Killer Shots Deadly 60


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Transcript


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My name's Steve Backshall...

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..and this is my search

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for the Deadly 60.

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That's not just animals that are deadly to me,

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but animals that are deadly in their own world.

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My crew and I are travelling the planet

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and you're coming with me every step of the way.

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(Deadly!)

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'Deadly 60 is all about giving you a sense of the spectacular,

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'showing you animals in their natural environment

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'and revealing hidden elements of their behaviour.'

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Argh! It just bit me right through the chainmail suit!

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'Over the years, we've seen unprecedented animal dynamism,

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'been on some hardcore adventures

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'and had some fairly close calls...'

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He's tasting my face.

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Wa-hay!

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But every now and again, we need to bring you animal behaviour

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that happens in ways the human eye simply cannot appreciate.

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Then, we turn to technology

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to bring you killer shots.

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These scintillating images have only been possible

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through the use of hi-tech equipment,

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taking human beings to places we've never been before.

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We've come to this film studio to look at some of the fancy kit we use

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to show you wildlife doing stuff that happens in total darkness,

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perhaps painfully slowly,

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or maybe phenomenally quickly.

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Using hi-tech, we can slow down reality,

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even freeze moments in time.

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Some of the most sophisticated and exciting killer shots

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in wildlife film-making come from this simple-looking box of tricks.

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But don't be fooled by its appearance.

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This is a Photron camera.

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It's one of the most extraordinary bits of hi-tech you will ever see.

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This machine has the ability to take a millisecond of real time

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and slow it down so it lasts an eternity.

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That's important because it enables us to see the world in the same way

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certain animals would do, perhaps a bird of prey or a fly,

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that has a different perception of speed to human beings.

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So we have a special Deadly 60 experiment to show you

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this camera in full effect.

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OK. Time for a Photron's perspective on how the world works.

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Let's have a look.

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So...

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All of this has happened in the blink of an eye.

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Look at that! That is just exquisite.

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Watching it slowed down

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to approximately 80 times slower than reality.

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Every single droplet of water almost hanging motionless in the air

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and then dropping out of frame

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like some giant kind of constantly moving crystal. Gorgeous.

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And if the Photron camera can do that with a humble water balloon,

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imagine what it can do with the behaviour of wild animals.

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And one wild animal I've been wanting to film with this camera

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for nearly a decade was...

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the most frightening fish on Earth, the great white shark.

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In certain locations, great whites attack by breaching,

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launching their whole body out of the water as they smash

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seals in their jaws. But it's all over in milliseconds.

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So to really get to grips with what's happening

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in this remarkable predatory moment, we wanted to slow it down.

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So we headed to Gansbaai in South Africa,

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the great white shark capital of the world.

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This is essentially a fake seal.

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It's got polystyrene with wetsuit rubber on top.

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We'll drag it behind the boat and hopefully, a great white shark

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will sense it and come racing up from the depths and try and hit it.

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That's the plan, anyway.

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So, this allows us to focus on where the shark's going to strike,

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giving us a much better chance of filming it with the hi-speed camera.

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The breaching attack of the great white shark is so fast, blink

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and you miss it. So, Johnny, the cameraman, will have this

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on his shoulder, pointed at our decoy. Then when it happens,

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I have to hit this trigger button.

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The image then gets recorded on this laptop.

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Hopefully, if we get it right,

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we should see the whole thing beautifully slowed down

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so that you can fully appreciate the strike.

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It's a pretty tall order though.

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All we need is for a shark to hit the decoy at the right minute,

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for me to hit the button at the right minute,

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for Johnny to have the focus perfect,

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with the shark in the middle of the frame, and it'll be great!

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So, I think we're also going to need a bit of luck.

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As the decoy's moving across the surface of the water,

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it's creating very much the same kinds of vibrations

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as a real seal would if it was swimming

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and the shark can detect those.

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It has a special organ that runs down the length of its body

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called the lateral line. It picks up tiny vibrations in the water.

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But once it gets close, it's going to switch to using its eyesight.

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In the last few metres, it'll focus in on its target

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and then hit it with incredible, explosive power.

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Well, that and 300 razor-sharp teeth.

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Yep.

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It looks like our fake seal has worked!

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Ready for another one?

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Yep.

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It's down.

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That was incredibly impressive, but it was a massive, massive animal.

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What do you reckon, Johnny? Shall we have a look?

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Let's see what we've got.

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Oh! Wow!

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Superb. Absolutely superb.

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The high-speed camera perfectly illustrates the immense force

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that the sharks use to hit their seal supper.

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The shots are sublime.

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But Johnny's a perfectionist and reckons we can still get better.

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Well...

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That was it. That was almost a complete breach.

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The tail was flung out of the water, it hit it.

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Now we've just got to see what happened.

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'At normal speed, it barely registers.

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'But slowed right down, it's so dramatic

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'it simply leaves us spellbound.

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'For a second, this gigantic oceanic predator is almost defying gravity.'

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Oh! That is absolutely extraordinary!

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John boy!

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-Teamwork, man.

-Teamwork! How about that?!

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That is extraordinary.

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I mean, it is just out of this world that an animal of THAT size

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can throw itself bodily, fully out of the water.

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Can you imagine the power it must be generating?

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That truly is one of the most extraordinary predatory methods

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you will ever, ever see.

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And seen in super slo-mo.

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Look at this!

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It's happy days. Shall we have another go?

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STEVE LAUGHS

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You genius! You genius!

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In super slo-mo, you can see the shark's scything tail

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generating enormous momentum,

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the chomping teeth, the thrashing water...

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It's awe-inspiring.

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And it's not just sharks that have been captured

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with this extraordinary camera.

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Slowed down, you can see that a chameleon's tongue

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actually grips a hold of its prey, almost like our hands would.

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Some of the simplest things can look surprisingly beautiful.

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We've seen how salmon catapult themselves up waterfalls...

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And how perfectly-positioned bears have to be to catch them.

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When filmed at high speed, you can see the way a boomslang snake

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uses its tongue to taste its world.

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The two forks work independently, trailing through the air,

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then down on to the branch, picking up invisible scents

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that their prey may have left behind.

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The camera's revealed the pace and precision a kingfisher employs

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as it hammers into the water to retrieve small fish.

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And that a sprinting cheetah spends more than half of its time

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completely airborne!

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A puff-adder strike

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is normally over and done with

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in a fifth of a second, so

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we wouldn't usually see the detail.

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But slowed down, we can appreciate it in a whole new way.

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They have hinged fangs which swing forward like a switch-blade,

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stabbing into its prey before it retreats to safety.

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So, that's fast things slowed-down.

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Now for slow things speeded up.

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(Deadly!)

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This is a time-lapse camera.

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It can be set to run for hours, days, weeks, even years.

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And then the results can be speeded up to a pace

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that us human beings can truly comprehend.

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Or it can take real life, like this...

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and just give it a bit of zip.

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Come on, guys! Get a move on.

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Time-lapse camerawork reveals subtle things

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that take too long for our eyes to see...

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with magnificent results.

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From seeing spiders constructing intricate silken webs...

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..to revealing border disputes between coral,

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something you could never appreciate in real time.

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They may look like stationary rocks on the sea bed,

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but corals are actually living creatures that feed at night.

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They also defend and extend their territories like this.

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The polyps project their guts out and digest their rivals alive.

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We've captured carnivorous plants called sundews

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catching and slowly digesting their prey.

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And huge starfish hunting.

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The sunflower starfish is a metre across

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and has an appetite for brittle stars and urchins,

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which it uses its feet to taste for.

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When we condense hours to minutes, you can see that the brittle stars

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are pretty accomplished at avoiding being munched.

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Sand dollar sea urchins, on the other hand,

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aren't so good at escaping,

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so they cluster together as a defence.

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But even en masse, they're no match for the sunflower starfish.

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It ejects its stomach over them and liquidises their soft parts

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until only their white skeletons remain.

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As well as revealing predatory behaviour,

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time-lapse photography is also great for demonstrating

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the beauty in the passage of time

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and the transition from day to night.

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But filming in the dark requires an altogether different piece of kit.

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One of the big challenges that we face with wildlife

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is that so many animals are really awkward

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and choose to be active and come out at night when it's completely dark.

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So one thing we can do is use spotlights.

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But obviously, it can be quite fierce

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and sometimes, it'll stop animals actually doing their natural thing.

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So what we can also use is one of these.

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This is an infra-red camera and it sees

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in a whole different spectrum.

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So, if I lose that light there...

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..we can see Ash, the cameraman, waving there,

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and Simon, the sound recordist,

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even though it is totally pitch-black.

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So, filming in infra red enables us to see animals

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and they can't see us, so they just go on doing their thing.

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And it's enabled us to get some truly cracking shots.

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Infra-red light has a different wavelength to visible light,

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so we can't see it.

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The technology's portable, so we can take it anywhere.

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We can set up infra-red lights in the wild

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or rig them onto vehicles,

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then use special cameras to capture the shots.

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There's a multitude of hidden hunts that go on when night falls.

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Loads of carnivores go to work under the cover of darkness.

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So with these cameras and lights, we've been able to capture action

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that would otherwise have been completely missed.

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It's also revealed some fascinating activity in the depths of a cave.

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Mountains of bat droppings maintain a living carpet

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of flesh-eating cockroaches and beetles.

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Gross! Any baby bats that can't yet fly

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and are unlucky enough to lose their footing don't stand a chance.

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Another piece of equipment that's saved my bacon

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hundreds of times over the years is this.

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It's fairly simple, really. It's just a camera with a motion sensor.

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But the great thing about these camera traps

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is that they're always working. We can be back in our hammocks

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or in our tents snoring away, but this carries on watching.

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Any animal that passes through the motion sensor

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is going to get photographed, often with spectacular results.

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We used camera traps in Peru

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when trying to see a black caiman out of the water.

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So, these here are camera traps.

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What we're going to do is probably tie these to some trees,

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put them all around this area here and then

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put some bait down at the centre there.

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We'll set a trip line up around here.

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And anything big that comes in here to check out that meat's

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going to trip the cameras, and hopefully, we should get some shots

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of them on these.

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It's a beautiful, still, windless morning

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and we're just heading back to the camera traps,

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they're in the bushes ahead of us.

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There's quite a heightened sense of anticipation among the team

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as to what's going to be on the cameras.

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We can still see the cameras, they've not been eaten by anything.

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The trip wire's gone.

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Meat's gone!

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No way!

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OK, let's have a look at what we've got.

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This is really exciting.

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We've got something on here.

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Been triggered by something, but I can't see anything.

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CREW: Is that the end of the tape?

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Almost. Into the last five minutes and there's nothing there.

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Oh!

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Look at that!

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That's fantastic!

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Right at the end of the tape.

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Look at that, it's a huge black caiman, look at the size of it!

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You've got to see this, guys. You've got to see it.

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'At over four metres long,

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'this giant must weigh more than all of us put together.'

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You wouldn't want to be going swimming in there.

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No, no. You really wouldn't.

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Black caiman are the largest members of the alligator family.

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A really broad, flattened snout,

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very, very powerful around here, which allows it to use those jaws

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with great strength, wrenching its prey around.

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At the moment though, it's just slinking off,

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back into the water with our meat.

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That is an absolute triumph.

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We've shown you how we film things that happen extraordinarily slowly,

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at lightning speeds,

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in pitch darkness...

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..and when we're not even there.

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Now for a bit of kit that really turns up the heat.

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Every now and then, we get a chance to use a really impressive toy,

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something like this thermal imaging camera.

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Conventional cameras see using light, but this picks up warmth.

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So, if I set it running,

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I've got a way of showing how this works.

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So...

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now the camera's looking at me and it should see

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my hands and my face, which are exposed, as very bright colours,

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as whites and yellows. But the parts of my body insulated by clothing

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should be darker, kind of blues and purples.

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In front of me, I have a glass of cold water,

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so that should be dark blue.

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But if I take a kettle of very hot water...

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..you should see an instant change.

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This camera is really effective

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for tracking animals at night.

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It's also very good for telling which parts of the animal are warm

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and it gives a really good idea of how some predators

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see their moving prey at night.

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Certain snakes, like pythons and pit vipers,

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have special heat-sensitive pits in their faces,

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usually on the lips or between the nostrils and the eye.

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These are actually incredibly sensitive to warmth

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and many of their prey species -

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animals like this mouse - are always warm.

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As they move around,

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they're just giving off heat that the snake can sense

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and our thermal-imaging camera allows us to see

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pretty much what those snakes must be perceiving.

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Even in the dead of night, an animal like this is easy game.

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The rattlesnake is superbly camouflaged,

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so almost invisible to other animals.

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But because of its special thermal pits,

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it can see its prey, even in the dark.

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To the snake, this packrat stands out from its background

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like a bright light.

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As long as the snake doesn't move,

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the packrat won't see it,

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so it just has to wait until the rat comes close enough.

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Then it strikes,

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injecting its lethal venom.

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The rat tries to escape,

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but it leaves a trail of heat with every footstep.

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The snake can just watch and wait

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for the venom to take effect, then move in for its meal.

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Cameras nowadays can be unbelievably small

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and that has many different advantages,

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one of which is that you can get very, very close to animals

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and be nothing like as intrusive as you would be with a huge camera.

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So, I have here a rather wonderful

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dead leaf mantis.

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Now, Nick, if you just focus in on those raptorial forearms,

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hopefully, by getting close, you should be able to see

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all of the barbs that run down the under-side of those legs,

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the chief weapon of the mantis.

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It's just lunging out into the air at the moment,

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almost striking towards the camera.

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It's just fabulous, it's such an intimate view of this bug,

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that normally you'd never get a chance to see.

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We can, though, go one stage further

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because this particular species has something very, very special

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it does, in response to a threat.

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So, if I make it think...

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..that there's a predator around...

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Here we go. Look at that.

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These are called flash colours

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and that's the display of this mantis

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which it'll use to intimidate and frighten off any predators,

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and they are absolutely beautiful.

0:21:510:21:54

On the underside of the four wings,

0:21:540:21:58

you can see those eye spots. When those come up,

0:21:580:22:00

it kind of makes the predators think that a much larger animal is there

0:22:000:22:03

and frightens them away.

0:22:030:22:06

What a wonder-bug! And our minicam

0:22:060:22:09

gives us a perfect intimate view.

0:22:090:22:14

Gorgeous.

0:22:160:22:18

Some of these cameras are so manoeuvrable and inconspicuous

0:22:200:22:24

that we've got them into rather unlikely places.

0:22:240:22:28

It's like having a tiny cameraman

0:22:280:22:30

filming whilst hidden in the shadows.

0:22:300:22:32

We've watched birds of prey bringing in food for their precious young.

0:22:320:22:36

Skullcam has spied on vultures coming in to feast.

0:22:360:22:40

There have been cameras inside termite mounds and hornet nests...

0:22:420:22:47

..and on a snake.

0:22:490:22:51

Plus, we've had intimate probecam shots inside a scorpion burrow,

0:22:510:22:56

showing a mother scorpion giving birth.

0:22:560:23:00

On Deadly 60, we always want to try and bring you with us

0:23:040:23:07

wherever we go. Now, obviously, with a camera that's that size,

0:23:070:23:11

it isn't always so easy.

0:23:110:23:13

But luckily, modern cameras are so small,

0:23:130:23:17

so rugged, so tough, that they can be fixed pretty much anywhere.

0:23:170:23:20

Onto a plane, a train, a bike, a kayak, even onto my helmet.

0:23:200:23:25

Basically, it means that the technology is doing the hard work,

0:23:250:23:29

so he doesn't have to, and he can go and have a cup of tea.

0:23:290:23:32

Using these cameras, I've given you a taste of white-water kayaking...

0:23:350:23:38

..mountain biking...

0:23:410:23:43

..flying around the bush...

0:23:440:23:46

..climbing trees...

0:23:480:23:50

tangling with all sorts of animals...

0:23:500:23:53

trying to hover like a kestrel...

0:23:530:23:56

climbing rock faces.

0:23:560:23:59

'With cameras like these, I can take you anywhere.'

0:23:590:24:03

Oh, my goodness! Oh!

0:24:030:24:06

'But it's not just me that we fix cameras on to.'

0:24:060:24:10

Our final killer shot gives us an opportunity

0:24:100:24:12

to get the ultimate insight into an animal's world.

0:24:120:24:16

Modern cameras have got so tiny,

0:24:160:24:18

they give us opportunities that ten years ago,

0:24:180:24:20

would have been simply unthinkable.

0:24:200:24:22

This is Ellie, she's a goshawk.

0:24:220:24:25

Now goshawks are a resident native bird to the UK

0:24:250:24:28

and one of our most spectacular birds of prey.

0:24:280:24:31

But this particular bird has been trained to fly wearing

0:24:310:24:35

this tiny harness and a camera that fits on to this

0:24:350:24:39

and is no bigger than my little finger.

0:24:390:24:42

That points forward so that as Ellie is flying through

0:24:420:24:44

the densest of woodlands, the kind of places she'd be hunting,

0:24:440:24:47

it gives us the chance to see as a goshawk would see

0:24:470:24:51

and fly as a goshawk would fly.

0:24:510:24:53

This tiny little wonder is our miraculous onboard camera.

0:24:560:25:03

It sends a signal through this antenna here

0:25:030:25:07

to this satellite dish and you can see, there,

0:25:070:25:13

the little camera looking at me.

0:25:130:25:15

All we need to do is to mount that on to the back of Ellie...

0:25:150:25:20

I'm going to let you do that, Lloyd,

0:25:200:25:22

cos I've a feeling she'll probably take my fingers off.

0:25:220:25:24

Yes, she's happier with someone else doing that, I think. Thank you.

0:25:240:25:28

Good, right, so what I'll try and do is pop it on

0:25:280:25:33

-so that it's just about there, like so.

-Wonderful.

0:25:330:25:38

And now the camera's looking right down the nape of Ellie's neck

0:25:380:25:44

and is going to see exactly what she sees

0:25:440:25:47

as she goes soaring through these trees.

0:25:470:25:51

Ellie's been trained to fly with this camera,

0:25:510:25:55

so once it's attached, it won't hold her back,

0:25:550:25:58

and she can go about her deadly business.

0:25:580:26:00

'Now, that really is a bird's eye view!'

0:26:020:26:05

Woah!

0:26:070:26:10

That was absolutely remarkable.

0:26:100:26:12

Right, let's have a little look at our hero,

0:26:120:26:14

or should I say heroine, in action.

0:26:140:26:16

Here she goes. Launch, the head drops,

0:26:200:26:24

a few swift beats of the wing

0:26:240:26:26

and then just banking and weaving in amongst those trees

0:26:260:26:30

and, at the last minute, you just see, she's coasting in

0:26:300:26:33

and then the wings flare back and she stops

0:26:330:26:36

and everything goes absolutely crazy. The amount of action

0:26:360:26:39

at that exact moment is incredible.

0:26:390:26:42

She's gone from about 30 miles an hour to a complete stop

0:26:420:26:46

in the space of under a second.

0:26:460:26:48

But all of that force would have gone into the prey,

0:26:480:26:50

all the force from the flight is just going to hit the prey

0:26:500:26:53

and really, it's going to be all over within seconds.

0:26:530:26:56

Advances in filming technology are not just about pretty pictures.

0:26:590:27:03

They show us things that we'd never see with our eyes alone.

0:27:030:27:06

Killer shots offer us a totally new perspective on the wild world.

0:27:060:27:11

So all of this kit is what it takes to capture

0:27:110:27:14

and fully appreciate the Deadly 60.

0:27:140:27:16

Without this equipment, there's so much we wouldn't see.

0:27:160:27:19

With it, we reveal biology, behaviour and beauty,

0:27:190:27:23

and we're constantly learning incredible new things

0:27:230:27:25

about our planet.

0:27:250:27:27

John boy!

0:27:270:27:30

'Join me next time, as I continue my search for the Deadly 60.'

0:27:320:27:37

Here they come. Oh, back up, Graham, back up!

0:27:370:27:40

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