It\u2019s as firm a fixture in the BBC\u2019s spring calendar as the FA Cup Final. But have you ever wondered what goes into making an episode of Springwatch? <\/p>

For<\/span> an hour a night, four nights a week and<\/span> for three weeks from the end of May, the BAFTA-winning Springwatch<\/i> will again see the nation glued to BBC Two. <\/span><\/p>\n

Springwatch 2023 filming locations<\/a><\/strong><\/li>\n
Springwatch 2023 wildlife: meet the species starring in this year\u2019s\u00a0Springwatch<\/a><\/strong><\/li>\n
BBC\u00a0Springwatch: When is\u00a0Springwatch\u00a0on television and how can I watch it?<\/a><\/strong><\/li>\n<\/ul>
<\/p><\/div> <\/section>
How Springwatch<\/em> is filmed<\/h2>\n\n10am<\/strong><\/p>\nThe first call of the day is the editorial meeting. The presenters join via Zoom from their respective locations \u2013 Iolo on Mull, Chris and Michaela in Norfolk, and <a href=\""https:\/\/www.discoverwildlife.com\/people\/who-is-megan-mccubbin-everything-you-need-to-know-about-the-autumnwatch-presenter\/"\">Megan McCubbin<\/a><\/strong> in Northumberland.<\/p>\nTalk is of the weather forecast. Will the rain hold? The weather on Mull is rotten and Iolo is sheltering from the storm, while in Norfolk the sun is beating down.<\/p>\nIn Norfolk, Chris and Michaela are in the Green Room (actually the living room of the estate manager\u2019s charming old red-brick cottage). The windows offer idyllic views across glorious red poppy fields.<\/p>\nBeyond the garden wall is a barn, where a mass of cabling spaghettis around giant trailers and makeshift workstations. A bank of screens shows the live feed from cameras tucked away in boxes, barns and boltholes.<\/p>\nThe main purpose of the editorial meeting is to run through this evening\u2019s show. Every item is detailed and discussed, albeit at breakneck speed.<\/p>\nConversation turns to <a href=\""https:\/\/www.discoverwildlife.com\/animal-facts\/birds\/facts-about-kestrels\/"\">kestrels,<\/a><\/strong> the undisputed stars of this series. They have now more or less fully fledged \u2013\u00a0could we expect any more from them live on the show tonight? Will they still even be there? It\u2019s this uncertainty that makes working on Springwatch<\/i> so unpredictable. Decisions have to be made on the fly, and last-minute changes are standard.<\/p>\n11am<\/strong><\/p>\nWith the meeting finished, Chris and Michaela run through their sections and divvy up tonight\u2019s script. \u201cChris will usually tackle the big science stuff, because he likes that,\u201d Michaela tells me. \u201cI\u2019ll do the more emotional stuff, because that\u2019s what I really like.\u201d She explains that, having worked together for so long \u2013 not to mention being such firm friends \u2013 there\u2019s very little discussion needed to decide who\u2019s doing which bit.<\/p>\nWhile Chris and Michaela look at their notes, write up their cue cards and deal with a never-ending stream of messages and requests, BBC Wildlife<\/i> takes the opportunity to nose around the site.<\/p>\nFrom the front, all is calm. But as you come around the side of the barn, you\u2019re greeted by a carnival of remote-working vehicles, with miles of cabling running in and out of the cavernous barn. Various members of the crew are busying themselves trying out camera shots, walking through ideas to use later, or chasing up news of the real stars of the show \u2013\u00a0the animals.<\/p>\nAnd this is just the Norfolk end of proceedings. I\u2019m reminded that this set-up is duplicated on Mull and again in the North East; the scale of the operation is beginning to hit home.<\/p>\n11.45<\/strong><\/p>\nRevisions are made to the opening sequence for tonight\u2019s show. A problem with the voiceover means that it\u2019s going to need re-recording, which means finding time in Chris and Michaela\u2019s already overloaded schedule to do it again.<\/p>\n12.15<\/strong><\/p>\nAfter a morning focused intently on tonight\u2019s broadcast, early afternoon sees attention turn to the next day, with a script meeting for tomorrow\u2019s episode. Broadcasting every day means the pace is relentless.<\/p>\nThe meeting begins with a run-through of highlights from the pre-recorded clips (VT). The respective benefits of herons and skylarks are evaluated. With such an unpredictable live programme, it\u2019s important to have plenty of VT ready to roll as you never know what\u2019s going to be happening on the live cams. At the same time, the team has to be agile to drop everything when the animals choose to become active.<\/p>\nA large part of the skill is in joining the various elements together. With so many cameras and locations, creating a narrative is what gives Springwatch<\/i> its universal appeal.<\/p>\n14.00<\/strong><\/p>\nAfter a communal lunch in the sun (today is a meat-free Monday, and delicious to boot), the afternoon kicks off with a block rehearsal. Not quite a full rehearsal, this is effectively a walk-through of the evening\u2019s programme, making sure everything works, checking camera positions, testing any props to be used, and making late adjustments to the desired shots.<\/p>\nTonight\u2019s team heads up a set of steps into the Outside Broadcast Vehicle (OBV). This huge trailer acts as a TV production studio on wheels, allowing the BBC to broadcast live from events as diverse as Glastonbury Festival, the Chelsea Flower Show and Wimbledon.<\/p>\n<div class=\""image-handler__container\" image-handler__container--full=\"\" style=\""padding-bottom:\" calc=\"\"> <picture><source media=\""(max-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?webp=true&quality=90&resize=300%2C200,\" https:=\"\" type=\""image\/webp"\"><source media=\""(max-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?quality=90&resize=300%2C200,\" https:=\"\" type=\""image\/jpeg"\"><source media=\""(max-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?webp=true&quality=90&resize=355%2C237,\" https:=\"\" type=\""image\/webp"\"><source media=\""(max-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?quality=90&resize=355%2C237,\" https:=\"\" type=\""image\/jpeg"\"><source media=\""(max-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?webp=true&quality=90&resize=405%2C270,\" https:=\"\" type=\""image\/webp"\"><source media=\""(max-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?quality=90&resize=405%2C270,\" https:=\"\" type=\""image\/jpeg"\"><source media=\""(max-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?webp=true&quality=90&resize=554%2C369,\" https:=\"\" type=\""image\/webp"\"><source media=\""(max-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?quality=90&resize=554%2C369,\" https:=\"\" type=\""image\/jpeg"\"><source media=\""(min-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?webp=true&quality=90&resize=620%2C413,\" https:=\"\" type=\""image\/webp"\"><source media=\""(min-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?quality=90&resize=620%2C413,\" https:=\"\" type=\""image\/jpeg"\"><source media=\""(min-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?webp=true&quality=90&resize=408%2C272,\" https:=\"\" type=\""image\/webp"\"><source media=\""(min-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?quality=90&resize=408%2C272,\" https:=\"\" type=\""image\/jpeg"\"><source media=\""(min-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?webp=true&quality=90&resize=556%2C371,\" https:=\"\" type=\""image\/webp"\"><source media=\""(min-width:\" data-srcset=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?quality=90&resize=556%2C371,\" https:=\"\" type=\""image\/jpeg"\"><img class=\""wp-image-77144\" align=\"\" size-full=\"\" image-handler__image=\"\" image-handler__image--full=\"\" no-wrap=\"\" js-lazyload=\"\" data-src=\""https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/23\/2023\/05\/Springwatch-bc4da6d.jpg?quality=90&resize=620%2C413"\" width=\""5616"\" height=\""3744"\" alt=\""Springwatch"\" title=\""Springwatch"\"\/><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/picture><\/div>\nStepping into the OB vehicle is akin to entering that other famous BBC vehicle, the TARDIS. Banks of desks, a dizzying number of screens, lights, meters, timers and headsets are all staffed by yet more members of the production team. Alongside various producers are a sound team and assorted other technical staff whose heads appear occasionally from behind the bank of monitors. <\/span><\/p>\nIolo appears on a screen, live from a bluebell meadow on the rugged Mull coastline, chatting away with a colleague about the best <a href=\""https:\/\/www.discoverwildlife.com\/animal-facts\/mammals\/otters-of-the-world\/"\">otter<\/a><\/strong> sites on the island. The changeable Scottish weather now looks as glorious as the scenery. \u201cThe sun is out so we\u2019re happy with that,\u201d Iolo smiles. There are technical issues to report: \u201cJust so you know, we haven\u2019t got the thingy here.\u201d The thingy in question turns out to be a monitor. Unlike Iolo, we have them in spades.<\/p>\nTo those unaccustomed to the inner workings of TV production it can be disconcerting to listen to Iolo talking away to camera while the OB director issues endless cues and commands, telling Iolo when he\u2019s back in vision, requesting changes to the shot from the cameraman, and alerting all to what\u2019s coming next. Everything is timed to the second. \u201cIt\u2019s much harder without the monitor,\u201d Iolo comments. \u201cI can\u2019t see what I\u2019m talking about at the moment!\u201d<\/p>\nAlong with screens showing the locations, test signals and monitors broadcasting BBC One and Two live (\u201cIn case of breaking news,\u201d we\u2019re informed, \u201cand to make sure we\u2019re actually on air!\u201d) there\u2019s a bank of some 30 nest cams, woodland cams, and so on. It\u2019s difficult not to get distracted by kestrel chicks and <a href=\""https:\/\/www.discoverwildlife.com\/animal-facts\/birds\/facts-about-barn-owls\/"\">barn owls<\/a><\/strong>, as Megan appears on screen from Northumberland. Two live osprey nest cams, with forest and reservoir in the background respectively,<br\/>\nvie for position.<\/p>\nImmediately apparent is the difference in technique between the various presenters. While Iolo went through his sections as though he were live on air, Megan prefers just to walk it through: \u201cI\u2019ll talk a little about the woodland here\u2026 this is what we\u2019ve seen so far\u2026 then we\u2019ve got <a href=\""https:\/\/www.discoverwildlife.com\/animal-facts\/birds\/facts-about-oystercatchers\/"\">oystercatchers<\/a><\/strong> and goosanders, a nice bit of sexual dimorphism\u2026\u201d The crew\u2019s faces are in nets to shield them from the swarming midges, but poor Megan has nothing but cue cards to protect her. <\/span><\/p>\nIt\u2019s understandable Megan wants to keep some energy in reserve. It\u2019s a 12+ hour day, and with the all-important broadcast not coming until the final hour, it\u2019s vital the presenters stay fresh and keep plenty back. Not least as tomorrow is another full day, as is the next day and the day after that. Over the course of three weeks, Springwatch<\/i> will broadcast some 15 hours of live television \u2013\u00a0no wonder they followed last year\u2019s Bafta win with another nomination this year. This is extremely demanding television. <\/span><\/p>\nRegardless of the different approaches, it\u2019s clear that both Iolo and Megan are well in control. Eventually, Megan is allowed to escape the midges.<\/p>\n15:05<\/strong><\/p>\nWith under five hours until an hour\u2019s live broadcast across multiple locations, the atmosphere is surprisingly jovial, and jokes ping back and forth. After a clip of a deer feeding, Chris pulls out a skull in classic BBC \u2018Here\u2019s one I made earlier\u2019 style: \u201cHe looked fine yesterday but look at him today! He went downhill fast\u2026\u201d<\/p>\nWhile Michaela attempts to record a lively voiceover for the top of the programme, Chris pretends to doze off next to her. As interference interrupts the sound, Michaela remembers to switch her phone to airplane mode. \u201cHow many years?\u201d Chris teases and everybody laughs. There\u2019s a light-hearted atmosphere among the production crew and it betrays the team spirit that is palpable from junior researchers to executive producer. \u201cI like to make everybody feel they can speak up about anything,\u201d series editor Jo Brame tells me.<\/p>\n15:15<\/strong><\/p>\nFloat review session. A float, we learn, is jargon for a piece of pre-edited film to be \u2018floated in\u2019 during the live broadcast. For example, when showing a piece of film sent in by a viewer, the float is the edited version of the reader\u2019s video, over which the presenter talks live on air. This review session is the last chance to make tweaks before the clips are finalised ready for broadcast.<\/p>\nThere\u2019s still lots left to do \u2013\u00a0including a full run-through of the programme as-live. Just as the dress rehearsal is about to begin, Chris suggests a change of running order: \u201cI\u2019m just thinking of getting more great wildlife in at the top,\u201d he explains. Such is the team\u2019s can-do attitude, the suggestion is greeted with a thumbs-up and the adjustments are duly made.<\/p>\n16.49<\/strong><\/p>\nTime for the final dress rehearsal as the clock ticks inexorably onwards towards the 8pm live broadcast. All the various files, clips and edits needed for the broadcast are checked and double checked ready to be dropped in at the appropriate moment. Scripts have been updated to include the countless tweaks throughout the day, and the atmosphere takes on a more serious tone: there\u2019s no turning back now.<\/p>\nBut there\u2019s a delay. The dress rehearsal can\u2019t go ahead until the final VTs are in place, and with changes being made up to the last minute, everything is on pause while we wait for an errant file to be delivered. With every minute precious, having this many people on stand-by is costly as well as frustrating. <\/span><\/p>\nAs time edges onwards, it\u2019s now getting tight to fit in the dress rehearsal, get Michaela and Chris changed and made-up (not to mention fed), and back in time to appear on The One Show<\/i> to plug tonight\u2019s show. <\/span><\/p>\nIt\u2019s 17.20 when the dress rehearsal finally begins, and to see the disparate elements come together at last is thrilling. On screen, Iolo, Megan, Michaela and Chris make it all seem so effortless, yet it\u2019s a huge team effort that makes this show so beloved. <\/span><\/p>\n18.16<\/strong><\/p>\nBang on cue, as Chris and Michaela bring proceedings to a close, the evening meal arrives in the OBV. There\u2019s no time for a break \u2013 with fixes needed on a number of items, the crew members eat on the go, just as they did at breakfast and lunch. Discussion continues between producers and presenters to get the timings bang on, and notes are given and taken. With each round of rehearsals, the quality is tightened and the finished product gets better and better.<\/p>\n19.10<\/strong><\/p>\nWith just 50 minutes left until transmission, calls are being made to bring tomorrow\u2019s episode together; as soon as the closing titles roll on today\u2019s broadcast, all attention turns to tomorrow.<\/p>\nLive television is exciting, but also unforgiving. Sensing that we\u2019re now at the critical stages, BBC Wildlife<\/i> makes a quiet exit stage left shortly before the curtain goes up, relieved that, unlike the huge Springwatch<\/i> team, we can go home to put our feet up in front of the TV, and won\u2019t have to do this exhausting day all over again tomorrow<\/span>.<\/p>\n20.00<\/strong><\/p>\nBBC Wildlife<\/i> pours a refreshing drink and settles in front of the TV: \u201cHello! And welcome to Springwatch<\/i>\u2026\u201d<\/p>\n<section class=\""highlight\"><div class=\""highlight__content\" editor-content=\"\"> <ul><li><a href=\""https:\/\/www.discoverwildlife.com\/how-to\/watch-wildlife\/best-nature-documentaries\/"\">Best nature documentaries to stream<\/a><\/strong><\/li>\n<li><a href=\""https:\/\/www.discoverwildlife.com\/tv\/best-david-attenborough-documentaries\/"\">Best David Attenborough documentaries to watch and stream: unmissable wildlife television at your fingertips<\/a><\/strong><\/li>\n<li><a href=\""https:\/\/www.discoverwildlife.com\/tv\/best-dinosaur-documentaries\/"\">Best dinosaur documentaries to watch<\/a><\/strong><\/li>\n<\/ul> <\/p><\/div> <\/section><hr\/>Photographs by Tom Gilks<\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":" It\u2019s as firm a fixture in the BBC\u2019s spring calendar as the FA Cup Final. 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