| Johnny Anders | ... | Himself | |
| Gunnar Andersson | ... | Himself | |
| John Clements | ... | Himself | |
| Richard Furrer | ... | Himself | |
| Fredrik Charpentier Ljungqvist | ... | Himself | |
| Neils Lynnerup | ... | Himself | |
| Jay O. Sanders | ... | Himself / Narrator | |
| Richard Sussman | ... | Himself | |
| Alan Williams | ... | Himself |
| Episode Crew |
Directed by | |||
| Peter Yost | (documentary director) | ||
Produced by | |||
| Paula Apsell | .... | executive producer | |
| John B. Bredar | .... | executive producer | |
| Laurie Cahalane | .... | coordinating producer | |
| Patrick Carey | .... | associate producer | |
| David Condon | .... | development producer | |
| Julia Cort | .... | senior producer | |
| Frauke Levin | .... | associate producer | |
| Pamela Rosenstein | .... | development producer | |
| Chris Schmidt | .... | senior producer | |
| Melanie Wallace | .... | senior series producer | |
| Peter Yost | .... | producer | |
Film Editing by | |||
| Anna Auster | |||
Production Management | |||
| Edna Alburquerque | .... | production manager | |
| Nathan Gunner | .... | post-production manager | |
| Johnita Moran | .... | production manager | |
| Brett Reinke | .... | post-production manager | |
Art Department | |||
| Tyler Howe | .... | senior designer | |
Sound Department | |||
| Brian Bracken | .... | sound designer | |
| Patrick Donahue | .... | sound mixer | |
Stunts | |||
| John Clements | .... | stunt coordinator (sword master) | |
Camera and Electrical Department | |||
| Mark Knobil | .... | camera operator | |
| Evan McIntosh | .... | camera operator | |
| Christine Nesheimer | .... | additional camera operator | |
Animation Department | |||
| Jung Yuen Shin | .... | animator | |
Editorial Department | |||
| Michael H. Amundson | .... | post-production on-line editor | |
| Mara Auster | .... | assistant editor | |
| Björn Bellenbaum | .... | colorist | |
| Tim De Chant | .... | digital editor | |
| Jared DuBrino | .... | additional editing | |
| Jared DuBrino | .... | on-line editor | |
| Spencer Gentry | .... | post-production on-line editor | |
| Alex Kreuter | .... | post-production editor | |
| Rebecca Nieto | .... | post-production editor | |
Music Department | |||
| Ray Loring | .... | music theme | |
| John Luker | .... | music theme | |
| Rob Morsberger | .... | music theme | |
| Walter Werzowa | .... | music theme | |
Other crew | |||
| Ankur Agrawal | .... | production assistant | |
| Lauren Aguirre | .... | media director (as Lauren S. Aguirre) | |
| Kristine Allington | .... | project coordinator | |
| Sarah Ashey | .... | production assistant | |
| Amy Augustine | .... | production assistant | |
| Kate Becker | .... | researcher | |
| Elizabeth Benjes | .... | business manager | |
| Linda Callahan | .... | production coordinator | |
| Eileen Campion | .... | publicist | |
| Rachel Connolly | .... | education director | |
| Allison Eck | .... | production assistant | |
| Linzy Emery | .... | compliance manager | |
| Sarah Erlandson | .... | paralegal | |
| Joseph Ettinger | .... | production assistant | |
| Janice Flood | .... | talent relations | |
| Todd Georgelas | .... | researcher | |
| Rachel Gesserman | .... | educational coordinator | |
| Cassie Gomez | .... | production assistant | |
| Ivan Hadingham | .... | senior science editor | |
| Dan Hart | .... | developer | |
| Mandy Johnston | .... | location production assistant | |
| Scott Kardel | .... | talent relations | |
| Pablo Antonio Labañino | .... | location production assistant | |
| Karen Laverty | .... | publicist | |
| Alexander Leise-Hansen | .... | location production assistant | |
| Maiken Lilley | .... | educational coordinator | |
| Victoria Louie | .... | publicist | |
| John Nolen | .... | location production assistant | |
| Gianna Keiko Rankart | .... | production assistant | |
| Alan Ritsko | .... | managing director | |
| Magnus Roekenes | .... | location production assistant | |
| Susan Rosen | .... | legal counsel | |
| Anna Rothschild | .... | production assistant | |
| Kristen Sommerhalter | .... | administrator | |
| Laura Beth Ward | .... | production coordinator | |
| Dominik Zalewski | .... | location production assistant | |
| Series Crew These people are regular crew members. Were they in this episode? |
Writing credits(in alphabetical order) | ||
| Mark Davis | (episode "Mars Dead or Alive" 2004) | |
| Mark Hobson | (episode "Orangutan - Man of the Forest") | |
Produced by | |||
| D.J. Roller | .... | producer (one episode) | |
Original Music by | |||
| James Yannatos | |||
Cinematography by | |||
| Sam Henriques | (lighting cameraman) (multiple episodes) | ||
| D.J. Roller | (multiple episodes) | ||
Sound Department | |||
| G. John Garrett | .... | production sound mixer (multiple episodes) (1985-) | |
| Rob Whitehurst | .... | sound recordist (1992-) | |
Other crew | |||
| Gary Martyn | .... | production assistant | |
| Sallie McGuire Nicholas | .... | production assistant | |
| Main series | Episode guide | Full cast and crew |
| Company credits | External reviews | IMDb TV section |
| IMDb Documentary section | IMDb USA section |
Definitely not up to Nova's usual high standards. The documentary tries to create a greater sense of mystery than is warranted.
The sword, the authors conclude, must have been made with crucible steel, which was not available until the 19th century ... in Europe. Yet, a) they say it was available in the Middle East, which the Vikings had trade ties with, and b) they show a guy making crucible steel using nothing more than bricks, mortar and clay for an oven and crucible vessel, all of which were available anywhere.
Surely, the Vikings could have picked up this bit of technology in their travels. But, no, the authors make a muddled array of suggestions: maybe the sword maker was in France or with the Church, or using steel ingots imported from the Middle East. What is the answer? There is none given.
Why did only the Vikings have these swords? This could have been a nice little historical story. But the mystery element was way over-played, and the science element was insufficient to warrant a Nova program.
Why is it that so many programs (especially National Geographic) feel they have to hyper-hype? Perhaps documentary makers are spreading their material too thin; there's only so many subjects, and so many times people will watch the same story retold. This one reminds me of the one on the Titanic rivets, with some of the same electron microscopy and tensile strength tests.
They should have done less on the pseudo-mystery angle and done more that the viewer might not know about the science and history of steel. Heck, it could have been part of a series on the subject; another episode could talk about Krupp steel and its importance in history.
But all we see with this Viking sword is that it is made of simple crucible steel made of iron ore, a bit of carbon, and some glass, etc., to remove impurities. I kept waiting for them to tell me something surprising, like they added tungsten or chromium, but no such luck.
The most surprising aspect was how easy it is to produce steel, and that I could do it in my backyard if I had some iron ore, like the guy in the film. Good to know, in case I need to make a strong sword some day. Except there's a catch: you can't just dig up any old iron ore. You need an ore that's free of impurities, which is why Swedish steel is still renown.
So where did they get the ore used for the demonstration? They don't say; frankly, it looked like recycled iron, or at least carefully selected ore free of undesirable impurities like sulfur. This may be the reason for the rather muted praise from the test lab, which the documentary makers claim was high praise. It looks to me like the modern demonstration project was rigged.
Secrets? What secrets? That it was made with a rudimentary crucible method available during that period of history? As to answers to the "mysteries" posed by the producers, there aren't any given. Bad science, muddled mysteries, not Nova.