an idea and want to run it past
the editor (me), please feel free to do so.
If you have already written an article for a magazine, newspaper or other medium
and you own the rights to offer it to another entity, GREAT. We are not
looking for an exclusive here, just great content about the ocean which we can
share with others.
IMAGES
Perhaps you are an amateur underwater videographer or photographer and you would
like to share your beautiful work with thousands of other 'ocean people.' Or
maybe you are making your living by your photography and could use more exposure.
We would love to see your stuff!
Pictures are even more valuable to us if they accompany an editorial piece which
you or a partner has written.
"How will my work be used?"
With the highest level of integrity and appreciation.
Unless we negotiate with you use for other rights other than the web site, anything
you offer to ocean.com will be used exclusively on the pages of our web
site. We may, at a later date, get back in touch with you to discuss using your
work in a DVD, CD ROM, or video about the ocean which we would sell on the web
site. Of course, you would receive payment for this use. But for now, all we
are interested in is the right to use your content on the web site.
"Will I get paid for this?"
Currently, the simple answer to this
question is "No."
But there is budget to pay for extraordinary content (especially video).
Not the norm, but not out of the question either.
And there are several benefits we can offer beyond cash, which may or may not
be of interest to you:
a. Exposure to a global market of your skills as a writer, photographer,
or videographer.
b. Traffic to your own web site. We will credit all work and be happy to place
a link to your web site.
c. Establish a good working relationship with ocean.com in anticipation
of future, paid assignments.
d. Helping a worthwhile project and building global appreciation of the
sea.
"What is ocean.com all about, anyway?"
In short, ocean.com is the
web's 'portal to the sea' where you can find just about anything that interests
you about the ocean. The Ocean Channel, Inc. is the name of the corporation
behind ocean.com and is based in Santa Barbara, California. Howard and
Michele Hall, Dr. Sylvia Earle, and Mike DeGruy are just a few of the more recognizable
names acting on our Board of Directors/Advisors.
The Ocean Channel also happens to be the name of the broadband area of the web
site where members can watch a variety of documentaries, films, and conservation
messages about the sea. Other areas on the site include: OceanNews; OceanTravel;
OceanStore; MarineConservation; and more.
Currently, 25,000 unique users come to the site each month (mostly teenagers,
aged 13 to 19) and we haven't even officially launched (July 4th, this summer)!
Our analysts predict that we will see a ten fold increase of traffic to the
site in the first 6 months. There will be several email newsletters available
for sign up, led by the current one "State of the Sea" which details current
events in the ocean realm. Others to follow are: Ocean Travel Network and OceanTV
This Week.
For more info about us, visit the
web site: www.ocean.com
"How does ocean.com make
money?"
Good question! There are three current revenue models we are pursuing:
a. Advertising and sponsorship
b. Subscription to premium areas of the site
c. Affiliate marketing of ocean products and services
"How do I submit content?"
Now that's easy! Just send an email
to me (michael@ocean.com) and tell me about you idea. Please do
not snail-mail any material without first contacting me. We will not be responsible
for items lost in the mail.
I will do my best to respond in a timely manner to everyone who contacts me,
but know that things are quite busy around the office.
Whether you submit content to us or merely visit the site as an active member
of the ocean community, I offer my deepest thanks for your support. There is
little more in this life which means more to me than a healthy ocean and it
is the mission of The Ocean Channel, Inc. to expose the world to the beauty
of the sea. Join us in our efforts.
_______________________________________
ocean.com think
deep.
4.
Mini DV
It seems many of
you have very positive experiences of using miniDV cameras in gathering wildlife
footage. Here are some of your comments:
"I found that working
in miniDV very satisfying, although the folks from other parts of the digital
format industries think of it as "Prosumer" equipment. The Cannon XL1 is wonderful
as far as sound is concerned and the EOS system that Cannon has gives that camera
more flexibility and lenses to work with. You edit it with Final Cut Pro and
if you compose the rest on a Beta System you can have a print made in 35. Stuff
I shot for the Democratic National Convention looked pretty darned good. Head
shots and close-ups were clean and long shots were sharp. I know of people who
shot stuff in Pal and went to Europe to have a full 35 print made directly out
of the camera. Though now there are houses that offer full screen projections
of digital video with no loss of quality."
"I used a Canon Optura in Namibia and the footage was broadcast
as a b roll on NBC-TV and The Oxygen Network, just 60 seconds or so to show
what's it's like to be on safari. The quality was exceptional. The only problem
I've encountered is the little built in mike is not strong enough to pick up
sound well, and for still work the pixels need to be stronger for brochure reproduction
of a certain size. You can see some samples of this clip plus a screensaver
on my video and photography pages. "
From Dagmar Hilfert-Rueppell &
Georg Rueppell of Rueppell-Film rueppell-film@t-online.de
"We used the Canon
XL 1 for nearly 40% of a TV-Production - "Duck's eye view", narrated by
Malcom Penny. (50min). It shows the world of the water's surface through
the eyes of the growing ducklings (for the ZDF (Second German Chanel).
Most of this was
macro-photographing with the Leitz Macro-Elmar 1:4/100mm an the Canon 1:4/ 200mm.
The quality couldn't have been better. In sunshine we had f:8 - f:22, depending
on the magnification. With normal film we could have used only f:2 to f:5,6!
The post-production on DIGI Beta was costly but satisfying. Only scales from
let say a duck's size upward to landscapes are not comparable with film or Betacam."
5.
Fieldnotes Update
From Jim
Karnik - Productions / Fieldnotes Nature Documentaries
NEW STREAMING MEDIA PARTNERSHIP
The Fieldnotes-North America series and other segments on environment and habitats
will now be viewable on the internet through AdventureTV.com. This is a great
site for adventure and eco-travel information. The segment on Grand Teton National
Park is up and running, with the segment on Torrey Pines State Reserve soon
to follow. Check in from time to time to see the latest. A number of videos
on southern California habitats are still viewable on Imag.com. Streaming video
works best with a high speed connection.
------------------------------------------------------
SCWRP VIDEO GOES TO WASHINGTON
"California Wetlands- Investments in Our Economic Future" was completed just
in time to present to Congress members and staff and then to agency heads and
staff in mid May. Its message is on the economic benefits of wetlands from tourism
and education to fisheries and water quality. The short 6 minute video was well
received and since the SCWRP's public discourse is largely framed on economics,
it was very helpful. It will be used by The Southern California Wetlands Recovery
Project in their presentations.
-----------------------------------------------
BATIQUITOS LAGOON ART & FILM FESTIVAL
The Batiquitos Lagoon Foundation is hosting an Art, Photography, Film and Trail
Festival to celebrate the beauty and importance of our coastal wetlands. The
Batiquitos Lagoon Art & Film Festival is a two day event scheduled to take
place September 22 & 23, 2001.
CALL FOR ENTRIES . . .
This year the festival will include an amateur and student nature photography
and video contest. Student and amateur photographers and videographers of all
ages are encouraged to enter their work. Cash awards will be given to "Best
Of Show" winners and all runner-up winners will receive framed certificates.
"Best Of Show" winners will be displayed during the art festival on Saturday,
September 22 which will be held at the Carlsbad City Library. Entry deadline
is August 30, 2001. Visit http://www.fieldnotes.com or the Batiquitos
Lagoon foundation website http://www.batiquitosfoundation.org
for more information and entry forms.
----------------------------------------------
WE'RE LOOKING FOR A FEW GOOD WETLAND FILMS
We're searching for several professionally produced films on coastal wetlands
to show at The Batiquitos Lagoon Art & Film Festival in September. Please
contact me If you know of any inspirational and informational films that are
available to present at this community event. Ideally they should be under 30
minutes in length and have been produced within the last five years.
-------------------------------------------------
FIELDNOTES -NORTH AMERICA
With a new streaming media distribution partner this special series on Watchable
Wildlife Viewing Areas has been reworked to provide more funding options so
that individual reserves can have their own segments created and distributed.
Including a FREE Fieldnotes-North America segment with the production of a presentation,
fundraising or documentary video with a running time of 13 minutes or more.
This is a great opportunity for conservancies, land trusts and resource agencies
to promote the importance of wildlife and habitat preservation. Please call
for details and to request a proposal package.
------------------------------------------------
WILDERNESS THEATERS
My research continues on the latest high definition video presentation projectors
and displays. Projectors seem to provide the best overall value. For small spaces
the Sony VPL-VW10HT LCD projector gives excellent picture quality. It is designed
for small theater applications and has 16:9 LCDs for optimized widescreen format.
This was one of the first projectors I tested in the 6K price range and still
seems to be very popular. Recently however the quality has increased and the
prices have dropped significantly on flat screen high definition plazma monitors.
There are several 42 & 50 inch 16:9 widescreen units now available. These
flat (3-4") plazma monitors are not only ideal for small theaters but can easily
be incorporated into exhibits. High resolution videos and graphics can then
be created to compliment the exhibit.
--------------------------------------------------
Jim Karnik
Phone: 760-436-2308
E-Mail: jim@fieldnotes.com
Website: http://www.fieldnotes.com
6.
NHNZ footage library now Southern Hemisphere’s
largest
Recent representation
and agency agreements have made Natural History New Zealand’s library,
already one of the world’s largest wildlife libraries, the biggest specialist
footage library in the southern hemisphere.
And with NHNZ’s
programme-making activities rapidly diversifying into the genres of adventure,
health and science, the company’s library is fast being augmented with
footage from other areas as well.
"Only a year ago
we were handling 2,000 hours of footage," says Library Manager Rosi Crane.
"We now have double that amount, and it continues to grow in both size and
in variety."
NHNZ recently took
over the management of 20 hours of scenic imagery of New Zealand’s South
Island, featuring a stunning array of landscapes. Crane believes these clean,
green images of New Zealand will complement the company’s existing selection
of sporting and adventure images, many of which originated in NHNZ’s
series Adventure Central.
The agency business
is also growing, with the library taking on Australasian distribution for
Greg Hensley’s footage.
"Hensley has selected
nine hours of his ‘best-of’ North American scenic and animal images,"
explains Crane, "originated mostly on 35mm film and specialising in time-lapse
images."
NHNZ has also
just become the Australasian agent for Hardy Jones/Julia Whitty Productions
stock footage. Their seven-hour ‘best-of’ selection features dolphins,
killer whales, sea otters and other marine wildlife, and Crane believes this
will enhance NHNZ’s already extensive sea life collection.
"The addition of
their collection means our library has on film almost every common dolphin
and whales species in the world, included many of the rarest."
NHNZ library already
stocks an assorted collection of footage from throughout the world, including
Doug Bertran’s North American geese, Roger Whittaker Films’
birds of prey and Wildlife Associates’ zebras and bowhead whales.
The library also has a reciprocal agreement with Sweden-based film production
company Scandinature.
"People often think
our library is limited to penguins and polar bears," says Crane, "but we have
so much more than that. NHNZ’s collection includes elusive creatures
such as the Himalayan snow leopard, as well as more familiar tigers, rhinos,
monkeys and elephants. And as well as supplying straightforward natural history
to other documentary makers we also satisfy more commercial or quirky requests,
like animals that appear to be talking to each other, or animals that look
like they are dancing."
With the footage
all on database, Crane and her team are able to answer most requests within
24 hours, while the library also has a London-based representative, Carol
O’Callaghan.
"Our database tracks
footage according to location, action and other broad categories, such as
the environment the creature is in. Each record has a full description, time
code and tape number so we can retrieve quickly."
However, finding
the right image efficiently also depends on knowledge and experience, according
to Crane, who spent 15 years with the BBC Natural History Unit Library before
joining NHNZ in 1991.
"You have to know
what is currently being produced around the world and you have to listen to
your clients. That way, if you don't have the exact footage a client needs,
you can offer alternatives from your holdings, or, if you really can’t
help them, provide information as to where they can find it. They remember
you for that, and then they’ll come back, because they've enjoyed that
contact with you, and the next time you can supply them with what they need."
In terms of growth
and size, Crane says that the NHNZ footage library is aiming to find a happy
medium.
"We aim to get
bigger but not too big. If you’re too big you can’t have a thorough
knowledge of what’s in the Library and that’s a vital part of
our service. We want to continue providing friendly, efficient and knowledgeable
service. It’s important to us that we respond to a request as soon as
it lands on our desk."
7. Hope & Dreams Film Festival
CALL FOR ENTRIES! Seeking features,
shorts, docs, and animation for fourth annual competitive film festival.
2001 HOPE & DREAMS FILM FESTIVAL
OCTOBER 5-7
Hope, New Jersey, USA
The Hope and Dreams Film Festival
is a program of Hope and Dreams Art Center, Inc., a NJ not-for-profit corporation
created to stimulate, advance and harmonize the arts with the natural environment.
Their mission is to educate the community through a combination of filmmaking,
traditional fine arts, and cultural activities
http://www.hopeanddreams.com
for more information.
8. The
Future of the Large Format Film Industry
by
Chris Palmer
National Wildlife Federation
"My
goal is to convince you of two propositions:
First,
that the prospects for our industry are diminished by the production of
large format (LF) films with little educational content.
And
second, that the prospects for our industry are reduced by the production
of LF films which are not family friendly.
In
my view, the future growth of our industry hangs to a large degree on these
two propositions. Issues such as technology, economic models, or screen
size are details compared to the larger matter of what our vision is for
the future of LF films.
Let
me talk about each of these two propositions. First, the question
of educational content. While we need to broaden our interpretation of the
word "educational", LF films which focus exclusively on entertainment will
damage the IMAX brand. An essential element of the IMAX experience
is that it is both fun and educational. When we don't deliver on that
promise, we put at risk our hard earned distinctive identity and the loyalty
of our core LF audience.
The
IMAX experience is closely tied in the public's mind to films that teach.
This differentiation has distinguished the LF film for audiences as a viewing
experience that is unique. To the extent that we produce LF films
that are singularly focused on entertainment, we dilute the IMAX brand.
We diminish our unique identity. We blur our distinctiveness in the
marketplace.
Last
year, the IMAX Corporation conducted extensive research on its brand.
It discovered that consumers in commercial settings sought out LF films
because they believed they would get "entertainment with an element of education
and learning". Films are now being produced that do not satisfy this
expectation. Customers want a fun learning experience. If we
do not deliver what the public anticipates, we risk alienating the core
LF audience that each theater has built screening after screening since
the advent of IMAX more than thirty years ago.
LF
films enjoy a well-deserved reputation for providing high-caliber educational
and family entertainment. It is easier to destroy that reputation
than to regain it. Imagine that Tiffany's decided to sell products
through Target. Even if sales increased temporarily, in the process
Tiffany's would destroy their unique upscale branding and risk their future
success.
There
has been much discussion in recent years over the distinction between educational
and entertaining films. This has not been an entirely fruitful discussion
because this distinction does not lead to useful actions. A more useful
distinction is between entertaining films which teach you something and
entertaining films which do not.
I
admit that not all educational LF films are as engaging and entertaining
as they should be. But they can do extremely well at the box office.
Whales and Dolphins, two LF films in which NWF has been involved, have been
hugely successful.
It
is not a simple matter to say what constitutes education in a LF film.
Education is not easily defined; indeed, it should be interpreted broadly.
Films made for institutional LF theaters should experiment more extensively
with narrative storytelling. Using a dramatic, emotional story is
a powerful way to teach. Certainly stories can deliver lifelong learning
experiences as effectively as traditional documentaries, and perhaps more
so. We should broaden the different types of LF films available to
theaters so theaters don't have to, as Andy once put it, play variations
of the same film over and over.
So
we need to develop a broader perspective of what constitutes learning. Education
does not only come from documentaries. Andy might be right when he
claims that a story of a daughter who gains the attention of an inattentive
father might conceivably provide a better educational experience than a
documentary that delivers ten memorable facts. That would be tough
to prove but it is possible. Michael Jordan to the Max is educational
because it teaches viewers about the benefits of determination, tenacity
and persistence.
Having
said all that, films are now being produced that clearly have meager educational
content. Does this matter? I believe that it does. To
begin with, such films will inevitably be judged by the standards applied
to conventional commercial films. That's a competition LF films can
never win. There is no way LF films budgeted in the five to ten million
dollar range with pocket change for marketing can successfully compete against
a $75 million theatrical release with a marketing budget of $20 million.
Building
lifelong learning into LF films is a key way for our industry to remain
distinctively different from conventional cinema. The essence of what
makes the LF industry unique is that learning and entertainment are seamlessly
combined into an experience-driven film presentation. Greg MacGillivray
understands this well. The audience does not simply learn about exotic
wildlife and habitats, but rather is transported there through the magic
of the medium. The viewers become involved participants. The
format, the technology, the hardware, the type of theater, or the screen
size don't matter a rat's rootie patootie to the customer. 2D or 3D
isn't fundamentally important either. The driving force is what the
customer experiences. The hardware is simply the means of delivering
the experience. State of mind is king. The audience has expectations
of an uplifting, immersive and thrilling experience, and the educational
content provides the experience with meaning, purpose, and
long-lasting effect.
Education
and entertainment don't have to be in opposition. If fact, they can
reinforce each other. When viewers are deeply engaged in the LF experience,
they are being entertained, but in a much more profound and substantial
sense than simply being scared or grossed out.
Yes,
we need diversity of films, but every component of that diversity must deliver
an entertaining and learning experience. Otherwise, we are simply
hawking enlarged 35 mm films on steroids, and the typical LF theater
will simply become just a larger version of your Main Street cinema.
Let
me now address my second proposition. The future of practitioners
in this industry, is reduced by the production of LF films that are not
family friendly. By this, I mean films that most parents would feel
uncomfortable for their children to see because of bad language, sexual
innuendo, or violence.
If
a customer leaves the theater feeling that the experience is unwholesome
or toxic in some way, then we have produced a customer who is unlikely to
return.
We
must meet audience expectations for an experience that fulfills their perceptions
regarding LF films. If we disappoint our customers, we risk alienating
our core audience and harming the long-term prospects for our business.
Ben
Stassen has said that no subject should be taboo in LF films, including
horror, sex and violence. He says that all topics should be welcome
and let the audience be the judge. I disagree. By the time we
let the audience judge, the damage will be done. Films on horror,
sex and violence will damage the unique identity of this industry.
Families will no longer see LF films as a family friendly safe haven.
Our unique differentiation in the marketplace will have been destroyed,
and our market edge blunted.
Of
course, it is possible to imagine two separate markets, commercial and institutional,
which operate independently. But realistically, institutional theaters
will be tempted for financial reasons to exhibit (if only in the evenings)
non-mission related commercial LF films, some of which may include violence
and sexual innuendo. Inevitably the public, and especially the core
LF audience, will eventually conclude that the IMAX brand doesn't signify
anything but a big screen. Consequently the identity of LF films will
be diluted and diminished. I believe the process may have already
begun.
If
the LF industry is seen simply as an appendage of the conventional 35 mm
film industry and lacking its own separate identity, then we have failed
to capitalize on what we can do that traditional cinema cannot. Growth
will elude us. We need to play to our strength, which is our ability
to produce an immersive, engaging, and learning experience. Such experiences
seem to be declining all around us, giving us the chance to stand tall,
tower above the competition, and enlarge the LF market.
Let
me comment on two pernicious developments in our industry that relate to
these issues:
1.
Our future success is threatened by 35 mm "Hollywood" films being played
in IMAX theaters, leading the general public to believe that they are seeing
an IMAX presentation. These screenings have been going on for a long
time, but last year's coordinated marketing of Gladiator is the most damaging
example to date. I understand that The Mummy Returns is now on some
IMAX screens here in Southern California.
2.
Re-purposing 35 mm Hollywood films under the IMAX brand for IMAX theaters
is completely possible and perhaps the most dangerous threat to the success
of our LF industry in the future. If studios repurpose numerous films
for IMAX and other LF theaters, the IMAX brand (and indeed the public's
expectations regarding the LF experience) could be placed on the endangered
species list -- giving the National Wildlife Federation's involvement in
the format new meaning -- by dramatically increasing the higher profile
Hollywood content available in this medium. Even if that content is
"family friendly" at first (as with Beauty and the Beast), it is clearly
a slippery slope from there.
In
order to flourish in the future, we must use the LF technology to produce
films that can't be seen on television or at the local conventional cinema.
Image size alone won't drive revenue. Nor is educational content alone
enough, but it has to be there along with the immersive experience.
The
future of the LF film industry will be bright and full of growth if we produce
films that are wholesome, experience-driven presentations with sound educational
content. That doesn't mean we are (to quote Andy) provincial and wedded
to the status quo. Innovation is all the more challenging when you
work in an area which has already been richly explored. Any Tom, Dick
or Harriet can produce LF films that shock with violence and sex.
It takes a real pioneer to think outside the box, to find new innovative
and creative ideas in the domain of family friendly films.
LF
commercial films have not demonstrated that they are financially viable.
The economics don't support them (unless we are talking about repurposing
older properties like Beauty and the Beast), and the IMAX brand may continue
to be diminished by them. As an industry, we need to consider the
damage that can be done to the IMAX brand and LF experience by placing LF
screens in commercial settings. As the line blurs as a result of putting
the two types of theaters side-by-side and offering more commercial fare,
audiences may come to distrust and abandon the LF experience.
If they do, we can repeat the words of the inimitable Jimmy Durante:
We're finished, turn off the
light, shut the door.
Goodnight Mrs. Kalabash,
wherever you are."
(LFCA
PANEL PRESENTATION May 17, 2001)
9.
Sharks: The Silent Killers
OCTAPIXX WORLDWIDE
has announced that their new release from Ricochet Film Production based
in Toronto, Canada entitled, SHARKS: THE SILENT KILLERS, has recently
won the 1st place, "Platinum Award" at the Houston International Film Festival.
SHARKS: THE SILENT KILLERS is an exciting one hour documentary that
features 18 computer animation sequences by Magnetic North to enchance the
16 mm production. Ricochet Film Production is associated with Maxima
Film Corporation that has produced several spectacular underwater series
over the past several years and are broadcast around the world.
10.
The Crocodileman
That's
it! Send me YOUR news for the next issue and for the site.
This newsletter goes out to thousands of people in the
wildlife film-making industry world-wide.
Piers
Warren
Editor/Producer
Wildlife Film News 