location shots where the computer-generated animals would then be inserted later. Sometimes it was necessary to replicate the impact the animated animals would have on their environment—such as footprints left in the snow by a woolly mammoth. Not all parts of filming the series were entirely imaginary, as Walking with Beasts also made extensive use of animatronics and puppets for close-up shots. The animatronics and puppets in Walking with Beasts were created by special effects company Crawley Creatures, the same company responsible for the animatronics in the preceding Walking with Dinosaurs. On account of many of the animals in Walking with Beasts having fur or hair and requiring more complex facial expressions, creating the animatronics for Walking with Beasts was more difficult than for the previous series. During production, the animatronics team grew from seven to eighteen and additional support was brought in through hiring specialist out-workers. As with the computer graphics, experts were also consulted for some of the practical effects. Among the scientists consulted were archaeologist and anthropologist Michael Bisson, an expert on Middle Palaeolithic tools, who helped craft some of the tools shown being used by Neanderthals and anatomically modern humans in the series. The animatronics were created and used over a period of one-and-a-half years. In total there were over 40 different animatronic elements used, most of which were animatronic heads of animals. The broad movements of the animatronics were controlled by puppeteers, while their more subtle movements were remote-controlled and operated via servo motors. Australopithecus was in some close-ups portrayed by actors with prosthetics. Neanderthals and anatomically modern humans were consistently portrayed by actors also in non close-up shots, the Neanderthal actors wearing prosthetics. The prosthetics used by the actors were also made by Crawley Creatures. Sound design and music The sound design for Walking with Beasts was done by Kenny Clark. Clark and his partner Jovan Ajder began the process by recording foley sound effects, such as footsteps. Then, Clark and Ajder began constructing a sound library through recording their own sounds and contacting web-based FX companies as well as companies around the world. After a great collection of different animal sounds had been assembled, different sounds were mixed together, cut up or played backwards to create creature sounds. The noises of Leptictidium were otter noises, pitch shifted and reversed, and the sounds of Gastornis were made by a monkey and a rattlesnake, slightly