Excavating Dinosaur Bones in Alberta for a New Series
“I’ve faced work pressure before, but this is different. Here in Alberta, Canada, I’m able to excavate dinosaur bones as part of a project for the revival of the BBC’s *Walking with Dinosaurs*.” I can’t help but feel a mix of excitement and nerves. Armed only with a hammer, an awl, and a brush, I find myself tasked with the delicate job of extracting these ancient remains from the rock—so much can go wrong with just one misplaced tap.
Fortunately, I’m not navigating this alone. I’m receiving direction from someone with experience: Canadian paleontologist Emily Bamforth, who is one of my advisors on this project. She’s renowned in her field and has contributed significantly to the revival of *WWD*, which creates lifelike representations of extinct species using CGI and animatronics.
Bamforth explains that the bones we’re digging up likely belonged to a flock of horned herbivorous dinosaurs known as *Pachycephalosaurus*, which were unique to North America. It’s a sobering thought to be uncovering the remains of creatures that faced tremendous challenges before their extinction.
At first glance, differentiating between rocks and fossils in the Pipestone Creek Bonebed isn’t easy. This site, known for being one of the densest collections of dinosaur bones—housing up to 200 bones per square meter—is like a prehistoric graveyard containing around 10,000 creatures, and it could take over a century to fully excavate. Some have even referred to it as a “bone salad” due to the sheer number of remains.
With Bamforth’s guidance, and perhaps some subconscious humming of the *Jurassic Park* theme song, I manage to proceed without making any costly mistakes. I observe her team efficiently extracting larger bones, wrapping them in plaster “jackets” for protection during transport. There’s something incredibly fascinating about the process, especially when you consider how much effort goes into understanding these historical beauties.
What’s remarkable is that the contributions of over 200 paleontologists worldwide have helped shape the new *WWD* series, enhancing our understanding of dinosaur behavior and their depicted appearances.
Since the original series aired in 1999, narrated by Kenneth Branagh, perceptions have shifted. Some people, oddly enough, now view dinosaurs as mythical creatures. Kirsty Wilson, the showrunner for the new *WWD*, mentioned how people often equate dinosaurs with the likes of dragons, which is curious. It’s possible that media like AI-generated content or popular series such as *House of the Dragon* have influenced these views. Wilson strives to use this new series to correct such misconceptions, emphasizing that the original was about visual spectacle, while this time, a focus on genuine science is paramount.
The new series plans to spotlight one specific dinosaur for each of its six episodes, narrated by Bertie Carvell. A key goal is to foster emotional connections between the audience and these creatures as real animals as they learn about a range of species from the enormous Spinosaurus to the loving herbivore, Rusotitan.
Helen Thomas, a producer at BBC Studios, noted that this revival coincides with the 25th anniversary of the original show’s debut and follows the success of *Dinosaurs: The Final*, which David Attenborough narrated, showcasing a prehistoric graveyard.
Wilson explained, “We wanted to capture the essence of *WWD* while breathing new life into it.” This also includes updating ideas about how dinosaurs looked, as demonstrated in the Curry Museum’s lab where experts are examining fossils of skin, teeth, and bones.
For instance, in the episode focused on Tyrannosaurus Rex, filmmakers have chosen to depict T. Rexes with lips—something notably absent in *Jurassic Park*, where the emphasis was on showcasing their teeth. This scientific adjustment is aimed at presenting a more authentic representation of these ancient reptiles.
Additionally, the series will illustrate feathered dinosaurs and introduce vibrant skin colors, diverging from the traditionally dull greens and browns. Bamforth commented on the diversity of colors in nature and how they’re incorporating these details, noting that the Albertosaurus might even have striking pink eyebrows!
The production team is implementing innovative techniques to create a realistic viewing experience. For instance, they’ve integrated computer-generated dinosaurs into authentically shot locations that resemble their natural habitats. Using various tools, they figured out how to capture accurate movements of the creatures, even utilizing pizza boxes to mitigate on-screen footprints during filming.
Logistical challenges are par for the course. Chapman shared a unique solution to creating realistic moving water by creating a model of Spinosaurus’s head, which was animated in a swimming pool setting, a task that proved more challenging than anticipated.
With immense pressure stemming from the original series’ legacy, excitement is building among fans after the release of the series’ trailer. The first season drew an impressive audience of 700 million globally, and there’s buzz about the revival tapping into that same enthusiasm.
Post-dig, Bamforth feels “full of hope.” She believes the series represents dinosaurs in a way that resonates more authentically with today’s audience. It’s an interesting thought—how these majestic beings, once so powerful, may seem unreal to many folks today.
