ARC Trustee, Howard Inns gives his roundup of behind-the-scenes of this year's BBC Springwatch, from natterjacks to smooth snakes. 

Every year BBC's flagship Springwatch series makes over 20 hours of programme content, at least 50% of which is live, from multiple locations with around 40 live cameras focused on birds’ nests or other points of interest. 

Two of ARC’s patrons, Chris Packham and Iolo Williams, are presenters on the show which in 2023 and 2024 has been based at RSPB Arne. The BBC team is supported by many volunteers and, on behalf of ARC, I have played a small part in this whilst the show has been based at Arne. 

Based on proposals made by ARC to the Springwatch team, in March 2024 to I visited Hengistbury Head with the BBC head researcher, the Watches series producer and BCP Council site manager Robin Harley. Hengistbury Head was then selected as one of the filming locations for the ‘roving reporter’ Iolo Williams. Having supported the BBC in producing the natterjack film shot at Blackmoor (Episode 2, Tuesday 28^th May) I was asked to support the live program (Episode 3, Wednesday 29^th May) with Iolo to provide more insight into the natterjack Toad’s habitat requirements in relation to Hengistbury.

For the remainder of the 2024 series, I continued to work with the team on other reptile and amphibian related topics including a feature on slow-worms which involved spending many hours in the ‘macro studio’ (a black tent!) with James Stevens, a highly skilled wildlife film maker who managed to get some great footage.  The feature was presented by Chris and Michaela (Episode 4,on Friday 31^st May) supported by live animals from my garden. 

During the following week, I was invited by the on-line team to work with their presenter Hannah Stitfall on a film, shot at Arne (Watch Out! Episode 4 on Thursday 6^th June) to highlight the Smooth Snake and how we survey for it.  Despite being an acclaimed wildlife photographer Hannah had not seen wild snakes in the UK so the film genuinely featured her seeing not only her first smooth snake but her first wild snake in the UK.  The same episode also featured Hannah and Iolo Williams showing sloughed reptile skins which I was able to provide from the ARC Weald team and Ben Limburn. 

I also helped the researchers with a feature on the different predation and feeding strategies of our three snakes to support the nest-cam footage of a Reed Bunting chick predation firstly by an Adder and then by a Grass Snake.  The researchers and I reviewed the full footage over the weekend and a script was built so that the whole story could be shown in Episode 9 on Monday 10^th June.  Whilst sad for the predated chicks this footage brought to life the explanation provided by Chris and Michaela.

Being part of the live shows provides an incredible insight into the skill of the 100 plus Springwatch team and how well managed the whole production process is.  Whilst pre-recorded films are pre-built into the schedule the team really do react to what’s been seen in the day or two before broadcast.  Each morning that evening’s show is finalised via a strict, carefully timed but collaborative discipline, the afternoon is given over to very thorough rehearsals, the live broadcast teams at several locations get ready from around 7.00pm so that everybody is in position by 7.30 ready for the show to go live at 8.00pm. 

The props, like the one I used at Hengistbury Head to demonstrate Natterjack’s preferred pond depth, are built on-site in real time by the amazing Lucy Hodson (Lucy Lapwing) who is a fundamental member of a team of talented individuals. As well as the presenters the team includes camera operators, producers, editors, story developers, researchers and technicians.  The technical back-up is immense with remote cameras linked via some 20 kilometres of fibre optic cable. Just imagine the technological challenge of broadcasting live, out on the heath in Dorset where it’s usually impossible to even get a mobile signal.

The production base is a field at Arne which is transformed into an secure, temporary village which included at least 3 truck-based studios as well as tented offices, edit suites, dressing rooms and catering all supported by a low carbon emission hydrogen power plant. 

Hannah Stitfall described the magic of Springwatch to me;

Imagine having a three week holiday with all of your best mates but having to work incredibly hard, day and night for the whole of those three weeks.

 It was a real privilege to be a small part of this magic on behalf of ARC and to help get some great coverage for our species.

  

Photographs provided by Martin Whitchurch and Robin Harley