'Shark with Steve Backshall' Sky

Shark with Steve Backshall is a revelatory series that celebrates the wonder of sharks and dispels the myth of sharks as just cold blooded killers.

Steve Backshall, a naturalist and shark expert, gets us closer to sharks, to encounter a diverse and incredible family of over 400 different types. This global journey will take us to the remotest parts of our planet, from the sun-drenched tropics to the mysterious depths of our oceans. Teaming up with world-leading scientists, Steve will make stunning discoveries, revealing glow in the dark sharks, sharks that walk on land and ancient sharks over 400 years old. Now more than ever this incredible family needs our help. Every hour we lose over 11,000 sharks to overfishing, shark finning and habitat destruction. Steve will confront the uncomfortable truths and join shark advocates across the globe to help turn the tide for sharks. Coming eye to eye with this feared yet misunderstood predator, Steve will reveal sharks in a brand new light.

In the Eastern Pacific lies Cocos - the island of the sharks. While filming for ‘Shark with Steve Backshall’ Steve, Mark and the team battled weather and stormy seas to document the shivers of hammerheads that gather here…

'Earth At Night In Colour' Apple TV+

Narrated by Tom Hiddleston and filmed across six continents, this docuseries uses cutting-edge camera technology to capture animals' nocturnal lives, revealing new behaviours filmed in full colour like never before.

Mark filmed the following for the series: timelapse and scenics in Los Angeles (July 2019), behavioural sequence in Miami (January 2020) marine based timelapse in Thailand (February 2020) and a behavioural sequence in Norway (March 2020).

  • Episode 1 ‘Lion Grasslands’ After dark on Kenya’s Masai Mara grasslands, a lioness won’t rest until she finds the young cubs she’s lost.

  • Episode 2 ‘Tarsier Forest’ As darkness falls, a family of tiny primates in Sulawesi ventures into the jungle to find food while protecting their babies.

  • Episode 3 ‘Jaguar Jungle’ A jaguar fights to keep his river home in Brazil as the night brings both challenges and opportunities to hunt.

  • Episode 4 ‘Bear Woodlands’ In the boreal forests of Europe, a young brown bear clashes with wolves—and tries to find a mate beneath the stars.

  • Episode 5 ‘Wild Cities’ When Los Angeles, Chicago, and Toronto light up at nightfall, they create worlds of opportunities for the cleverest animals willing to take the risk.

  • Episode 6 / “Cheetah Plains” In Kenya’s Masai Mara, two cheetah brothers attempt a high-speed night hunt with a gang of powerful hyenas on their trail.

A further six episodes will be released during 2021.

Creative Scramble Podcast Interview

As film-makers, film lovers and creative entrepreneurs we like to share our knowledge and learn from others as much as we can. The Creative Scramble podcast gives us the opportunity to chat to a variety of industry professionals - ranging from commercial directors to accredited film crew to dissect their road to success.
— Dead Pixel Films

Apple podcast: Listen here
Mark gives an insight into the world of underwater film-making and seeing nature up close and personal

‘The role is a multi-faceted one…. it’s technical in that you work with the Producer to establish the best tools for the job (camera, lenses, lighting, grip and even sometimes developing new kit such as underwater sliders or quadpods). You also wear an editorial hat in the field – we are storytellers too and an important part of our role is to interpret the storyboard when on location; it’s a collaborative process. In the moment (when the wildlife behaviour presents itself) the creative juices are flowing and you are firing on all cylinders to make sure you get the shots in the bag’

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‘It’s like I’m a miner with a pickaxe – all you can do is to keep on digging and then provide a truck load of raw material; dirt but also gold and gems! It’s then down to the Editor and the Producer to finely craft the pieces into a work of art. It’s really satisfying and exciting to see the sequence come together… it takes me right back to the shoot and that specific moment on location’

‘You’re doing everything you can to minimise your presence in the water; rebreathers don’t produce bubbles and are much quieter, you can wear camouflaged dive gear so that you can blend in visually too and gradually edge closer to your subject. What I feel I can bring to the table is to be very calm within that environment – almost taking on the mindset of the animal and doing what I can to remove ‘myself’ from the scenario and ‘not be there’ whilst getting the footage’

‘The fundamental rule of anyone wanting to get into underwater camerawork is that you’ve got to be an absolute master scuba diver and conquered the skill of neutral buoyancy; that needs to be second nature so it’s a completely automatic process allowing you to be weightless underwater and in a position to move and follow wildlife without even thinking about it’

To view and listen to more interviews from The Creative Scramble courtesy of Dead Pixel Films click here

'Earth from Space' BBC

Cameras in space tell stories of life on our planet from a brand new perspective, revealing new discoveries, incredible colours and patterns, and just how fast it is changing.

Click here to view series trailer

Click here to view the ‘Colourful Planet’ episode trailer

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‘Earth from Space’ Satellites follow an elephant family struggling through drought, reveal previously unknown emperor penguin colonies from the colour of their poo and discover mysterious ice rings that could put seal pups in danger. Using cameras on the ground, in the air and in space Earth from Space follows nature’s greatest spectacles, weather events and dramatic seasonal changes. This is our home, as we’ve never seen it before.

‘Patterned Planet’ Earth’s surface is covered in weird and wonderful patterns. The Australian outback is covered in pale spots, the work of wombats; a clearing in the endless green canopy of the Congo rainforest has been created by an incredible elephant gathering; and the twists and turns of the Amazon make a home for rehabilitated manatees. 

‘Colourful Planet’ We think of earth as a blue planet but satellite cameras reveal a kaleidoscope. The astonishing colours of the aurora are towering vertical streaks hundreds of kilometres high; phytoplankton blooms turn the ocean into works of art triggering a feeding frenzy; and for a few weeks a year China's Yunnan province is carpeted in yellow as millions of rapeseed flowers bloom. 

‘Changing Planet’ At a time when the earth’s surface is changing faster than ever in human history watch cities grow, forest disappear and glaciers melt. In the ever growing grey of cities one man is feeding thousands of parakeets; in Sumatra a female orang-utan and her daughter face life in a forest under threat; while in Tanzania local people use satellites to re-plant a forest, securing the future for a family of Chimpanzees. This is our home as we’ve never seen it before.

Click here for episode details and clips

Click here for The Guardian review

RSPB celebrates 130 Years (1889 - 2019)

The RSPB was formed in 1889 to counter the trade of bird feathers for women's hats in the late Victorian era - 130 years on, the organisation is still working tirelessly through research, partnerships, landscape conservation and policy work to help species recovery.

Read more about RSPB’s history here

Read more about RSPB’s mission here

Formed in 1953, the RSPB Film Unit is the oldest professional wildlife filmmaking organisation in the UK. Since this time the unit has collaborated with many well known camera operators including Hugh Miles, Mike Richards, Ian McCarthy and John Aitchison.

Mark got his first wildlife camera break with the Film Unit based at RSPB HQ in Sandy, Bedfordshire - he shares more details below:

Question: What is your connection to the RSPB Film Unit?

I worked for the RSPB on a couple of placements pre-2000 during my university holidays. The Film Unit were extremely welcoming and I was lucky enough to assist the in-house cameraman at the time on some projects on the Isle of Coll and the Isle of Mull in the Inner Hebrides where we were filming white-tailed sea eagles.

RSPB are still tracking white-tailed sea eagles in Scotland - click here to read more

Question: How did RSPB’s emphasis on conservation help shape your attitude towards the environment and wildlife?

Whilst at university, The Blue Planet (2001) was broadcast and it formed the backbone case study to my dissertation: Why do environmental issues tend to be avoided in BBC blue chip wildlife documentaries? I’m so pleased that 16 years later the Blue Planet II team focused on conservation of the oceans leading to the well documented Blue Planet effect. At last a positive response born out of the bravery to expose issues such as plastic pollution head on. The call to action has got peoples attention and I feel like we are more engaged than ever before - hopefully it is not too little too late, and there is still time to turn things around for our beautiful blue planet.

Question: Which RSPB reserves do you feel especially passionate about and why?

I now live in Selsey, West Sussex - a little fishing village right on the coast sandwiched between RSPB Pagham Harbour and RSPB Medmerry. Up until 2011 Medmerry was low-lying farmland and hundreds of nearby houses (mine included) were under constant threat of flooding. The Environment Agency’s solution was to create the largest flood risk management scheme of its kind ever undertaken in Britain - what they have achieved alongside RSPB is incredible

Read more about RSPB Medmerry here

Read more about RSPB Pagham Harbour here

Mark filming with wildlife presenter and RSPB President Miranda Krestovnikoff

Mark filming with wildlife presenter and RSPB President Miranda Krestovnikoff

'One Strange Rock' National Geographic

Astronauts, Darren Aronofsky and Will Smith join forces to tell the extraordinary story of why life as we know it exists on Earth. The trailer for One Strange Rock can be viewed here

Mark returned to the Togean Islands, Sulawesi, Indonesia in autumn 2017 to film for the ‘Escape’ episode of National Geographic's 'One Strange Rock' 

On location image credits © Kat Brown

Fujinon Lenses Q&A

What shoot have you recently taken the Fujinon lenses on?

I’m just back from the Bahamas where I was working on a Shark Week shoot for Discovery. I was filming topside and drone from a boat for the duration, so camera and lens choice was key. My pair of E mount Fujinon lenses (MK18-55mm and MK50-135mm) were the natural choice together with my Sony FS7 as they are the perfect match especially for this type of job

Tell us more about why the Fujinon lenses were a great fit for this shoot?

The production wanted to achieve a cinematic look and feel using a shallow depth of field throughout. So, shooting wide open at T2.9 I was able to achieve some very pleasing results with the actuality. We filmed a large portion of the footage into the night (under the boats minimal lighting) so, in this environment with these lenses I was still able to expose the contributors effectively

What USPs specific to the Fujinon lenses do you find most impressive?

As well as ‘the look’ I wanted to achieve an additional consideration for the on-the-shoulder sync filming is the overall weight of the camera. So, with each lens weighing in at 0.9kg (which is incredibly light weight for such a lens) it makes for a much more comfortable set up; a hugely important factor when you’re working across the length and breadth of a boat for long hours, into the evening

How did you utilise the full range of the two Fujinon lenses whilst on location?

The 18-55 is great for general sync shots and actuality; wide enough to get establishes and two shots and tight enough for pushing in for close ups and details. When it comes to shooting with another member of the camera team the 50-135 is perfect for close up reactions

'Animals with Cameras' BBC

In this three-part series, wildlife cameraman and presenter Gordon Buchanan collaborates with scientists in the field to attach cameras onto animals in the wild. On their journey, which takes them to all corners of the globe, they uncover unexpected findings about the lives of some of the planet's most captivating species. Mark filmed off the Princess Alice sea bank in the Azores during August 2017 for the Devil Ray sequence (featured in episode 3).

The team set out to discover why vast numbers of Devil Ray gather every summer near the Azores archipelago in the mid-Atlantic. The team successfully deployed specially designed cameras which towed behind the rays, these in turn witnessed wildlife spectacles seen for the first time including 'sun-bathing' ray at the surface reheating after a cold dive and unborn ray pups kicking inside their giant, four-meter-wide mothers; a sign that this congregation might be a breeding ground for these majestic ocean giants. Devil Rays are under threat from fishing, boat traffic, habitat decline and pollution and are currently listed as Endangered (EN) on the IUCN Red List. Although not usually targeted by fisheries, Devil Rays often become victims as bycatch. The good news is that Project AWARE have already made a positive impact to help protect Devil Rays.

Devil Rays are fascinating creatures – they are some of the fastest and deepest divers in the ocean, and swim with such elegance. When they are not feeding, their cephalic fins are curled and point forward and down, giving the appearance of devil horns; hence their name.
— Mark Sharman, Cameraman

Other wildlife events captured within this series include penguins catching their prey 200 miles off the coast of Argentina and fur seals avoiding attacks from great white shark off Australia. Further details and clips are available here.