Palaeocast

LOOP 5.2: Producer Barny Revill returns to talk about his second episode. With the public spotlight firmly fixated on the dinosaurs, how much effort had to go into their GCI models and does the reputation of the series depend on getting them right? In light of this, how much room is there for telling the stories of other groups of organisms? Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the

LOOP 5.1: It’s episode 5 and Dave and Tom are pronouncing dinosaur names all wrong. Does any actually pronounce it “Deinonychus”? Dave reveals why Netflix chose Morgan Freeman as narrator over himself, Tom talks about the complexity of producing CGI feathers and we address T. rex controversies. Finally, we’re served up a confusing ‘dinosaur sandwich’ metaphor. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had cult

LOOP 4.3: Prof. Peter Falkingham, Liverpool John Moores University, was the consultant biomechanist for the series. He introduces us to the importance of biomechanics in CGI, but more widely in determining the physical capabilities of different animals. You need to have a full understanding of the anatomy of the animal, yes, but also the context on the media through which it is moving. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The

LOOP 4.2: We get down to details with Producer Barny Revill and analyse some of the different elements of episode 4: What were the challenges of working in such inhospitable environments? How do you recreate a flood of biblical proportions? How did you guide Industrial Light and Magic in the creation of their CGI models? Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific research d

LOOP 4.1: Against the odds, we’ve all made it through the PTME. It’s now time to focus on episode 4, with the reptiles and their adaptation to different environments. We touch upon biomechanics and crank up the VFX dial to 11. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific research dictate scenes, resulting in one of the most accurate on-screen representations of prehistoric li

LOOP 3.4: With researcher Ida-May Jones, we explore the Venn diagram of academic and documentary research. She introduces us to the strawberry dart frogs and the extraordinary lengths that mothers will go to to care for their young. With such high-tech equipment to record behaviours, it’s unsurprising that something new might be encountered! Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the

LOOP 3.2: Producer Sophie Lanfear gives us our first insights into how documentaries are shaped. She tells us about the enormous scope of episode three and the difficulty of trying to fit in so many significant events. We analyse her use of emotion throughout the episode and she explains why she opted to use comedy. Finally, we look at the problem of anthropomorphism in documentaries. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The

LOOP 3.1: We introduce episode three of Life On Our Planet and discuss one of the most significant stories in the series. We’re in agreement that lichens are the unsung heroes of the whole series and that Arthropleura is the crunchiest animal to ever exist. We talk about the ‘fishapod’ Strepsodus and its locomotion. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific research dictat

LOOP 2.4: Silverback researcher Edd Dyer joins us to introduce us to his part in the creation of the series. The title ‘researcher’ really doesn’t do justice to the incredible scope of his role which includes far more than just looking up facts. We talk about his route into the industry and the necessary skills for the job. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific researc

LOOP 2.3: Hydrodynamicist Dr Tom Fletcher, Silverback Films, returns to explore the science behind Dunkleosteus. How much of the fossil is known? How does the model compare to the latest reconstruction of the animal? How much of the design is dictated by hydrodynamics? and is Dave ironically cool? Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific research dictate scenes, resulting

LOOP 2.2: Prof. Christian Klug, University of Zurich, is our first academic guest. He introduces us to the Cambrian explosion, the Great Ordovician Biodiversification Event and the Late Ordovician Mass Extinction. Christian is an expert on cephalopods and he tells us more about their biology and his thoughts on the vertical orientation of Cameroceras in this series. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production ha

LOOP 2.1: We introduce episode two of Life On Our Planet and discuss our roles in its creation. We’re down deep in the geological time with all the “crunchy and squishy” organisms. We talk about our favourite scenes, jellyfish reproduction and the proper pronunciation of cephalopod. Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific research dictate scenes, resulting in one of the

In LOOP 1.2 we are joined by showrunner Dan Tapster. He’s the one responsible for pulling everything together, designing the story and creating the best production team. We learn about how LOOP first got started, why both CGI and modern footage was used, and how to cram billions of years of evolution into just 8 episodes.   Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific researc

Life On Our Planet (LOOP) is a new 8-part series created for Netflix by Silverback Films and Amblin Television. This Steven Spielberg produced series, narrated by Morgan Freeman, is hugely ambitious in its scope, telling the story of life throughout the whole Phanerozoic Eon. Ancient organisms and environments are painstakingly recreated by the supremely talented Industrial Light and Magic, whilst modern natural history scenes add vital context to the story. This show has been worked on for six years, during which time countless papers were read and around 150 different palaeontologists contributed their time and knowledge. The whole production had culture of letting the scientific research dictate scenes, resulting in one of the most accurate on-screen representations of prehistoric life there has ever been. And how do we know all this? Well, our very own team members Tom Fletcher and Dave Marshall have been embedded within the LOOP team since day one! We are therefore in a totally unique position to reveal

Following up on an initial discovery of ice-age remains in Byron, New York, in the 1950's, Dr Richard Laub took on the task of systematically excavating the 'Hiscock Site' for the Buffalo Museum of Science. Fieldwork commenced in 1983, but as more and more fossils were discovered at the site, the 'Byron Dig', as it became known, would continue for almost three decades. In that time, countless numbers of significant Late Pleistocene and Holocene discoveries were made, including those of mastodon, caribou and bird remains, as well as a rich record of Paleoindian tools. The Hiscock site proved to be incredibly challenging, not just in terms of physical excavation in its water-logged sediments, but also in developing an understanding of how this complex deposit had formed and evolved over the last ≈13,000 years. In many cases, it took years to figure out some of the details and whilst we have a good understanding of the site 40 years on, several questions still remain unanswered. In the second part of this interv

Following up on an initial discovery of ice-age remains in Byron, New York, in the 1950's, Dr Richard Laub took on the task of systematically excavating the 'Hiscock Site' for the Buffalo Museum of Science. Fieldwork commenced in 1983, but as more and more fossils were discovered at the site, the 'Byron Dig', as it became known, would continue for almost three decades. In that time, countless numbers of significant Late Pleistocene and Holocene discoveries were made, including those of mastodon, caribou and bird remains, as well as a rich record of Paleoindian tools. The Hiscock site proved to be incredibly challenging, not just in terms of physical excavation in its water-logged sediments, but also in developing an understanding of how this complex deposit had formed and evolved over the last ≈13,000 years. In many cases, it took years to figure out some of the details and whilst we have a good understanding of the site 40 years on, several questions still remain unanswered. In this interview, Dick join

A new Ordovician lagerstätte (site of special fossil preservation) has just been described from Llandrindod Wells, Wales. The site contains the remains of well over 150 different species, most of which are entirely new to science. It is dated to around 461 million years old, placing it at a critical point in life's evolution: the Great Ordovician Biodiversification Event. This is even more significant, considering the relative sparsity of lagerstätten of this time. We are joined in this interview by Drs Joe Botting and Lucy Muir, who discovered the Castle Bank site a short walk from their house whilst fossil collecting during covid lockdown in 2020. From them, we're able to learn what it's like to discover a new site of international significance and we question why the fossil from this site are so small.

Part 2. Caecilians, sometimes known as ‘blind worms’, are a lesser-known group of lissamphibians (all living amphibians). Most modern caecilians are all fossorial (burrowing) and are restricted to the moist soils and leaf litter of tropical forests. Adaptation to this specific ecology has led to radical modification of their bodies, from fusion of the bones in the head and the function of the jaw, to the loss of limbs and development of unique sensory organs. The fossil record of caecilians is incredibly poor, with only 10 specimens available for researchers to piece together their evolutionary history with. This is further problematic because without a firm understanding of caecilian evolution, we can’t understand the origins of lissamphibians, which includes the ecologically significant groups of frogs and salamanders. Published in Nature today, a new study led by Ben Kligman, Petrified Forest National Park and Virginia Tech, details numerous specimens of a new fossil caecilian. Discovered within a Triassi