This is the first time I've filmed the same animal on macro lenses and a gimbal mounted on a car

Meerkats: A Dynasties Special producer Emma Napper tells TVBEurope about the joys and challenges of filming the natural history special.

By Jenny Priestley

Published: December 16, 2020

Meerkats: A Dynasties Special producer Emma Napper tells TVBEurope about the joys and challenges of filming the natural history special.

target=_blank title=Share on LinkedIn class=share-linkedin> Meerkats: A Dynasties Special producer Emma Napper tells TVBEurope about the joys and challenges of filming the natural history special.

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The story of a meerkat named Maghogho and her quest to establish a dynasty in the remote salt pans of Botswana looks set to be one of the TV highlights this festive season.

Meerkats: A Dynasties Special is the first stand-alone film to follow on from the BBC's Dynasties series, originally broadcast in 2018. The film was shot between September 2019 and March of this year when filming was halted due to the pandemic.

Despite the challenges of filming in the Makgadikgadi salt pans, producer Emma Napper tells TVBEurope the meerkats felt like the perfect choice to be the subjects of this special. For Dynasties we're always looking for stories where the individual animals have got a real challenge to try and lead their group and where they leave a significant dynasty, she explains.

Meerkats definitely fell into that group. They seemed like a really obvious thing that we wanted to do for Dynasties, but we needed to find the right family. I went to an area where the meerkats are not generally filmed, the Makgadikgadi salt pans, which is one of the most challenging places for them to live. I met a couple of the meerkat families around that area, found Maghogho and it felt like she was at the start of trying to establish her family and her dynasty.

The production team in Botswana consisted of two camera operators, a director and a guide. The team would leapfrog one another in order to ensure there would always be somebody with the meerkat family so nothing was missed. That meant long days in the field. We'd be with them before dawn every day, which meant leaving camp between 4-4.30am and then we'd get back to camp after dusk about 8pm, explains Napper. It's a long day, but that's our job, it's what we love. In order to catch the moments we need to be there as much as we can.

We used a combination of cameras, a traditional long lens setup, so a Red or a Venice on a long lens with a BM-20, which is the kind of workhorse lens for wildlife, she continues. Sometimes we had two operators working on separate cameras on tripods, one person might have a macro camera or a prime, and the other would have the log lens camera.

Shooting also included a rolling setup, where the camera would be mounted on a gimbal so the meerkats could be followed on foot. The other main piece of technology that we used was the Shotover, so a gimbal mounted on the car. This is the first time I've ever filmed the same animal on macro lenses and a gimbal mounted on a car, Napper laughs. You need cameras where you can get close to the meerkats and get really intimate shots, but you also need to be able to stand back, especially when they're running around and behaving dramatically, you need to be able to follow them.

Working in the salt pans can't have been easy how did the team ensure their tech was able to stand up to the extreme temperatures? The parameters can be quite extreme, it can get down to almost freezing at night at some times of year, and then other times during the day it gets up to 50 degrees or so, states Napper. But the kit's fairly resilient, and we're used to working in those conditions. I think the main challenge in terms of the environment had more to do with the dust storms that would come up. You obviously want to film as much as you can, but the dust and the rain can fill cameras fairly quickly. I wish I had a high tech solution as to what we would do, but basically we'd just cover them, shelter and then try and stick it out for as long as we could.

Surprisingly, Napper says that wasn't the toughest part of the shoot. I think the biggest challenge of filming was trying to follow such small animals. We tried to film everything on their eye level because you want to tell their story. It was really just about managing to capture their behaviour right on their own level.

The show's sound was also recorded on location, which again proved to be somewhat challenging at times. You can't really get across in the programme just how incredibly windy it can be there sometimes. It's kind of lovely recording the meerkats but also slightly frustrating when you have the pups around. You get some really nice sounds of their begging calls to the adults and then they start running around and come and stand right next to the microphone and tap it. So all I can hear is banging through my sound recordings!

Working in the remote salt pans of Botswana meant there was no internet on hand to help with transferring files at the end of each day's filming. Instead, once the team arrived back at camp each night, they would download the day's footage, which often meant getting up in the middle of the night to change the cards.

In terms of logging what was going on, that was done manually both during the shoot, and when Napper arrived home in Bristol. That's not an easy task when you shoot over 250 hours of footage! How on earth did Napper manage to reduce all that to just 60 minues? It's definitely a challenge with that much footage, she says. But, most days in the field you're writing down what's happening. You h

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