ENVY takes us behind the scenes of BBC Studios’ latest series on which they provided a full range of post-production services.
More than 25 years after it first stomped onto our screens, the ground-breaking 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.
Walking with Dinosaurs reflects the most up-to-date discoveries about the biology, behaviour, and environments of these extraordinary creatures. Fresh insights into how dinosaurs hunted, fought, and died, this series offers an unparalleled window into a lost world.
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 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. Guiding us through the post process are Colourist, Sonny Sheridan; Online Editor, Adam Grant; Re-Recording Mixer, Bob Jackson; and Technical Operations Manager, Matt Cole.
Laying the bedrock
Bob Jackson, Re-Recording Mixer, also mixed the audio of the 1999 series.
This latest series has come a long way both in terms of technology and production. 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.
Bob Jackson, Re-Recording Mixer at ENVY
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.
Matt Cole, Technical Operations Manager at ENVY
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.
Sonny Sheridan, Colourist at ENVY
State of the art colour management and imaging workflows guaranteed quality and consistency across a range of camera formats that were used to shoot the plates.
These workflows played a vital role in maintaining interoperability between parties and ensured our artists had the latitude they needed to achieve the creative ambition of the project.
Matt Cole, Technical Operations Manager at ENVY
The edit received multiple submissions of each VFX shot to review milestones and provide feedback to Lola. Once the edits were picture locked and final VFX approved, ENVY’s online and grade support teams prepped material for Sonny Sheridan and Adam Grant to begin their work.
Mixing the mesozoic
For each of the 6 episodes, unique atmospheres and environments were created, comprising of various audio elements including sound effects, atmos layers, foley, voiceovers and music, across 200 different audio tracks. Each soundscape having differing characteristics to represent the time and the location on the planet.
Well renowned for their work within the natural history genre, Wounded Buffalo designed and created the sounds of each of the dinosaurs, from every roar, screech and cry. Providing foley on the series were Mahoney’s, providing extra layers of sound to enrich the bed of sounds.
It is really impressive how they were able to add depth to the sounds to emulate the size and weight of the dinosaurs, you can truly feel it.
Bob Jackson, Re-Recording Mixer at ENVY
We also added in camera shakes to amplify the sound effects and add to the drama. As a dinosaur gets closer to the camera, the shakes increased in magnitude and became more intense.
Adam Grant, Online Editor at ENVY
Guiding us through the prehistoric past was Tony and Olivier award-winning actor, Bertie Carvel. His narration blended with the amazing score, composed by Ty Unwin truly adds to the drama and the tension that the dinosaurs face.
To differentiate between modern day and the prehistoric past, the flashback sequences were mixed in Dolby 5.1 surround sound but when we transition back to present day, the audio changes to stereo which the audience will pick up on and subconsciously be brought back to today.
Bob Jackson, Re-Recording Mixer at ENVY
There were different versions delivered for BBC, PBS, in addition to mixes for other countries including France, Germany and China – each have their own specifications for delivery.
Grading a prehistoric palette
With the grade taking place in parallel to the mix, Colourist Sonny Sheridan explains the technical differences with the series, whilst also taking audiences on a journey into the prehistoric world. VFX shots were supplied with embedded mattes allowing Sheridan more control over the grade.
Having access to the mattes was so beneficial to the grade and it gave me closer control of all the individual elements. I was able to create an even more realistic grade on the dinosaurs and how the lighting on their bodies would change as they move across the shots and engage with their surroundings.
Sonny Sheridan, Colourist at ENVY
Finessing the timeline, bone by bone
Working with the final sequences, Online Editor Adam Grant was one of the final steps of this colossal production.
My primary focus was working on the final plates, ensuring any objects that didn’t belong in the time period were removed, stripping it back to prehistoric times. In some instances, I was painting in layers such as sand and dirt to build up the environment.
Adam Grant, Online Editor at ENVY
To add to the realism of the scenes, shots were made to look handheld which added to the drama and tension of the sequences without being made to feel static and disconnected from the stories.
Grant completed a thorough quality control (QC) check of all 6 episodes paying particular attention to the dinosaurs and VFX elements.
To make the series feel as real as possible, we needed to make sure the dinosaurs were interacting with the plates correctly. For example, making sure the dinosaurs were in contact with the ground when the terrain changed.
Adam Grant, Online Editor at ENVY
The post-herd
In order the deliver to project to the highest standard possible, a great deal of planning and collaboration was required.
This was a very technical project for everyone involved. The implementation of different workflows gave us a solid structure to work from.
Sonny Sheridan, Colourist at ENVY
There were plenty of discussions between us and BBC Studios with Mahoney’s and Wounded Buffalo throughout the entire process and together we created a rich and authentic mix.
Bob Jackson, Re-Recording Mixer at ENVY
The entire project was a real team effort. You can see all that work and collaboration paid off on screen!
Matt Cole, Technical Operations Manager at ENVY
Brand new Walking with Dinosaurs begins Sunday 25th May at 6:25pm on BBC One and BBC iPlayer, with new episodes released weekly/all episodes available on BBC iPlayer on release.
ENVY Post Production Team
Colourist: Sonny Sheridan
Online Editor: Adam Grant
Re-Recording Mixer: Bob Jackson
Technical Operations Manager: Matt Cole
Post Producers: Jannine Martin, Edith Rivers C Emelie Bjork
VFX: Lola
Foley: Mahoney Audio Post
Additional Sound Effects: Wounded Buffalo Sound Studios
