The details, especially in the close-ups, are quite admirable. Later, the famed Velociraptor shows up fully feathered, perhaps for the first time this prominently. Its babies, in one of the show’s earliest examples of up-to-date science, are shown to have delicate feathers. The apex predator isn’t shown to be hunting prey or roaring menacingly, but swimming away from imminent danger. It is in the first episode that we catch a glimpse of the majestic Tyrannosaurus, but not in a situation you’d expect it to be in. The five episodes are divided on the basis of location and climate-Coasts, Deserts, Freshwater, Ice Worlds and Forests. Prehistoric Planet follows the same basic structure as Attenborough’s earlier BBC documentaries. For instance, nothing in Prehistoric Planet is as impressive as what Steven Spielberg achieved with dinosaurs in his first Jurassic Park movie. As wonderful as the creatures are to look at-the scales, the feathers, the blood and guts-it is impossible to replicate the kind of tactile heft of animatronics. An almost unbelievably high-tech version of this same optical effect plays out in the new Apple TV+ nature documentary series, Prehistoric Planet.Įxecutive produced by Jon Favreau, featuring original music co-composed by Hans Zimmer, and narrated by the legendary David Attenborough, the five-episode series features state-of-the-art visual effects that it would like us to believe are photorealistic, but aren’t really. Do you remember those old cartoons in which you could always predict if an object was about to move simply because it was less detailed than the backgrounds? Like how, in a Roadrunner short, an anvil would stand out against a backdrop of painted canyons because of its flat colours? The human eye subconsciously becomes accustomed to details like this.
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