See the latest Newsletter Here!!
(Opens in a new window)
Become a member today... For a Freelancer join here, for an Organisation join here! :)
See our 'Features' and 'Interviews' pages for stories from around the wildlife, natural history, conservation, environmental and Vegan film-making world! GotKit to sell? Add your items here! (NB. Members post for free!) Looking for work or got something to offer... Visit our Jobs Page.
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.
In an Exclusive Interview, Dr. Jane Goodall Leaves Behind Her Last Words
“In the place where I am now, I look back over my life. What message do I want to leave?”
There are few people in the world whose mission of compassion, conservation, and care are so universally appreciated that the legacy eclipses the human being. Dr. Jane Goodall, DBE, was one such person, whose work with chimpanzees fundamentally changed the way that people see, think about, and engage with primates — including human primates. Dr. Goodall — founder of the Jane Goodall Institute (JGI) and UN Messenger of Peace, and a world-renowned ethologist and conservationist — died on Wednesday at the age of 91.
Earlier this year in March, she filmed an interview with Netflix that she understood would only be released after her death. Interviewed by Emmy Award-winner Brad Falchuk under strict confidentiality, the conversation was for Famous Last Words, a new Netflix documentary long-form series based on the notable Danish TV format of the same name featuring some of the world’s cultural icons. The interview was held on an empty stage, and captured by remotely operated cameras. The footage was securely held until she died, unedited, so that nobody outside the pair would know the contents until now.
Loosened with a pour of whiskey, which she told Falchuk was good for her voice, Goodall looked back on the span of her life and work with her signature blend of calm and obstinance. The stories she shared with Falchuk — and now us — range from her early observations of the fictional character Tarzan’s wife (“his Jane was a real wimp”) to her thoughts on free will, how to win arguments, ex-husbands, and the pull she felt toward spirituality toward the end of her life. She also revealed some private thoughts she’s never disclosed, even to her own family, and listed out her regrets, as well as who among the “cloud contingent” she hoped would greet her on the other side.
What were Jane Goodall’s last words?
After finishing their whiskey with a moving toast, Falchuk left the stage so that Goodall could speak directly to the camera to deliver her final, unedited public thoughts. Here it is in full:
“In the place where I am now, I look back over my life. I look back at the world I’ve left behind. What message do I want to leave? I want to make sure that you all understand that each and every one of you has a role to play. You may not know it, you may not find it, but your life matters, and you are here for a reason. And I just hope that reason will become apparent as you live through your life. I want you to know that, whether or not you find that role that you’re supposed to play, your life does matter, and that every single day you live, you make a difference in the world. And you get to choose the difference that you make.
“I want you to understand that we are part of the natural world. And even today, when the planet is dark, there still is hope. Don’t lose hope. If you lose hope, you become apathetic and do nothing. And if you want to save what is still beautiful in this world — if you want to save the planet for the future generations, your grandchildren, their grandchildren — then think about the actions you take each day. Because, multiplied a million, a billion times, even small actions will make for great change. I want to — I just hope that you understand that this life on Planet Earth isn’t the end. I believe, and now I know that there is life beyond death. That consciousness survives.
“I can’t tell you, from where I am, secrets that are not mine to share. I can’t tell you what you will find when you leave Planet Earth. But I want you to know that your life on Planet Earth will make some difference in the kind of life you find after you die. Above all, I want you to think about the fact that we are part — when we’re on Planet Earth — we are part of Mother Nature. We depend on Mother Nature for clean air, for water, for food, for clothing, for everything. And as we destroy one ecosystem after another, as we create worse climate change, worse loss of diversity, we have to do everything in our power to make the world a better place for the children alive today, and for those that will follow. You have it in your power to make a difference. Don’t give up. There is a future for you. Do your best while you’re still on this beautiful Planet Earth that I look down upon from where I am now. God bless you all.”
Dr. Jane Goodall’s final message to the world: “I want to make sure that you all understand that each and every one of you has a role to play. You may not know it, you may not find it, but your life matters and you are here for a reason.”
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.
Since 1991, the Bay of Somme (North of France), an internationally recognized migratory site, has celebrated the return of spring and birds on the occasion of the Bird and Nature Festival.
Our competitions are an invitation to filmmakers and photographers, both
amateurs or professionals to share with us their knowledge of nature and wildlife.
FILM COMPETITION
Every year, the Bird and Nature Festival invites amateur and professional filmmakers to participate in its film competition dedicated to birds, wildlife and environmental issues as well as nature, broadly speaking.
The selected films will be screened in April 2026 to the Jury and the public.and the winners will be revealed during the Awards ceremony on Saturday, April 25, 2026.
For the 35th consecutive year, photographers aged 18 and over, regardless of their nationality, are invited to participate in the most famous French photo competition dedicated to our winged friends.
All award-winning images and a Jury’s selection will be shown during the event which will be held from 18 to 26 April 2026.
6 Categories - 8 Prizes
€7,000 to be won with a
€1,500 Grand Prize!
March 19-28, DCEFF will celebrate those finding paths forward in challenging times
The DC Environmental Film Festival
(DCEFF), one of the largest and longest-running festivals of its kind in the world, proudly
announces its 2026 theme: Against the Current.
With Against the Current as their guiding theme for 2026, DCEFF will dedicate this year’s
programming to amplifying the voices and stories of those on the frontlines of environmental
challenges, both past and present
“This year, we'll celebrate the grit it takes to face this unprecedented moment for our planet and
our city,” said Monica Schorn, DCEFF Executive Director. “Recent setbacks on issues like
renewable energy, clean air and water, conservation, and environmental justice have been
discouraging, but this movement isn’t new to adversity. Whether it's playing out in front of the
camera or behind the scenes, there's cause for hope. We're so excited for our community to come
together next March and find strength and inspiration from each other in this amazing city.”
The 2026 Festival will present dozens of new films from around the world, as well as panel
conversations with filmmakers, scientists, policymakers, activists, and journalists. Audiences can
expect a rich lineup exploring the most pressing issues facing our planet, as well as actions they
can take to make a positive difference both locally and globally.
DCEFF 2026 will take place March 19 through 28 at more than 20 venues across the D.C.
metro area.
They are accepting film submissions now through November, until December 1st.
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!
Netflix slates horror-themed “Nightmares of Nature” from Blumhouse TV, Plimsoll
Netflix is teaming with Blumhouse Television and Plimsoll Productions for a new natural history series with a twist, Nightmares of Nature, hitting the streamer in two three-episode “seasons” a month apart, on September 30 and October 28.
Narrated by Stranger Things star Maya Hawke, each of the two seasons focuses on three animal characters as they face horrors and “monsters” that nature throws at them. The series plays up the connection with horror-focused prodco Blumhouse by having the stories unfold along the lines of a scary movie.
Dropping on September 30 is the season dubbed Cabin in the Woods (3 x 45 min., pictured), set in the haunting North American woods, and following three animals — a soon-to-be-mother mouse, a young male raccoon and a froglet who has seen terrible things — as they learn how scary the woods can be and find themselves in search of sanctuary. They stumble upon an old cabin in the woods, only to discover their nightmares have only just begun.
Releasing days before Halloween on October 28 is season two, Lost in the Jungle (3 x 45 min.), which is set deep in the Central American rainforest, where there may be more creative ways to die than anywhere else on the planet. The episodes follow a young opossum, a newly hatched iguana and a feisty jumping spider who find an abandoned laboratory deep in the jungle with a new monster hiding behind every corner.
¨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.
Lazarus Training specialises in delivering
realistic, scenario-based first aid and safety
training designed for the unique challenges of
the media and production industry. We offer
tailor-made courses to meet your specific
operational needs, whether on location or in a
studio setting. Training can be arranged in
country or on location.
Our training uses professional casualty actors
and real-life scenarios to create immersive,true-to-life experiences, preparing your team to
respond effectively in high-pressure situations.
With a highly experienced training team drawn
from medical, armed forces, and emergency
services backgrounds, we bring unrivalled
expertise, practicality, and realism to every
session—ensuring your crew is ready for
anything.
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?
Working in remote deserts, dense jungles, icy mountains, or distant villages?
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.
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.
Kaitlin Yarnall, the National Geographic Society's chief storytelling officer
Africa Refocused,
NEWF Partnership,
Training,
eKhaya Facility,
Fellowships,
Networking, Next: Chile & India
The National Geographic Society is committing its prestige, energy and considerable resources to Africa's storytellers.
Kaitlin Yarnall enjoys the enviable position of the Society's chief storytelling officer.
In this not-to-be-missed webinar, she describes how her team is funding Africa Refocused, the initiative with NEWF, the Durban-based Nature, Environment, Wildlife & Filmmaking organization headed by Pragna Parsotam Kok and Noel Kok.
A centerpiece of the strategy is eKhaya, the bricks-and-mortar training facility that is launching an ever-expanding network of African media professionals.
Learn how Africa Refocused is making an impact across the African continent, and how the model is now expanding to Latin America and India.
Big Media partners with Blue Ant Studios to coproduce, distribute “Wild Science”
Global prodco and channel provider Big Media has entered an agreement in which Blue Ant Studios and its Love Nature brand will coproduce and manage distribution rights in select territories for the upcoming wildlife series Wild Science.
The series (6 x 60 min., pictured), which is currently in production, uses CGI and an in-depth zoological perspective to explore how Earth’s most remarkable predators dominate their ecosystems.
Wild Science is produced out of Big Media’s international studios in Prague and London.
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.
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.
We are thrilled to announce the winners for the 2025 Jackson Wild Media Awards! This year’s entries showcased an inspiring range of stories, perspectives, and creative approaches from around the world—highlighting the power of media to connect us with the natural world and one another.
Award winners were announced during the Jackson Wild Awards Gala on October 2, as part of an energizing week of conversations, community, and celebration at the 2025 Jackson Wild Summit (September 29th - October 3rd).
We offer our sincere congratulations to all who have been recognized!
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.
The feature doc Yanuni, about an Indigenous chief in Brazil fighting to protect her tribal lands despite assassination attempts, receiving both the Grand Teton Award as well as the prize for the top feature.
Also winning multiple awards was the irreverent Nat Geo wildlife series Underdogs, executive produced and narrated by Ryan Reynolds, which took the awards for limited series as well as animal behavior for the episode “Total Grossout.”
Elsewhere, the Special Jury Awards were presented to wildlife cinematographer Sophie Darlington, recipient of the Legacy Award in Media, and filmmaker Sonya Lee, who received the Rising Star Award.
2025 Winners:
Grand Teton Award
YANUNI
Malaika Pictures, Appian Way, Nia Tero, Age of Union, Tellux, ÖFI+
“A brave and deeply authentic work of documentary filmmaking. With cinematic craft, tender intimacy, and remarkable trust between filmmaker and characters, it weaves together two powerful narratives of love and struggle with breathtaking honesty. This ambitious and captivating film lingers long after viewing, a testament to both its artistry and its heart.” - 2025 Final Jury
Feature
Yanuni
Malaika Pictures, Appian Way, Nia Tero, Age of Union, Tellux, ÖFI+
Limited Series
Underdogs Wildstar, National Geographic
Animal Behavior
Underdogs – “Total Grossout”
Wildstar, National Geographic
Ecosystem
The Birds
A Passion Planet and HHMI Tangled Bank Studios Production in association with Ammonite Films
Conservation – Long Form
Pangolin: Kulu’s Journey
Dog Star Film, Anonymous Content, Water Creature, Netflix
Conservation – Short Form
Reindalen
Neon Raven Story Labs, University Centre in Svalbard
Planet in Crisis – Long Form
The White House Effect
Actual Films, Department of Motion Pictures, Impact Partners, Far Star, Cinereach, Cinephil, Bird Street Productions
The Book of George
A film by Danny Schmidt, Produced by Pure Gold Pictures, in Association with SLOMotion Films. Supported by STIO. Executive Producers Alex & Julie Wallace, Mallory Lykes Dimmitt, Hayley Nenadal
Science & Nature – Long Form
Human Footprint: The Enemy of my Enemy
Produced by Day’s Edge Productions for PBS
Science & Nature – Short Form
Life Invisible
Grain Media, Nobel Prize Outreach, The Guardian
Trailblazer
The Old Bear
Think Lemonade Productions and Vision Hawk Films
Investigative
Out of Plain Sight
L.A. Times Studios and Sypher Studios
Global Voices
Moklani – The Last Mohanas
Jawad Sharif Films Pvt. Ltd
Student
Orchids: Darwin’s Conundrum
Thomas Cassar, National Film and Television School
Onscreen Personality
Trafficked with Mariana Van Zeller: Shark Hunters
Muck Media, National Geographic
Featuring: Mariana Van Zeller
Social Media
Werk of Nature
On the Edge, Cherry Pop Productions
Branded Content
A Little Story About Forever
Produced by Trailbound Sketches, Presented by KEEN
Content Creator
Rachael Tancock, The Nature Educator
@thenatureeducator on Instagram/Tik Tok, rachaelthenatureeducator on Facebook
Impact Campaign
Deep Rising
The Twilight Zone Studio Pte. Ltd.
Jackson Wild X Earth Alliance Impact Pitch
Chameleon Corridors
A film by Jigar Ganatra with support from Myworld Film Grant, Schoolyard Films, Amberjack Films, AFRISOS
Impact Producer: Simona Nickmanova
Innovation in Green Production
Shared Planet
A River Road Films Ltd production with financial support from CBC and Radio-Canada, ARTE, PBS and Blue Ant International, in association with Canada Media Fund, Rogers Documentary Fund, Creative BC and the Province of British Columbia Film Incentive BC, and The Canadian Film or Video Production Tax Credit.
Cinematography
Ocean with David Attenborough
Silverback Films, Open Planet Studios Productions, All3Media, National Geographic
Cinematographers: Toby Strong, Doug Anderson
Editing
Love Birds
NBC News Studios, Perfect Four Productions
Editor: Angel Morris
Original Music Score
Ocean with David Attenborough
Silverback Films, Open Planet Studios Productions, All3Media, National Geographic
Composer: Steven Price
Writing
A Real Bug's Life: Love in the Forest
National Geographic, Plimsoll Productions
Writers: John Capener, Tom Hugh-Jones, David McCann, Euan Smith
BBC Factual has announced two brand new major natural history series and three single films, including Wild London presented by David Attenborough for BBC One and iPlayer.
The series are The Green Planet II, the follow-up to The Green Planet which was broadcast in 2022 and Tiger Island, both for BBC One and iPlayer.
The other single films are Gordon Buchanan: Wild Horses and Me for BBC Two, BBC Scotland and iPlayer and Bearwalker for BBC Two and iPlayer.
In addition to the new programming, it is announced that David Attenborough will also narrate the upcoming six-part landmark series Kingdom, for BBC One and iPlayer.
Jack Bootle, Head of Commissioning, Specialist Factual, said: “Natural History is at the heart of what makes the BBC special. No other broadcaster invests so consistently in wildlife filmmaking or covers such an ambitious range of subjects and styles – from David Attenborough exploring the wildlife of his own city, to a team of intrepid filmmakers risking it all to document the secret lives of tigers in Nepal. The BBC remains the place to come to see beautiful, intelligent and entertaining programmes about the natural world, and I’m proud we continue to lead the way at a time of such uncertainty for our planet.”
VMI opened the Bristol division in 2015 and moved into its current building in St George a year later. Run by Gary Davis and Jon Noad, VMI Bristol was set up specifically to cater for natural history programmes and documentaries, stocking specialist cameras and larger lenses/grip and acting as a full satellite branch of VMI.
However, changing marketing conditions post-Covid, saw a sharp contraction of Bristol-based productions, to the point where VMI has made the difficult decision to close this branch in September 2025, resulting in all operations now being centralised at our London office, where we will continue to service our national clients.
Over the last 10 years, VMI Bristol has serviced cameras and lenses for some extraordinary productions and here are a few highlights:
A Real Bug’s Life featured on Disney+ was produced by Plimsoll Productions for National Geographic and the combination of the Phantom VEO 4K camera and Infiniprobe TS 160 lens allowed the team to get up, close and personal with the featured critters, whilst also attaining an impressive slow motion – with each individual wingflap visible on screen.
Earth at Night in Colour, produced by Offspring Productions for Apple TV used the incredible 4m ASA Canon ME20F-SH camera to achieve super low-light scenes, shining light on a world we wouldn’t otherwise be able to see, with minimal disturbance on animal subjects
Nledi – One Little Elephant, was produced by Off the Fence Productions, which also used the Canon ME20F-SH camera in a bold plan to shoot a family of elephants 24 hours a day in the in Okavango Delta and included a dramatic sequence capturing the birth of an elephant in the wild, in colour with more depth than had ever been seen before.
Finally, The Battle to Beat Malaria, an incredible piece directed by Cat Gale and from the work of multiple production companies such as Wingspan Productions and HHMI Tangled Bank Studios, for the BBC. Cinematographer Robert Hollingworth took advantage of the Phantom VEO 4K, RED V-Raptor, and InfiniProbe TS-160 to present the inside story of a historic new vaccine and the efforts against the world’s deadliest disease
Despite the closure of our Bristol branch, VMI’s doors will remain firmly open to similar productions, as we can provide various national delivery options, as well as van deliveries. Importantly, VMI will maintain its impressive stocks of Phantom VEO 4Ks, Freefly Ember super slow motion cameras, super-low light cameras, our wide RED camera fleet, motion-control rigs and other specialist equipment, though producers will need to consider that these will now be supplied from our London hub, rather than directly from Bristol.
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.
Bear Grylls uses nature's healing powers for BBC format
BBC Daytime and BBC Cymru Wales have co-commissioned Wild Reckoning, a 16-part series from Wrexham-based Ty’r Ddraig, part of Banijay UK’s Workerbee Group, fronted by Bear Grylls for BBC One and iPlayer.
The series will see Bear Grylls and a team of experts help people to resolve deep personal rifts.
Bear, alongside his team of mediators, psychologists and survival mentors, will guide participants through emotional journeys — combining conflict resolution with the power of nature. From his island home off the North Wales coast, Bear will send contributors into nature. And through carefully constructed physical and psychological challenges, they’ll confront their issues and work together to rebuild fractured relationships.
Bear Grylls says: “I’ve spent a lifetime learning from the wild and above all I believe in its power to heal. Away from the noise and distractions of daily life, we’re giving people the chance to reflect, reconnect, and rebuild. But nothing comes for free. The price is often courage to face the scary, and the humility to walk side by side respectfully with others. Wild Reckoning is a rare opportunity to help those in emotional conflict to face their differences with courage, and hopefully come through stronger, together. I’m proud to host it in North Wales, a place that truly means so much to me.”
Singapore- and London-based producer-distributor Bomanbridge Media has secured a partnership with Germany’s DocLights, taking over its wildlife catalog, including future productions.
The agreement, which is valued at more than US$1 million in cash, sees Bomanbridge take over distribution of the catalog, which totals more than 200 hours. It will also see the companies collaborate on shared strategic goals.
DocLights has produced factual content for ARTE, NDR, National Geographic, BBC, Off the Fence, ZDF and more. With this deal, Bomanbridge’s content library now exceeds 5,700 hours across factual, lifestyle, kids and drama.
“This partnership not only strengthens our natural history offering but also opens new opportunities for coproductions, digital content innovation and global audience engagement,” said Bomanbridge founder and CEO Sonia Fleck in a statement.
Nat Geo Documentary Films acquires Venice award-winner “The Tale of Silyan”
National Geographic Documentary Films has acquired worldwide rights to the feature documentary The Tale of Silyan from Oscar-nominated Honeyland Tamara Kotevska, in collaboration with Concordia Studio, The Corner Shop and Ciconia Film.
The film (pictured) recently had its premiere at the Venice Film Festival — where it won the Cinema & Arts Award — and its North American premiere at the Toronto International Film Festival, and has been selected to represent North Macedonia in the international feature film competition at the Academy Awards.
The film is set in the heart of rural North Macedonia and follows a farmer grappling with the harsh realities of new government policies as he finds himself unable to sell his land or his crops. When his family leaves in search of a better life abroad, he takes a job as a landfill attendant, where he encounters the injured white stork Silyan, forming an unlikely bond with the bird as he nurses it back to health, while a local folktale is weaved into their story.
’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…
Love Nature, CBC, Arte and PBS take on “Life on the Edge”
Blue Ant Media-owned streaming and linear brand Love Nature is teaming with public broadcasters CBC, Arte and PBS to present Life on the Edge, a three-part series from UK prodco Passion Planet and Vancouver-based River Road Films.
The 3 x 60-minute premium natural history series will take viewers to North America’s Pacific, Atlantic and Arctic coastlines to illustrate the myriad ways species are adapting to a rapidly changing climate. In addition, the series will combine scientific discoveries with depictions of animal behaviors, while incorporating the perspectives of Indigenous communities within the regions.
Life on the Edge will premiere in the U.S. on PBS and globally on Love Nature in 2026. The series will also air on Arte in France, as well as on CBC in Canada within its long-running science and nature strand, ‘The Nature of Things’, under the banner Wild Canadian Waters. Sky Nature will also air the three-parter in the UK, Italy and Germany as part of Love Nature and Sky’s content partnership. Blue Ant Studios oversees pre-sales and licensing outside of the commissioning territories
The series is produced by Oliver Twinch and David Allen at Passion Planet and Jeff Turner at River Road Films. James Manfull executive produces the series on behalf of Love Nature, and Lesley Birchard and Sue Dando are executives in charge of production for CBC Docs and ‘The Nature of Things’.
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.
National Geographic Documentary Films lands streaming rights to Werner Herzog’s “Ghost Elephants”
National Geographic Documentary Films has acquired global streaming rights to the feature doc Ghost Elephants, directed, narrated and written by Werner Herzog.
The film, produced by L.A.-based Sobey Road Entertainment, follows conservation biologist and National Geographic’s Okavange Wilderness Project leader Steve Boyes as he tries to prove the existence of the elusive ghost elephants of Lisima in Angola. In order to find them, Boyes and fellow National Geographic Explorer Kerllen Costa teamed up with three KhoiSan master trackers.
The doc will premiere on Disney+ and Hulu in 2026 and will also receive a theatrical release, with dates to be announced. The film had its world premiere earlier this month at the Venice Film Festival, where Herzog was presented with the Golden Lion for Lifetime Achievement by Francis Ford Coppola. Its U.S. premiere is set for the Telluride Film Festival this weekend.
Ghost Elephants is produced by Ariel León Isacovitch, with Brian Nugent, Andrew Trapani, Emerson Farrell, David Sze, David B. Kirk, Terrence Battle and Casey Graf serving as executive producers alongside Carolyn Bernstein, National Geographic’s EVP of documentary films, and Tim Horsburgh, VP of documentary films.
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
From the co-creator of the sensational hit documentary films Cowspiracy & What The Health, comes HOW TO MAKE DRUGS (and feel great about everything), a comedic look at the process of drug development in the US, uncovering the wasteful, dangerous and the often absurd use of animal testing in the 21st century.
Through interviews with premier researchers, physicians, policy experts, lobbyists and activists, a story unravels of unchecked government spending, entrenched culture and faulty science costing taxpayers billions of dollars and hundreds of thousands of lives each year.
One moment changed Juliet´s life forever – and led her to start Viva!
She says: ¨As a teenager, I snuck into a factory farm and saw the truth with my own eyes. From that day, our mission has been clear: end cruelty, inspire compassion, and build a kinder world.
Together, we’ve shut down farms, rescued animals, and exposed the reality of factory farming to millions. Now, I’m asking you to help secure Viva!’s future – for the animals who still need us.¨
Please consider leaving a gift to Viva! in your Will. Your love for animals can live on – saving lives, changing minds, and creating lasting change. viva.org.uk/legacy
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.
As a full member of the site, you get a listing in all appropriate sections, a profile page 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! Hoping to relaunch the site this year ... Updated for the new decade ... Will be looking for help from all over the world!!
Since the late 1990s Wildlife-film.com has been the leading source of information for the wildlife filmmaking industry worldwide. For over twenty years the site has been Google's number one ranking site for 'wildlife film' and related searches. Our site is viewed in over 195 countries. Our newsletter, Wildlife Film News, is read every month by thousands of people involved in wildlife filmmaking - from broadcasters and producers, to cameramen - we encourage readers to submit their news. We also serve as an online resource for industry professionals and services. Find producers, editors, presenters and more in our Freelancer section, and find out about festivals, training and conservation in Organisations. We encourage amateur and professional freelancers to join our network and welcome all wildlife-film related organisations to join our team.
