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Jane Goodall, Iconic Chimpanzee Expert Who Was Subject of Dozens of Films, Dies at 91
Jane Goodall, the world’s foremost expert on chimpanzees whose work was captured in more than 40 documentaries, died Wednesday in California. She was 91.
The Jane Goodall institute issued a statement, saying, “The Jane Goodall Institute has learned this morning, Wednesday, October 1, 2025, that Dr. Jane Goodall DBE, UN Messenger of Peace and Founder of the Jane Goodall Institute has passed away due to natural causes. She was in California as part of her speaking tour in the United States.¨
Her work was covered in detail in the 2017 documentary “Jane,” assembled from 140 hours of footage that had been hidden in National Geographic’s archives. It won two Primetime Emmys and several other awards.
She was the subject of more than 40 documentaries from National Geographic, Animal Planet, Disneynature and more. Most recently, the 2023 Imax film “Jane Goodall: Reasons for Hope” explored her habitat restoration projects.
Goodall was a protegé of the noted anthropologize Louis S.B Leakey. Her 1960 discovery that chimpanzees were able to make and use tools revolutionized the field of primatology.
Born in Hampstead, London, she traveled to Kenya in 1957 and soon began working with Leakey. She became known for naming the chimps she worked with, rather than giving them numbers, and became the only human accepted into chimpanzee society.
She founded the Jane Goodall Institute in 1977 to support research on great apes, and also established Roots and Shoots, a youth program, and TACARE, which focused on sustainable development in African villages.
We are saddened to announce the death of Dr. Jane Goodall, DBE, who passed away at the age of 91 this morning.
Jane Goodall, a UN Messenger of Peace and founder of the @janegoodallinst, became a household name through the breathtaking wildlife documentaries that captured her groundbreaking work with chimpanzees in Tanzania. Her intimate filmed portraits of the Gombe chimps, particularly the footage shot by her former husband Hugo van Lawick, revealed their complex social behaviours and helped generations feel an intrinsic connection to the natural world.
She was very well known and much loved within our community, and will be missed immensely by us all. RIP Jane.
Manchán Magan, Irish writer and documentarian, dies age 55
Manchán Magan: "I often think of Ireland not as a country, but as a kind of spell"
We´re very sad to learn of the passing of the brilliant writer, broadcaster, and documentary maker Manchán Magan, who died yesterday, October 2 2025, at the age of 55.
A passionate and tireless advocate for the Irish language, culture, and natural landscape, Magan leaves behind a remarkable legacy of work that illuminated the deep connections between Ireland's heritage and the natural world.
Through his numerous books, TV series, and radio programmes, Magan helped audiences reconnect with the folklore and inherent wisdom of the Irish landscape.
A gifted storyteller, he made dozens of documentaries for TG4, RTÉ, and the Travel Channel, exploring issues of world culture and ecology.
His wildlife and nature filmmaking was a cornerstone of his work, reflecting his deep love and understanding of Ireland's environment. Notable documentary series included ¨Crainn na hÉireann¨, a 10-part series on the trees of Ireland, and ¨An Fód Deireannach¨, which focused on Irish bogs and peatland.
His recent two-part documentary, ¨Listen to the Land Speak¨, explored how ancient myths and stories of the land could help people rebuild their relationship with nature.
In his books, including ¨Thirty-Two Words for Field¨ and ¨Listen to the Land Speak¨, Magan explored how the Irish language held a profound, ecological knowledge of the country's flora and fauna.
A long-time resident of a grass-roofed house in an oak wood in County Westmeath, Magan lived close to the nature that was his constant inspiration.
Magan's gentle spirit and profound insights into Ireland's heritage, folklore, and environment have inspired countless people and will be deeply missed.
He is survived by his wife Aisling, his mother Cróine, and his three siblings.
DCEFF is now accepting submissions for their 34th Annual Environmental Film Festival.
They’re looking to bring the best films exploring the natural world and issues like climate, conservation, & sustainability to their audiences in DC - March 19-28, 2026.
Since 1993, the Environmental Film Festival in the Nation’s Capital (DCEFF) has been the world’s premier showcase of environmental storytelling. Our mission is to harness the power of film and community to illuminate, celebrate, and inspire positive and lasting action for our planet.
Our screenings are held at amazing venues across the DC Metro Area, including museums, embassies, universities, and other leading arts, cultural, and scientific institutions.
Voted DC’s Best Film Festival by the readers of Washington City Paper the last 7 years in a row!
The Pridelands Wildlife Film Festival (PWFF) officially opened their call for entries on the 21st of July. Deadline: October the 5th
Are you telling bold, raw, beautiful stories about wildlife, nature, or the people who live alongside it? Whether you're a seasoned filmmaker or just getting started — we’ve built a space for your voice.
With brand new categories like Best Innovative Wildlife Storytelling and Digital Indie Voices, alongside festival staples like Best Short, Feature, Emerging, and African Film — there’s a place here for every kind of conservation storyteller.
PWFF is more than just a festival, it’s a movement. A platform for reclaiming narratives, dismantling colonial frameworks, and building a future where African and BIPOC storytellers lead the global conservation dialogue.
REEL WILD™ New York Film Festival is New York City’s premier conservation film festival dedicated to showcasing stories on wildlife and wild places.
The festival’s mission is to amplify the work of filmmakers and experts in the field who are at the forefront of conservation’s most pressing issues, with the understanding that film as a medium has the power to inspire audiences in a way that impels to action. The Wildlife Conservation Society (“WCS”), founded in 1895, operates the festival, and the festival’s creative vision aligns itself with WCS’s history of protecting wildlife and wild places.
The inaugural festival took place April 3-5, 2025 at AMC Lincoln Square 13 and the Lotte Palace New York. Over three days, the festival brought together filmmakers from around the world (from South Africa to Missoula; St. Louis to Siberia) and tri-state audiences for film screenings, panel discussions, Q&A sessions, a Disneynature film premier, post-screening receptions, and a Family Day, sponsored by Mutual of Omaha’s Wild Kingdom.
For its second year, REEL WILD is pivoting to a juried festival structure. Every eligible submission will be considered for inclusion in the festival and, if selected for inclusion, evaluated by the jury for the opportunity to win a REEL WILD award, as determined by the jury (see below). The festival accepts documentary and narrative films as they pertain to wildlife and wild places, particularly in connection with pertinent issues surrounding conservation, climate change, and affected communities.
Join us in April 16-19, 2026 for the second annual REEL WILD New York Film Festival! In the meantime, stay tuned on Instagram @reelwildfilmfestival for year-round programming and special screening events.
Awards & Prizes
Every eligible submission will be considered for inclusion in the festival and, if selected for inclusion, evaluated by the jury for the opportunity to win one of the following REEL WILD™ awards*:
Feature Length:
-
Conservation
Wildlife
Exploration
Cinematography
People & Nature
Short
:
Student
Emerging Filmmaker
*The awards listed above are subject to change in advance of the 2026 festival.
¨I met Richard in the mid 1970s when he gave me my first job filming for the Natural History Unit. I had been working on a project of my own — a film about British reptiles and amphibians. He had seen some of the footage, and based on this alone, asked me to film the British species that had been selected to appear in ‘Life on Earth’s Amphibians programme. He was taking a chance because what I was going to film was seasonal and if I didn’t succeed, the opportunity might not come again, but Richard was inclined to give people opportunities if he thought they were worth a shot. The way Richard dealt with people inspired confidence.
He congratulated me when I filmed a common toad rising in defence at the approach of a grass snake. ‘All we had to do’ he said, ‘was cut out a few bits and use the footage as it is'. His positivity was encouraging, and this was usually the way Richard dealt with you when you got things right. When you got things wrong, he’d tell you a story about another event entirely unrelated, which gave indirect advice as to how things should be done the next time around. One of his abilities was to get the best out of people by encouragement. He was very kind, and I probably learnt more from him about natural history film-making than anybody else I worked with.
I did quite a lot of filming on ‘Attenborough’s next series ‘The Living Planet’ for which Richard was executive producer. This was an important step forward in wildlife documentary film-making. ‘Life on Earth’ had been a great success and was visually stunning, but essentially it was a list of species with each programme unrelated in style to the others. ’The Living Planet’ was very much different — the first in a long line of series that looked at animals in relation to one another within ecosystems; and from one programme to another the style remained consistent throughout, and there is no doubt that Richard deserved a great deal of credit for the way the programmes were put together.
I started out by filming insects in my father’s garage and Richard made a big deal of it. I on the other hand thought it a somewhat inglorious start, but to him it was only the results that mattered. I got the feeling he was special because most natural history producers could either tell a story, or were good at the science, but Richard was extremely good at both. Alan Root said that he was wonderful at constructing a story; this soon after his groundbreaking 1978 film ‘Mysterious Castles of Clay’. Alan had a very high regard for Richard which reinforced my view that I was working with somebody quite special.
When I went up to Bristol for the introductory meeting of the team for ‘The Living Planet’, I was delayed by sheep on the road and by the time I arrived, the only seat available in a room full of people was next to David Attenborough. I remember David looking at me, and could tell what he was thinking, ‘I ought to know who you are, but I don’t’. Richard thought this very amusing and whenever I went up to the Unit, he would say, even when I wasn’t late, ‘What’s the excuse this time, sheep on the road, or was it cattle?’ He had a great sense of humour which made him really good company.
On ‘Life on Earth’, he had noticed that frogs are expressionless with no indication that they are going to do something before they do it. This Richard decided was ‘Frog’s Law’ and whenever you did something with a sudden and unpredictable outcome, Richard would say, ‘Frog’s Law!’
He had a degree in zoology and botany from Cambridge University but never once mentioned it. I had a science background in zoology and had worked a lot with social insects and Richard appreciated that I understood the visual and chemical signals that drove whatever I was filming, in particular insects communicating. So when Richard gave me a job it often came with a swathe of scientific papers attached. He would frequently give me things that others didn’t want to do, and I’d get them done because my background was compatible with the problems involved. He was really good at reading what a camera person’s strong points were and then making the best use of them. I’d do standard trips abroad for him and he’d brief me really well; and in between he’d ring up if he had an interesting animal he wanted filmed, and then bring it to me. An unusual stick insect perhaps, or a reptile somebody had given him — one day he showed up with a rescued lizard that hadn’t been filmed before. I wasn’t sure it had even been given a scientific name, but Richard nicknamed him Somali Sam, and pretty soon the back room of my house turned into a small zoo of unusual creatures.
As Richard was becoming increasingly disenchanted with our destruction of the natural world, I sympathized with his view. In the mid 1980s I’d flown over a Malaysian rainforest, and a year later flew over again, and the forest was gone. I remember sitting outside of a mountain rainforest national park in Costa Rica and every 20 minutes a lorry came out carrying cut trunks of mature hardwood. I was told that park officials turned a blind eye to this for just a few dollars. I’d barely been doing the job for 10 years, and Richard could add another 20 to that; he was constantly on the move, witnessing similar events on an all too regular basis, and this began to get him down. The only time I saw him get angry was over environmental issues.
Most disturbingly, it was difficult to get viewers to watch natural history films that contained any bad news at all — the destruction of natural habitats, or problems caused by climate change. Richard was in a system that wouldn’t allow him to make environmentally based films that didn’t have happy endings, and I remember him asking me to go off and film a variety of subjects: one day it was something involving mahogany trees, another day it was wolves. He used the material in short demos that he hoped would eventually raise enough interest to make full length films and some of them were made, but It was an uphill struggle. Richard was determined to make films that informed his audience of how things really were and in this respect was rather like Peter Scott and Gerald Durrell, men ahead of their time. With Scott and Durrell it was the captive breeding of threatened species for reintroduction back into the wild; with Richard it was about the survival of ecosystems that were rapidly being destroyed by humans.
One day what I was filming attracted the wrong sort of attention, and I changed the film in my camera and hid the can in my vehicle as it seemed likely the sensitive material was about to be grabbed. Richard’s subject matter was, in every sense of the word, getting more serious.
The BBC thought it necessary to make programmes for uncritical audiences that would produce high ratings, whereas Richard wanted to make films that were more honest and consequential. He was very clear on his intentions when he went off to make his own films and I thought this an impressive change of approach. Sadly, the natural world is still disappearing at an alarming rate, and telling people that we need to be positive about the few successes that have been made, rather than dwell on the worldwide decline in biodiversity, is both counterproductive and dishonest. I know about the dishonesty because I've stood filming a tropical environment, while a stinking dump is being picked over by scavengers behind me. Richard was aware that at some stage we would have to turn and face up to reality; essentially he refused to give up on the truth.
His unsentimental, honest approach to the state of the natural world was both brave and admirable, and certainly the Planet could benefit from a few more like him.¨
– Stephen Bolwell, ‘Take a Picture. Save the Planet’.
Richard´s tribute page continues to grow ... If you would like to add some of your own words (and photos?), please email me on: jason@wildlife-media.co.uk
¨The following film was made by fellow ex-BBC film-maker and local friend Pete Brownlee, who said ¨Richard Brock was a pioneering natural history producer¨, getting it´s premiere at the Chew Valley Nature Photography Festival, in St Andrew’s Church, Chew Magna, on the 12th of September 2025:
Pablo Behrens is a London-based film director and producer.
His latest film ¨London´s Last Wilderness¨ is about the ecology of a fantastic region close to London.
London’s Last Wilderness is the visual experience of an explorer landing on an undiscovered planet.
Every shot in the film was captured using truthful documentary techniques—no retakes, no setups. What you see happened once, and only once.
Like the first Europeans in the Amazon or astronauts orbiting the moon, there was no time for rehearsals or scripted reflections. The camera moved with the explorer—fast, focused, in the moment.
A mere 30 miles crow's flight from Piccadilly Circus lies a place London largely ignores: the Greater Thames Estuary. It's an ecological and cosmological force hiding in plain sight.
One of its secrets is scale. The estuary rivals London in size. To truly cover it, you need years — exploring north and south banks. From land, sea and sky.
Beyond the coast lies a maze of creeks and shifting islands, shaped by rivers and tides that change everything, twice a day. Half the terrain vanishes and reappears with the North Sea. No two days are the same. No tide repeats.
To be honest with this place, you have to film it all. Across four seasons, in all weather, under every tidal condition. Nothing could be skipped. Nothing faked.
The film has no presenters. This is not exactly a human story.
Lazarus Training – First aid, medical & safety training based in Essex & London.
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First Aid on Remote Locations is designed for production teams working away from the office or studio. Whether filming or recording, this course is aimed at groups who will experience a delay in accessing medical care for a colleague injured or taken ill.
Specialist Medical Training for Media Production Teams
When Your Crew is Hours from Help, Preparation is Everything
Filming overseas?
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When you’re out of range of immediate medical support, knowing how to respond in the first minutes after an injury can save lives — and save your production.
Lazarus Training’s First Aid in Remote Locations course is explicitly designed for media production companies operating in areas with limited access to hospitals or rescue services.
This isn’t generic first aid — it’s tailored by professionals, for professionals who face real risk in remote environments.
We are thrilled to announce that following the recent endorsement of our First Aid in Remote Locations (FARL) course by the Faculty of Pre-Hospital Care at the Royal College of Surgeons of Edinburgh, demand has been higher than ever.
Our last course, FARL 67 (16th–18th September 2025, Blagdon), reached capacity faster than expected—and thanks to your enthusiasm, we are now scheduling additional dates for later this year and into 2026.
This is fantastic news for anyone who missed out on securing a place in September.
New First Aid in Remote Locations Training Dates from 6-8th of October 2025 in Bristol!
As a reminder, FARL is designed for those working in challenging and remote environments—particularly media professionals, natural history crews, and documentary filmmakers. With refreshed scenarios, updated content on managing illness and injury, and the option to add a fourth day covering evacuation planning, travel health, and crisis response, it continues to be one of our most comprehensive training programmes.
So if you're looking to complete our FARL or FAOL training course we’d love to hear from you......0800 242 5210 or email info@lazarustraining.co.uk ... Be sure to mention that you saw the 20% off offer here! Visit to scan: instagram.com/p/DPOoLpMjCJg
As a full member of the site, you get a listing in all appropriate sections, a profile page, access to our members' private Facebook Group and priority on your news across the site, this newsletter and our social media accounts.
Membership fees help to keep the site going too ... Your support is much needed and appreciated!
Too Wild: Crafting Compelling Wildlife Narratives from the Heart of South Africa
Too Wild, a dynamic new wildlife filmmaking company based in the Greater Kruger National Park of South Africa, is proud to bring a fresh perspective and deep-rooted passion to the world of natural history storytelling.
Specializing in capturing the raw beauty and critical stories of Africa's diverse ecosystems, Too Wild is set to become a leading voice in wildlife documentary production.
At its core, Too Wild is a collective of seasoned wildlife filmmakers, passionate conservationists, and innovative storytellers. Driven by the belief that powerful visual narratives are essential tools for fostering appreciation, understanding, and ultimately, the protection of our planet's wild spaces and the creatures that inhabit them.
What We Do:
Too Wild operates across a spectrum of wildlife filmmaking endeavors, including:
Wildlife Filmmaking Training: Recognizing the importance of nurturing new talent, Too Wild offers intensive, hands-on filmmaking courses. These programs are immersed in the wilderness setting of the Timbavati Private Nature Reserve, equipping aspiring filmmakers with the technical skills, ethical considerations, and storytelling prowess required to succeed in this specialized field. Our flagship "Too Wild Wildlife Filmmaking Course" provides unparalleled practical experience, from operating professional equipment to understanding animal behavior and crafting compelling narratives in post-production for trainee’s portfolios.
Documentary Production: From short-form features to full-length documentaries, we produce captivating films that delve into the lives of iconic species, highlight pressing conservation challenges, and celebrate the intricate balance of nature.
Specialized Filming Services: We offer bespoke filming services for research institutions, conservation organizations, and media outlets seeking high-quality wildlife footage and storytelling expertise. Our team is adept at navigating challenging environments and employing advanced filming techniques to capture unique perspectives.
Conservation Storytelling: Beyond mere observation, Too Wild is committed to amplifying the voices of conservation. We collaborate with experts and communities to tell impactful stories that shed light on critical environmental issues, inspiring action and promoting sustainable practices.
Nurturing Local Talent and Bridging Divides in Wildlife Filmmaking
Beyond producing captivating wildlife documentaries, Too Wild is deeply committed to empowering local communities in South Africa through its impactful community outreach program. Recognizing the disparity in access to wildlife and filmmaking opportunities, Too Wild has established a unique initiative to fully sponsor a student from a local community living on the periphery of the Timbavati Game Reserve to participate in their intensive wildlife filmmaking course.
This program, supported by collaborations with organizations like the Timbavati Foundation and Wild Shots Outreach, aims to nurture local talent and produce the next generation of South African wildlife filmmakers. By providing hands-on training, mentorship from industry professionals, and immersive experiences in the bush, Too Wild is actively working to break down the "metaphorical fence" that often separates local residents from the incredible natural heritage on their doorstep. This commitment to sharing knowledge and creating opportunities ensures that the stories of the wild are not only told but also increasingly told by authentic, local voices.
"Too Wild is more than just a filmmaking company; we are passionate advocates for the natural world," says David Eastaugh, Co-Founder of Too Wild. "South Africa, with its incredible biodiversity, provides an unparalleled backdrop for our work. Our mission is to share these extraordinary stories with the world, fostering a deeper connection to nature and inspiring a global community dedicated to its preservation. Whether through our productions or by training the next generation of filmmakers, we aim to make a tangible difference."
Too Wild combines cutting-edge technology with a profound respect for wildlife and ethical filmmaking practices. Our team's extensive experience in the field ensures that every project is executed with professionalism, integrity, and an unwavering commitment to authenticity.
For more information about Too Wild, our projects, or our wildlife filmmaking courses, please visit www.toowild.co
Contact: Lauren Eastaugh | Co-Founder of Too Wild | lauren@toowild.co | (+27) 66 388 6443
About the Co-Founders
Too Wild is the brainchild of Lauren Eastaugh and David Eastaugh, a dynamic duo whose combined passion and extensive experience have shaped their vision for ethical and impactful storytelling.
Lauren Eastaugh, a highly accomplished zoologist (BSc) and marine biologist (MSc), brings a deep scientific understanding and a captivating on-screen presence to Too Wild. With over 15 years in wildlife conservation, both terrestrial and underwater, she has graced screens globally as a live TV presenter for giants like WildEarth and has been featured on channels such as National Geographic, Nat Geo Wild, SABC, CGTN, and Disney+. Her journey from the coral reefs of the Maldives to the African bush instilled in her a desire to share knowledge and inspire conservation, ultimately leading her to co-found Too Wild to train the next generation.
David Eastaugh is a renowned and innovative wildlife filmmaker, celebrated for his technical prowess and dedication to capturing breathtaking moments in the wild. His impressive career
spans projects for major broadcasters including the BBC, Disney+, National Geographic, and WWF, often working in challenging and remote African locations. David's expertise extends across various camera technologies, including long lens, drone, and gimbal work, and he is passionate about pushing the boundaries of cinematic storytelling in nature. His deep understanding of animal behavior, honed through years of experience, including numerous dangerous game encounters on foot, underpins the authenticity of Too Wild's productions.
Lauren and David's professional and personal partnership blossomed while working together at WildEarth TV in 2018, where their shared love for wildlife and commitment to ethical filmmaking quickly paved the way for Too Wild. Together, they now channel their collective wisdom and experience into crafting compelling wildlife narratives and empowering aspiring filmmakers through immersive courses, fostering a new era of conservation through the lens.
Parenthood, BBC1
“If the script isn’t always the sharpest, it really doesn’t matter when the visuals are this good”
The BBC says: ¨This is Parenthood. Stories of incredible ingenuity, dedication and some extraordinary team work. The future is everything. Watch Parenthood on iPlayer from Aug 3rd.
This new five-part series explores the extraordinary strategies and tricks that animal parents employ to give their young a head start in life. Parenthood is an adventure – and our cameras are there to capture every gripping moment.
The critics say: “Using footage from 58 shoots undertaken in 23 countries, the BBC says this is its first wildlife documentary focusing on parenthood and parenting behaviours rather than on animal young. If the script isn’t always the sharpest – ‘parenthood is a journey like no other,’ Attenborough says at one point – it really doesn’t matter when the visuals are this good.” Neil Armsttong, The i
“The five-part programme, combining the exquisite narration from Sir David Attenborough and sublime visual storytelling we’ve come to expect from this kind of affair, charts the challenges of child-rearing for a broad breadth of species across the animal kingdom.” Helen Coffey, The Independent
“The opening shots set us up for a show that offers BBC1 natural history in a cuter, less spectacular and groundbreaking mode than the channel’s classic shows – but the suspicion that it may not have anything fresh to impart is soon dispelled.” Jack Seale, The Guardian
Wildscreen, the not-for-profit behind the Wildscreen Festival, has revealed the nominees for its 2025 Panda Awards.
Nat Geo racked up nominations across 9 of the 17 award categories, with a full-house in the Series category with A Real Bug’s Life, Series 2 (Plimsoll Productions), Secrets of the Penguins (Talesmith) and OceanXplorers (co-produced by BBC Studios Natural History Unit and OceanX).
Silverback Films picks up the most nominations for a single production company, garnering 7 nominations across 3 titles. Amongst them, Ocean with David Attenborough, the Silverback Films and Open Planet Studios co-production is the most nominated production, with 5 nods spanning Scripted Narrative, Cinematography, Music, Producer/Director and Impact.
Joining the ocean-focused nominees is Netflix’s docuseries, Our Oceans (Wild Space Productions), with 2 nominations, alongside OceanXplorers, Tides of Life and Sea Lions of the Galapagos.
Joint second most nominated, with 3 nods each are Underdogs, A Real Bug’s Life, Series 2 and The Birds. Underdogs, a co-production from Ryan Reynolds’ Maximum Effort and Wildstar Films, celebrates nature’s unsung and unconventional heroes and is narrated by the actor. A Real Bug’s Life (Plimsoll Productions), is an adventure into different micro bug worlds around the globe, narrated by Awkwafina, and is recognised across Cinematography, Children’s and Series. The Birds (Passion Planet and HHMI Tangled Bank Studios in association with Ammonite Films) provides insights into the mechanisms of the natural world and a filmmaker in the twilight of this career.
The Birds is nominated in the new for 2025, Independent category, alongside Trade Secret and The Old Bear. Trade Secret, Directed by Abraham Joffe and Executive Produced by Adam McKay, exposes the sanctioned commercial sale of hundreds of polar bears on the global market each year. The Old Bear, Directed, Written and Produced by Julie Busse & Candice Odgers and featuring Casey Anderson which meditates on the last days of old grizzly bears as a window into exploring human attitudes about aging and death.
Luana Knipfer´s Katavi receives a nomination for the Wildscreen Behaviour Panda Award
Katavi Africa’s Fallen Paradise – Episode 2: Purgatory,
is up for a Panda Award!
A Terra Mater Studios, The WNET Group & Shibumi Films production. In association with PBS and CPB and WDR/ARTE.
Luana´s Role on the Katavi Series – ¨Over several years, I had the privilege of working on the Katavi series during both the dry and rainy seasons, immersed deep in the bush. My work focused on long-lens cinematography from a vehicle, together with my exceptional local crew – Naiti and Kahimba – whose expertise in tracking and reading the landscape was essential.
In addition to ground-based filming operating mostly from the vehicle with the CN20, I operated drones to capture aerial perspectives – from sweeping landscapes to tracking shots flying alongside birds.
Some of the key sequences I filmed include several intense hippo fights, notably the dramatic wedged hippo scene, as well as moments like the hippo mourning behavior and the infanticide. I also captured the rare pelican hunt and a river crossing by lion cubs pursued by crocs – each moment a testament to the unpredictable and raw nature of Katavi.¨
¨I worked alongside the incredible filmmaker who has also been my mentor Owen Prümm. He is the heart and driver behind the ‘Katavi’ Series. To work remotely in the Katavi National Park where for long stretches we would not meet another vehicle for days was absolutely incredible. For substantial time periods I was on my own with my driver in the field. To fully immerse into the field was absolutely fantastic and we experienced the wild unbothered! I cannot give enough shout out to my tracker and driver Kahimba and Naiti who are essential parts of the shots. As for Owen who can track and I drive himself I relied on my friends who are just awesome people. Asante sana! To capture the intense hippo fights, to fly with pelicans, film the infantism and the first moments after the elephant birth have been incredibly humbling to be as ever in awe of our unique world on this planet.¨
This year’s competition attracted productions from around 1/4 of the world’s countries, across 17 different award categories. These final 51 shorts, features and series shone the brightest, featured the very best craft and surprised our jury with their achievements.
Luana has recently produced a new wildlife cinematography reel ...
Luana Knipfer's wildlife cinematography reel
showcases her work as a director of photography and underwater camera operator, with a particular focus on capturing intimate and dramatic animal behavior.
The reel features clips from various projects, including the award-winning series Katavi—Africa's Fallen Paradise.
“Ocean with David Attenborough,” “Yanuni” among nominees for Jackson Wild Media Awards
Disney+/National Geographic’s Ocean with David Attenborough (pictured), PBS Nature’s Wild Hope series and the feature doc Yanuni, exec produced by Leonardo DiCaprio, are among the nominees for the 2025 edition of the Jackson Wild Media Awards.
Each project has received multiple nominations for the awards, to be held during the Jackson Wild Summit, which takes place from Sept. 29 to Oct. 3 in Jackson Hole, Wyoming. Nominations were made from close to 1,000 category entries representing 48 countries.
This year’s awards program also marks the debut of the Content Creator award, recognizing social media creators active in the wildlife and conservation space; the Branded Content award, recognizing work done with brand partners; and the Investigative award, honoring journalism that probes environmental issues.
“This year marks a historic milestone for Jackson Wild, with more films entered than ever before — an inspiring testament to the global power and urgency of storytelling for the planet,” said Christie Quinn, interim executive director of Jackson Wild. “In a time when the natural world faces unprecedented challenges, these films are beacons of hope, truth, and creativity. We are honored to celebrate such bold, visionary voices from around the globe.”
Here is a select list of nominees, with credits supplied by Jackson Wild. For the full list, visit the Jackson Wild website at this link.
Considered the highest bar of achievement in natural history filmmaking, the Jackson Wild Media Awards celebrate excellence and innovation in nature, science, and conservation storytelling.
Well over 500 films entered the competition in 2025 - a record breaking year!
Finalists were selected by more than 200 international judges who together screened over 1,000 hours of media.
Winners will be announced during the Awards Gala on Thursday, October 2nd, 2025 at the Center for the Arts in Jackson, WY.
Alan Lacy´s Burrowing Owls: A Love Story is a Finalist at Jackson Wild 2025
After five years of production, hundreds of hours in the field, and a whole lot of early mornings (and late-night coffee), I’m thrilled to share some incredible news:
Our film, Burrowing Owls: A Love Story, has been named a Finalist in the Innovation in Green Production category at this year’s Jackson Wild Media Awards, one of the most prestigious honors in the nature film world.
From the very beginning, we set out to create a film that didn’t just raise awareness about the threats facing burrowing owls... but actually contributed to their recovery.
To do that, we embraced a low-impact, regenerative production model:
We filmed locally in Oregon with a tiny crew, often just 1–2 people
Stayed in a decommissioned army bunkhouse instead of hotels
Powered all our gear using a solar battery system
Eliminated single-use plastics and followed a low-waste fieldwork protocol
And the most meaningful impact?
We helped install over 30 artificial burrows during filming, many of which are now occupied by wild breeding pairs. These burrows are giving burrowing owls a real shot at survival, and this is just the beginning. More installations are underway across the Western U.S. as part of our Impact Campaign.
We’re incredibly grateful to the Jackson Wild community for recognizing this work, and to our Executive Producer Jim Lesperance, whose support made this film possible.
Why We Made This Film
The western burrowing owl is considered a "Species of Concern" here in the Western United States. In many regions, their population numbers are in decline, and declining rapidly due to habitat loss and fragmentation. Burrowing owls rely on wide open areas to hunt and search for prey to raise their young and survive, and often live alongside agricultural areas, as farm fields provide incredible opportunities for small prey items like voles, mice, and insects. But as many farm lands are being developed into communities, burrowing owls are losing ground. This film highlights the importance of conservation and how these incredible birds of prey can make a comeback if simply given a chance.
Our Impact Strategy for this film is to help offset some of the challenges burrowing owls face, by using this film to not only raise awareness, but directly support burrowing owl conservation efforts across the Western United States. You can help us by supporting our campaign at the link below. We will use these funds to build artificial burrow habitats in areas where burrowing owls have been displaced, or need places to live after their homes have been uprooted by urban development.
P-22: The Legacy Lives On – Named Finalist at 2025 Jackson Wild Media Awards
P-22: The Legacy Lives On, a powerful documentary chronicling the life, legacy, and conservation impact of Los Angeles’ iconic mountain lion, has been officially named a 2025 Finalist in the Innovation in Green Production category of the Jackson Wild Media Awards, the preeminent international competition for nature and conservation storytelling.
Produced by Sabana Films, the film celebrates the inspiring story of P-22, whose presence in Griffith Park captivated the public imagination and catalyzed a global conversation around urban wildlife, habitat fragmentation, and coexistence with predators in city landscapes.
This year’s competition was the most competitive to date, with over 500 entries from more than 30 countries. Finalists were selected by an international jury of more than 200 judges, recognizing works that exemplify innovation, sustainability, and excellence in storytelling.
“To be recognized by Jackson Wild, among the most prestigious platforms for environmental media, is a tremendous honor,” said filmmaker Tony Lee Moral. “We hope this recognition brings even more visibility to the lasting impact P-22 has had on both urban conservation and the hearts of millions.”
The Innovation in Green Production category highlights groundbreaking efforts to reduce the environmental impact of filmmaking, a mission aligned with the legacy of P-22 himself - a symbol of adaptation, resilience, and harmony between urban development and nature. Inspired by P-22’s legacy as a symbol of coexistence, the production prioritized a hyper-local, low-emission approach. The crew was entirely based in Los Angeles, drastically reducing travel-related carbon emissions, while all equipment, post-production, and services were sourced within a 10-mile radius of Griffith Park. The shoot was fully digital with no printed materials, and avoided the use of diesel generators entirely. Indigenous voices were also centered in the storytelling, with meaningful consultation from the Gabrielino-Tongva community to emphasize land stewardship and cultural sustainability. The result was a thoughtful, low-impact production that proved small-scale filmmaking can model environmentally responsible practices without sacrificing creativity or quality.
Winners will be announced at the Jackson Wild Summit, taking place this year at Jackson Lake Lodge in Grand Teton National Park, Wyoming, on October 2nd 2025.
For the third year in a row, VMI becomes Albert-Certified Carbon-Neutral by offsetting its 85.38T of Carbon emissions generated in 2024, in an Albert-Approved Scheme to protect forests in Paraguay.
VMI surveyed its staff and clients in an online poll in May 2025 and whilst overwhelmingly, 47% voted for VMI to support a carbon avoidance project, run by Ecologi, to protect forests in Paraguay..
Carbon Offset Project Approved by Albert
VMI’s planned carbon audit and offset schemes are approved by Albert, the UK’s environmental sustainability hub for film + TV, thus VMI will continue to be an Albert-Approved carbon neutral organisation.
We know that being carbon neutral is not the same as achieving net-zero but in supporting approved offset schemes, we are taking a further positive step towards making positive contributions to the environment while actively eliminating waste and carbon emissions from our activities.
VMI offset the 85.3T of carbon emissions generated in 2024 becoming officially Albert-certified Carbon Neutral for a third year.
Have you ever wondered what scopes 1,2 and 3 are and how they relate to your production emissions?
BAFTA albert and the Sustainable Entertainment Alliance (S.E.A) are lifting the curtain with the release of a new Scopes 1 and 2 whitepaper to guide you through how emissions can be tracked during production and ensure that they align with the global Green House Gas Protocol.
This new guidance is also supported by a paper released in 2024 which outlines the emissions associated with Scope 3.
With input from broadcasters and streamers across the UK and USA you can be reassured that the guidance will help your production meet the reporting requirements set out by commissioning bodies and studios.
The guidance will also help you if you need to create an accurate emissions footprint for your production and it will help with the data requirements of the tracking tools like the BAFTA albert Carbon Calculator or PEACH and PEAR in the USA.
The Emerging Filmmakers Professional Development Program is the latest chapter of If Not Us Then Who’s work with Indigenous and local community filmmakers.
This project builds on introductory-level film training programs carried out in Mexico, Nicaragua, Panama, Peru, Indonesia, and Brazil, with a range of regional partners, which we have now developed to provide onward capacity-building for trainees as they expand their production and establish themselves in the filmmaking industry.
The program has the participation of around 40 filmmakers from Indigenous and local communities in the Global South with masterclass sessions around storytelling, production and distribution; one-on-one mentorships around their audiovisual projects; direct funds for their productions; and ongoing impact support for campaigns about their films.
This program is supported by the Climate and Land Use Alliance CLUA, the Perspective Fund and the Tenure Facility.
A new collection from the Emerging Filmmakers Program is now live. Created by Indigenous mentees from Ecuador, Brazil, Indonesia, and beyond, these short films share powerful stories of ancestral knowledge, biodiversity, and land defense. Each film reflects the growth of emerging voices and the legacy of storytelling from the ground up.
If Not Us Then Who? works with Indigenous, Afro-descendant, and local community creatives—filmmakers and photographers—supporting their journey to becoming professional storytellers. Since 2013, we’ve amplified voices from across the tropical forest regions through curated peer-to-peer learning spaces, mentorship, training, and global distribution opportunities.
Our Training Programs foster authentic, participatory storytelling, rooted in land rights, local sovereignty, and ancestral knowledge. Participants collaborate with Indigenous and non-Indigenous mentors, engage in peer learning, and develop impactful creative projects.
In 2024, we expanded our reach across Asia, Latin America, and Africa, working with emerging filmmakers in India, Kenya, Uganda, Belize, Mexico, Chile, Indonesia, and the DRC—continuing our commitment to storytelling that shifts narratives and drives change.
Join us on 17th October at the British Library, London, UKor online, for a one-day nature photography symposium featuring a world-class line-up of 14 award-winning nature photographers, sharing the stories, craft and impact behind some of the most iconic recent wildlife photography.
The full line-up features award-winning photographic talent spanning 9 countries, including a compelling mix of 9 x 20 minute lightning talks, a panel discussion on the need for conservation photography, and of course our superb headliners David Doubilet and Karine Aigner.
Programme highlights include:
Working from Home – Jennifer Hayes, Anthony Ochieng & Nayan Khanolkar
An exploration of what it means to photograph the wildlife in your own backyard, from the alleys of Mumbai, to ice floes in the Gulf of St. Lawrence and to the forests of Kenya, championing intimate and in-depth knowledge of place and species.
The Human Connection – Shin Arunrugstichai, Javier Aznar & Rena Effendi
A globe-spanning exploration of how our relationship with nature shapes the stories we tell, from the depths of the oceans to conflict zones and rural communities.
Why We Need Conservation Photography (Panel) – Roz Kidman Cox (Chair), Melissa Groo & Jasper Doest
A powerful discussion on the ethical and emotional impact of photography as a tool for conservation, highlighting the shift from passive admiration to active engagement.
Wildscapes – Chien Lee, Fernando Faciole & Rachel Bigsby
Discover how photographers are reimagining landscapes through their lenses, capturing the hidden drama and fragile complexity of wild habitats around the world.
To shine a light on this crisis, The Herds are on a powerful journey – using art and movement to bring the wild’s urgent message from city streets to frontline communities.
Dogwoof acquires int’l sales rights to Tamara Kotevska’s “The Tale of Silyan”
London-based documentary sales, distribution and production company Dogwoof has acquired international sales rights for Tamara Kotevska’s feature doc The Tale of Silyan.
The 81-minute film (pictured) will have its world premiere at this year’s Venice Film Festival, followed by its North American premiere at the Toronto International Film Festival in September. The doc follows a white stork and a farmer in North Macedonia whose lives intertwine when the farmer, abandoned by his family, saves the injured bird from a landfill.
UTA Independent Film Group is repping the film for North American and worldwide sales, with Dogwoof supporting international sales. L.A.-based Concordia Studio has fully financed The Tale of Silyan since joining as producers in early 2024. The other prodcos behind the film are L.A.-headquartered The Corner Shop, Skopje, North Macedonia-based Ciconia Film and U.K.-based Nest Productions.
’The Last Howl’ Wins “SPECIAL JURY AWARD” at Los Angeles Film Awards & is a Feature Doc “Semi-Finalist” at Palermo International Film Fest.
Producer, director, and host Matthew Todd Paproski of Wildlife Wranglers Productions, says “In follow up to just winning two Awards at the Cannes World Film Festival, we are thrilled to also win a “Special Jury Award’” from the Los Angeles Film Awards and now be in the running as a “Semi-Finalist” at the Palermo International Film Festival...This is amazing as we entered a few blindly after finishing the film and never thought we would win. But it is already helpful in getting us media attention and interest from broadcasters and distributors”.
“This is also the ideal time to launch our new website www.thelasthowlmovie.com designed specifically to market the film. Besides the film’s promotional trailer, photos, information, and media coverage, it will list theatrical screenings and airings of other versions on television and the internet, link to our ‘Starland Studios’ YouTube channel, and www.starlandstudios.com website”.
The Last Howl is a heartfelt film about a wildlife filmmaker and his wheelchair-bound brother travelling across the country sharing what they learn about wolf conservation, while recounting their twenty-year journey raising wolves.
It features major music artists: Los Lobos granted us theme song Will the Wolves Survive; Blue Oyster Cult, an unreleased acoustic version of song (Don’t Fear) The Reaper; and acclaimed composer Ronald Riddle, tracks from his prog-rock band Happy the Man, plus the original score. Riddle’s 700+ film credits include National Geographic,Discovery, Animal Planet, Smithsonian, Science & History Channels, PBS,Granada America, National Wildlife Federation, Turner & CNN.
Matt Paproski has been a military officer, firefighter, journalist and actor. He made ‘Fire Attack’ with William Shatner, ‘First Response’, and ‘Cougar Crossings’ TV Specials, & ‘Wildlife Wranglers’ Series.
The Last Howl, previously known as How Will Wolves Survive, was filmed across Western Canada. The current crew includes Co-Host Troy Paproski, Editor / Co-Writer Nicholas Friesen, DOP David Copithorne, Audio Post James Reckseidler, Veterinarian Dr.Dwayne Groves, and many others…
Itching at having to wait two years for the next Wildscreen Festival? Join us this Autumn for our brand new 3-day event designed to help the wildlife film, TV, and content communuty navigate the evolving landscape of natural world storytelling.
Wildscreen Industry Summit will bring together industry leading producers, distributors, commissioners, innovators and more from October 20-22 2025 in Bristol, with a hybrid format allowing global participation online.
What will it include?
- Future-Focused Talks: Insights from commissioners, distributors, and producers on emerging trends and industry shifts. - Curated Networking: Dedicated 1-1 meetings, pitching sessions, and career development opportunities. - Practical Workshops: Hands-on skills-development sessions covering key skills such as editing, filming, and storytelling techniques.
¨We are launching the Wildscreen Industry Summit at a critical time for the global wildlife content industry. In a fast-changing, unsettled and ever-evolving industry landscape,?our historical model of gathering our community together every other year at the biennial Wildscreen Festival, is no longer fit for purpose. Our community is seeking year-round leadership, collaboration and bold ideas.
The future-focused Summit will convene the community together?annually?to navigate the challenges and opportunities of a world in flux, gathering together leading producers, distributors, commissioners and cutting-edge innovators in Bristol, the wildlife film and TV content capital of the world, to push the boundaries of the craft and the business that underpins it.¨ - Lucie Muir, Wildscreen CEO
Powerful new animation exposes fox cub hunting - narrated by Chris Packham
Protect The Wild have released a brand-new stop-motion animation, powerfully narrated by Chris Packham. The film lifts the lid on the grim practice of cubbing – also known as autumn hunting – where hunts encircle woodlands and set hounds on fox cubs, tearing them apart in order to train the dogs to kill..
Cubbing is perhaps the darkest, most secretive part of hunting – something the hunts would rather the public never knew about. That’s exactly why we’ve made this film: to show that this cruelty is happening right now, across the UK.
The UK (excluding the US) produces the most plastic waste per person globally and ships millions of kilograms overseas for "recycling" to countries like Türkiye and Malaysia, often leading to environmental damage, landfill, or burning.
We need your support to pressure the UK government to take responsibility for its plastic and end this harmful trade. Donate now to help us campaign for a ban and a real solution to the UK's plastic problem.
Apple TV+ sets fall debut for “Prehistoric Planet: Ice Age” narrated by Tom Hiddleston
Apple TV+ will release the next installment of its award-winning Prehistoric Planet franchise, Prehistoric Planet: Ice Age, on November 26.
The new five-part series will see superstar actor Tom Hiddleston taking over narration duties from natural history icon Sir David Attenborough, who voiced the first two seasons.
Shuttling forward millions of years after the extinction of the dinosaurs, Prehistoric Planet: Ice Age will offer an immersive overview of a new era shaped by ice and the rise of a new breed of giants: the iconic megafauna. From woolly mammoths to snow sloths, saber-toothed tigers to three-foot-tall dwarf elephants, the series reveals the epic stories and struggles of these remarkable animals as they battle for survival in the face of extreme climates and dramatically transforming landscapes.
Prehistoric Planet: Ice Age is produced by the BBC Studios Natural History Unit. The executive producers are Jon Favreau and Mike Gunton.
NEWF 2025: Fellows Summit & Congress. Webinar with co-executive director Pragna-Parsotam Kok
Pragna Parsotam-Kok is co-executive director with Noel Kok of NEWF, Africa’s Nature, Environment & Wildlife Filmmakers Congress.
Pragna shares her insights into the success of the 2025 edition of NEWF Fellows Summit and Congress.
The key takeaway: NEWF is expanding its unique role in training and mentoring filmmakers from all over Africa.
National Geographic Society‘s Storytelling Program is NEWF’s key funder.
In 2025, NEWF and National Geographic Society launched AFRICA REFOCUSED to tell the continent’s rich bounty of stories from an African perspective.
¨I take a particular interest in NEWF because I backed Noel and Pragna’s vision when it wasn’t much more than a few scribbles on the back of an envelope. And attending the NEWF Congress in Durban is a highlight of my conference life.¨ Peter Hamilton
Africa Refocused is a collaboration between NEWF and the National Geographic Society, supporting the expansion of NEWF, to elevate African storytellers in global media and conversations about Africa, and ultimately addressing the need to refocus the stories of Africa so they are told by and from the perspective of African people.
YouTube overtakes ITV to become UK's second most-watched service after the BBC
Gen Alpha turn to YouTube first on their TV set at home, while over 55s double their time on the service. Fewer than half of 16-24-year-olds watch broadcast TV weekly. Despite declines, traditional broadcasters’ content still makes up majority of in-home viewing
YouTube is leading the charge in the streaming takeover of TV sets, with the service now the first place younger viewers go as soon as they switch on, according to Ofcom’s annual report on the nation’s media habits.
Overall people spent an average of 4 hours 30 minutes per day watching TV and video content at home in 2024. And while broadcast TV still accounts for the majority of in-home viewing (56%), audiences are increasingly turning to YouTube. The platform is now the second most-watched service in the UK, behind the BBC and ahead of ITV.
At home, people spent 39 minutes on YouTube per day in 2024, with 16 minutes of this via the household’s TV set. Younger adults aged 16-34 are driving this trend, watching 18 minutes of YouTube a day on TV, while one in five (20%) children aged 4-15 head straight to the app as soon as they turn the set on.
But it’s not just Gen Z and Alpha driving this trend. Over 55s are now watching nearly double the amount of YouTube content on their TVs compared to the previous year (11 minutes per day in December 2024, up from just 6 minutes in January 2023). Last year, 42% of all YouTube viewing by this age group was on a TV set (up from 33% in 2023).
YouTube content evolving
The content audiences are watching on YouTube has evolved too. Half of the platform’s top-trending videos now more closely resemble traditional TV, including long-form interviews and game shows. This shift positions YouTube as a direct competitor to ad-supported TV services, while offering broadcasters a way to reach wider and younger audiences.
Some broadcasters are increasingly offering their own programmes on YouTube, for example ITV and Channel 4 make full length programming available on their channels, retaining control over adverts. Ofcom has identified these sorts of partnerships, making public service content available and prominent on online platforms, as critical to sustain the future of public service media in its recent report, Transmission Critical.
Public service broadcasters (PSBs) are seeing success with their online services, especially the BBC. For the first time, people are watching more online programmes from broadcasters than they are recorded programmes.
Ed Leighton, Ofcom’s Interim Group Director for Strategy and Research, said: “Scheduled TV is increasingly alien to younger viewers, with YouTube the first port of call for many when they pick up the TV remote. But we’re also seeing signs that older adults are turning to the platform as part of their daily media diet too.
“Public service broadcasters are recognising this shift - moving to meet audiences in the online spaces where they increasingly spend their time. But we need to see even more ambition in this respect to ensure that public service media that audiences value survives long into the future.”
New film from Bevis Bowden: Marginalia | song to the river
Marginalia | song to the river is a film that explores the river and its wildlife in a time of increasing land pressure and climate change.
Through poetry, song and statement this film asks us who we are and how we fit into the dynamic of our surroundings and nature.
The film features the commissioned poem Isis written by Penny Boxall with additional contributions from Ricardo Pérez-de la Fuente, Jonathan Westaway and Lukas Krone. They discuss the environments lost to climate change, the river as a breathing, moving super organism and the deep sense of obligation astronauts have about conservation on returning to earth.
The music for the film was composed by Alex Smalley and Alex Lucas with the choral elements sung by the Choir of Merton College, Oxford.
Marginalia | song to the river was filmed as part of Merton College's Creative Arts Fellowship between October 2023 and August 2024 along a section of the Thames upstream from Oxford with additional elements filmed at Merton College, Oxford.
Marginalia | song to the river will screen on the:
23rd August as part of the Presteigne Festival | Gwyl Llanandras in the Welsh Marches. The programme will also include my film Raising the Hare and a selection of films from my ongoing project Observations from Isfryn.
1
st - 30th September as part of the Totally Thames Festival.
12th October as part of PhotoMonth at the Hackney Picturehouse - a double bill with the film Water Rats by Jillian Edelstein. The screening will be followed by a Q&A with the photographer Tom Hunter.
On to Tilburg! What started in 2015 as a Rotterdam film festival has now gained national wings.
After the expansion to Wageningen Wildlife and our successful online edition, another city will be added this year: Tilburg! We are very proud of that.
We will be at the iconic Cinecitta in Tilburg from 19 to 23 November. A selection of the most beautiful and most recent nature films will be shown there.
With WFFR we are reaching and inspiring more and more people! We hope to meet you during the 2025 edition.
Dates edition 2025
We are now in full preparation for the 2025 edition. The selection committee is watching the submitted films from all over the world day and night. An initial response from the committee is promising. It will be another fantastic program with the most beautiful and most recent films about nature.
Put these dates in your agenda:
Wildlife Film Festival Rotterdam: 3-9 Nov ’25
WFFR Local: 1 Oct - 9 Nov ’25
Wildlife Wageningen: 12-16 Nov ’25
Wildlife Tilburg: 19-23 Nov ’25
WFFR Online: 4 Nov - 5 Dec ’25
Come to WFFR with your class
What you learn when you’re young, you’ll do when you’re old! Let your students experience the beauty of nature. Register for the WFFR 2025 school performances! The WFFR school program lets primary and secondary school students experience the beauty of nature through (short) nature films and an interactive conversation.
We focus in documentary making on land and underwater, we do high speed, infrared and thermal filming. We can also help as fixers in Cyprus and Greece.
Victoria Clarke – an Australia-based Presenter/Host/Narrator
Victoria is a freelance television presenter, broadcaster, science communicator and narrator for documentaries and television series specialising in wildlife, science, natural history and adventure/travel.
She studied a Bachelor of Science in Zoology at the University of Queensland, which she paired with formal training in television presenting and communications, and has since combined the two fields as a host for wildlife and natural history media.
Her work as a wildlife presenter has taken her to many interesting and remote places in the natural world, and she is an avid traveller and adventurer.
Victoria believes in the power of storytelling, and it's her objective to share information about our planet, and the scientific discoveries made here, to the wider community through compelling, entertaining and accurate stories.
Victoria knows that through the art of nature filmmaking, the importance of conservation and exposure to the beauty of the natural world can be truly understood and appreciated.
Massimiliano (Max) Finzi – a Marine Supervisor – Assistant Underwater Camera – Water Safety Diver
Max is a professional Marine Supervisor and Safety diver in Media, Film and HATV at Netflix, Prime, Lionsgate, Disney, BBC amongst others.
Based in both the UK (Devon) and Italy.
He says" "I have great experience in water diving safety. I am a PADI Master Scuba Diver Trainer, an SSI Divemaster Instructor and the HSE Scuba L.4 and I’m also Instructor of many diving specialties; I’m an underwater camera assistant and also operate independently. I also have experience of training cast and crew in scuba diving to facilitate underwater sequences.
I have done over 10,000 dives in extremely different places and locations such as sea, ocean, river, altitude, lake, caves, under ice, deep and wrecks using all different equipments; I have worked as a dive instructor and dive manager for 21 years and in the last 5 as part of a team in the Marine department in film and TV.
Before becoming a diver in 1996 I was a studio still-life photographer a profession that I brought with me underwater;
I have the Gates STO (Setup/Test/Operate) certification made by Esprit Film; RYA PowerBoat L2, VHF Radio Operator, Day skipper.
I also have the IRATA Rope Access certification L1 and A1/A3 Drone open category.
More than 25 years after it first stomped onto our screens, the groundbreaking Walking with Dinosaurs is back in a major new BBC Studios production for BBC and PBS, co-produced with ZDF and France Télévisions. This six-part series reimagines the much-loved original with cutting-edge science, cinematic storytelling, and state of the art visual effects.
Each episode explores the dramatic life story of a different dinosaur, drawing directly from real- time fossil discoveries made by the world’s leading palaeontologists. As these ancient bones emerge from the earth, the show uses the latest scientific evidence and stunning visual effects from Lola to bring their prehistoric stories vividly to life, guiding audiences back through the Mesozoic Era like never before.
To help bring this historic era to life, ENVY played a big part providing a full range of post- production services.
Colourist, Sonny Sheridan; Online Editor, Adam Grant; Re-Recording Mixer, Bob Jackson; and Technical Operations Manager, Matt Cole explain the process
Laying the Bedrock
“This latest series has come a long way both in terms of technology and production”, comments Bob Jackson, who also mixed the audio of the 1999 series. “I began working on this new series in May 2024 where we set out how we would deliver the most accurate series we could.”
“During this process, ENVY and the BBC Studios Production Team were in regular contact with academics who advised us on sounds that would have been true to the time, such as birds and insects that would have been living. As an example, we could use the sounds of crickets but not cicadas. This consultation period was ongoing for the first 6 months that I was involved in the project and we were able to build up a collection of sounds to design the environments.”
Prior to ENVY working on the series, BBC Studios had already begun storyboarding and previsualising sequences in collaboration with VFX vendor Lola Post Production. ENVY and Lola subsequently worked together to facilitate the turnover of plates and delivery of VFX. “During this period, which lasted between 12-18 months, we turned over more than 2000 plates as well as the lens grids and photogrammetry Lola needed for their work.”, notes Cole.
Sonny Sheridan adds, “Sequences were shot on location with a crew going out to record clean plates. Lola would ‘de-age’ the location before adding the dinosaurs into the environment.”
PANGOLIN Journey to Freedom: An International Copro Beats the Odds. A Case Study
All the odds were against a South African producer successfully setting up an international coproduction about a secretive and enigmatic orphaned pangolin named Kosha.
That’s the story of Pangolin – Journey to Freedom.
The special is a partnership between Silver Bullet Films (Cape Town), Terra Mater Studios (Vienna) and PBS Nature. I’m thrilled to have served as an executive producer.
Follow Kosha, an orphaned pangolin pup, as her journey from rescue to freedom reveals groundbreaking conservation science that inspires a safe future for Earth’s most trafficked mammal species.
PANGOLIN: Finding the ‘baby-in-the-burrow’. A Webinar with Terra Mater Studios’ Susanne Lummer
Terra Mater Studios‘ executive producer Susanne Lummer spotlights several of the key challenges and triumphs in the development and production of PANGOLIN — Journey to Freedom.
I am delighted to have served as an EP of this warm-hearted co-production between Terra Mater, PBS Nature, and Cape Town-based Silver Bullet Films.
Our documentary follows an orphaned pangolin pup named Kosha on her journey from rescue to freedom in the Zimbabwean bush.
A webinar highlight is Susanne’s analysis of how the baby-in-the-burrow sequence reveals that even a jerry-rigged, low-tech kit can deliver highly emotional impacts. (Watch at 18′).
Plus: Don’t miss our deep dive Case Study covering the PANGOLIN story from concept to funding at €500,000 +/-, and then global distribution, which you can read here.
Chris Packham narrates ‘Killing our countryside’, a film which reveals the damage done to our wildlife and countryside by the shooting industry’s mass release of tens of millions of pheasants and partridges every year.
The film, and the accompanying campaign, make the argument for a ban on the production and release of birds for shooting.
The report details not only the horrific cruelty of so-called ‘game bird’ shooting, but also the devasting impact that it has on our environment and wildlife. Every year around 40-60 million non-native pheasants and partridges are released into the British countryside, trampling flora and outcompeting native wildlife for food. Toxic lead shot pollutes the land and waterways, poisoning animals. In reality, shooting is a million miles from its portrayal as a rural, natural pastime.
Clarkson's Farm - a show built on the suffering of animals ...
There's a chance you're watching the latest series of Clarkson's Farm on Amazon Prime or perhaps you've never even heard of the show..
Either way it is inarguable that it is one of the biggest shows on television, in fact last year it was the second most-streamed show of 2024 on any streaming service in the UK after Fool Me Once on Netflix.
That's a lot of people being fed crap. And when I say crap I mean the misinformation about Badgers and their role in spreading TB to cattle. The endless ranting about environmental regulations and red tape that is there to protect wildlife.
I was sick of seeing hardly anyone call it out and actually talk about the reality of British farming when it comes to the exploitation of animals and the effects on nature and wild animals.
So this week's video looks at the truth behind the hit show. I'd really appreciate you giving it a watch and letting me know your thoughts in the comments :)
“Matilda and the Brave Escape¨ is an uplifting and empowering short film based on the true story of Matilda, a pig who escaped from a farm in the UK and gave birth to her piglets in a nearby woodland - saving herself and her piglets from certain death.
The story of Matilda is incredible for many reasons - from Matilda herself to the dedication and kindness of everyone who campaigned for her freedom, her story is truly remarkable. Matilda and the Brave Escape shows her incredible bravery through the style of a family-friendly animated children’s story - as we strongly believe that Matilda has the power to inspire all ages. But while many children’s stories anthropomorphise animals, we wanted to showcase Matilda as the autonomous individual that she really is, allowing an audience to connect with her experience more authentically.
Ultimately, though the realities of pig farming are truly horrifying, Matilda’s story is one of a huge amount of hope and inspiration.”
- Ed Winters
Real lives. Real suffering. A story we must rewrite ... Animal Equality.
Around 85% of farmed animals in the UK are factory farmed.Every year, 1.2 billion land animals and up to 77 million fish are farmed and slaughtered for human consumption, plus millions more who die along the way. Their short lives are defined by pain, deprivation, and despair.
Every year, billions of animals suffer in factory farms worldwide, including here in the UK. Factory farming is the cruel and unsustainable system of intensive animal agriculture, where animals are treated as mere commodities – so often crammed into unnatural sheds, deprived of many of their basic needs, and subjected to painful mutilations.
Newborn calves are torn from their mothers in the dairy industry so their milk can be bottled for humans, millions of mother pigs are confined to metal crates barely bigger than their bodies, and chickens are bred to grow so unnaturally fast that their legs break and collapse under their weight. Meanwhile, farmed fish are confined in underwater cages often riddled with lice or disease, with no specific legal protections at slaughter.
Despite claims that the UK has ‘high welfare standards’, our investigative exposés consistently expose extreme cruelty, legal violations, and a lack of law enforcement. Non-compliances often go unnoticed and unpunished. The only way to truly protect animals is to end factory farming altogether.
At Viva! we’ve always believed in the power of food to change the world – that’s why we’re launching our latest initiative: Halfway Heroes. A bold, fun, and welcoming campaign encouraging meat-eaters to reduce their animal product consumption by going 50 per cent plant-based.
This is a campaign about action, not perfection. It’s about helping people take that all-important first step – swapping out meat and dairy for delicious, planet-friendly plant-based options. It’s for the climate-conscious but not-yet-vegan, the curious but overwhelmed. And it’s here to show that every bite counts.
My Role on the Katavi Series – ¨Over several years, I had the privilege of working on the Katavi series during both the dry and rainy seasons, immersed deep in the bush. My primary role involved extensive long-lens cinematography from a vehicle, supported by my incredible local drivers – Naiti and Kahimba – whose tracking skills and instinct in the field were invaluable.
Alongside ground-based filming, I also operated drones to capture aerials and dynamic bird-following shots that helped bring the vastness and drama of Katavi to life from above.
During my time there, I picked up some “kidogot” Swahili, basic tracking techniques, and, more importantly, a profound respect for the land and its rhythms. I filmed intense and emotional wildlife behavior, including dramatic hippo fights, a rare pelican kill, and powerful sequences of infanticide – alongside many other unforgettable moments from this remarkable series.
A highlight of this experience was being mentored and deeply inspired by Owen Prümm – an extraordinary filmmaker, cameraman, and bushman. His passion and presence in the field made this one of the most meaningful and unforgettable chapters in my career.¨ Luana Knipfer
Andreas Fiskeseth – Underwater filmmaker, drone pilot and DP based in Thailand.
Born and raised on the Western coast of Norway, I moved to Thailand at 23 to pursue a career in underwater filmmaking.
I'm a certified PADI Divemaster with 14 years experience and 3000+ ocean camera dives.
I've had the pleasure of working on various films, documentaries and tv-shows for clients such as the BBC, Disney+ & UFC.
Having dived all over Thailand I also offer consultations and location scouting, both for remote and underwater destinations.
I'm also an experienced drone pilot & timelapse photographer and have shot art films, music videos and promo videos.
While I'm experienced shooting with cameras from RED, Sony, & Canon my personal setup consists of a Panasonic Lumix GH7 for underwater – a great rig paired with the right glass.
Also the owner of a DPV rental company so I have access to some very handy DPV setups for underwater filmmaking to create unique images or keep up with fast moving subjects.
Located in Thailand but available to work anywhere. Speak Norwegian and English fluently.
I'm passionate about the ocean and marine conservation and this is reflected in my safe conduct around any subject or reef.
I also have a huge 6K/4K Stock library of mantas, whale sharks, macro, reef, turtles etc.
Wildlife Film Productions inc. – a boutique production company specialized in creating groundbreaking natural history films for audiences worldwide.
Wildlife Film Productions (WFP) was founded by Alex Jones, an Emmy-nominated and Panda award-winning Director of Photography (DOP) who has worked with top broadcasters like Disney, NatGeo, BBC, Netflix, and Apple. With over a decade of experience, Alex is known for his breathtaking macro and long-lens work, creating world-class wildlife films. Initially hired as head DOP on many shows, he quickly became involved in the creative direction and writing, showcasing his storytelling talents beyond the camera. His ability to shape the overall vision of a project adds a unique depth to every production.
Award-winning filmmaker Jaap Perenboom joined Alex after a chance encounter while filming in the jungles of Corcovado, Costa Rica. Their mutual passion for wildlife filmmaking brought them together, and they soon realized they shared the ambition to build a boutique Blue-Chip wildlife film company. With Jaap’s background in both business and filmmaking, he brings a rare combination of business savvy, strategic insight, and hands-on experience as a DOP, perfectly complementing Alex’s creative vision.
United by their love for wildlife and a shared dream to produce top-tier films, Alex and Jaap are building a strong, passionate team. Their collective vision and expertise drive WFP to deliver captivating, high-quality wildlife content that stands out in the industry.
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