 With computer @-@ generated imagery looking to make up so much of the commercial , Kleinman attempted to use film of real elements wherever possible . To this end , 200 mudskippers were brought to the studio from South Africa for the final scene , arriving via Singapore . An entire afternoon was set aside for filming the mudskipper sequence . The footage obtained formed the major part of the final cut of the scene , with only one or two post @-@ production changes : the addition of tail fins and animation of the expression of disgust that closes the piece . Stop motion footage of other real elements was taken , including a stage @-@ by @-@ stage blowtorching of plants , used to show flora coming back to life in the reverse sequence , and shots of baking bread , used to model the geological changes to background rock formations . Additional real elements were to have been incorporated into the commercial , mostly from stock footage of several animal species , but only short segments of apes and lizards appeared in the final cut . 
 With computer @-@ generated imagery looking to make up so much of the commercial , Kleinman attempted to use film of real elements wherever possible . To this end , 200 mudskippers <a href='uninflect' title='1'><mark>were</mark></a> brought to the studio from South Africa for the final scene , arriving via Singapore . An entire afternoon was set aside for filming the mudskipper sequence . The footage obtained formed the major part of the final cut of the scene , with only one or two post @-@ production changes : the addition of tail fins and animation of the expression of disgust <a href='null_relcl' title='2'><mark>that</mark></a><a href='uninflect' title='3'><mark>closes</mark></a> the piece . Stop motion footage of other real elements was taken , including a stage @-@ by @-@ stage blowtorching of plants , used to show flora coming back to life in the reverse sequence , and shots of baking bread , used to model the geological changes to background rock formations . Additional real elements <a href='uninflect' title='4'><mark>were</mark></a> to <a href='been_done' title='5'><mark>have</mark></a> been incorporated into the commercial , mostly from stock footage of several animal species , but only short segments of apes and lizards appeared in the final cut . 
W/ computer @-@ generated imagery lookin to make up so much of da commercial , Kleinman attempted to use film of real elements wherever possible . To this end , 200 mudskippers was brought to the studio from South Africa fa the final scene , arriving via Singapore . An entire afternoon was set aside ffirfilming the mudskipper sequence . The footage obtained formed tdamajor part of the final cut of the scene , wiwnly one or two post @-@ production changes : the addition of tail fins and animation of the expression of disgust close thdaiece . Stop motion footage of other real elements was taken , including a stage @-@ by @-@ stage blowtorching of plants , used to show flora coming bck to life in the reverse sequence , and shots of baking bread , used to model thedaological changes to background rock formations . Additional real elements was to done been incorporated into the commercial , mostly from stock footage of several animal species , but only short segments of apes and lizards appeared in the daal cut .