All language subtitles for Great.Migrations.S01E06.Behind.the.Scenes.720p.BluRay.x264-Pahe.in

NARRATOR: National Geographic film crews
fan out across the globe.

MAN: We're going.

NARRATOR: Their assignment:
to film a new, landmark series

on the world's great
animal migrations.

MAN: Did you see that?

NARRATOR: Over the next
two and a half years,

they travel 420,000 miles...

to 20 different countries...

WOMAN: This is going to be trouble.

[monkey squawking]

MAN: Don't try this at home.

NARRATOR: ...pushing themselves
to get closer...

and go further.

MAN: Go back, guys, go back.

MAN: Get out of here,
go, go, go, go, go, go...

NARRATOR: These are
the "Behind The Scenes" stories...

of Great Migrations.

MAN: l don't know if you can see
this bright red glow.

lt's like the world came to an end.

NARRATOR: Guadalupe lsland...

150 miles west
of Mexico's Baja Peninsula.

Every year, great white sharks
migrate here.

Scientists think they're coming here
to hunt or breed.

But there's little conclusive proof.

MAN: Got it!

NARRATOR: Mike Shepard
and Eric Berkenpas are here

to shed some light on the mystery
of the sharks' migration.

They've built a Crittercam:

a small high-definition camera
in a waterproof housing

that they'll clamp
on a shark's dorsal fin.

lt'll allow them to spy
on the shark's behavior

from the shark's point of view.

SHEPARD: What we're going to do

is we're gonna put this
on the end of a pneumatic pole,

and when the shark gets
close enough to the boat,

we reach over the side and push
the trigger on the attachment pole,

and it cinches the thing tight.

NARRATOR: Testing it and deploying it
are two very different things.

lt's not a task for the faint-hearted.

They need to be in a small boat,

to get as close as possible to the fin
of the breaching shark.

MAN: That shark is actually
bigger than the boat, by far.

MAN: Five o'clock.

WOMAN: He's circling them now.

MAN: Here he comes,
he's coming right under you.

MAN: Turn around, guys.

[thud]

SHEPARD: l couldn't see anything
because l fell in with my sunglasses on.

Because you can't see anything,
you are imagining that it's,

these teeth are coming after you...

and the shark had actually
bit the motor

and started to come back to see
what all the commotion was about.

Eric yells like, "Swim!"

[cheering]

WOMAN: He's right behind you guys,
he's right behind you, to your right!

SHEPARD: The shark came in
and l think it bumped the motor,

and the boat rocked
and l fell off the bow,

like almost onto the shark.

The current took me away
a little bit faster than l expected,

so, yeah.

BERKENPAS: l tried to reach for him
and he just kind of went away.

SHEPARD: Then l realized
that l was swimming

next to an 18-foot white shark
that likes things flailing on the surface

and l swam my ass off.

NARRATOR: Undaunted, the team
tries again the next day.

WOMAN: Oh, it's another one!

MAN: Woo!

NARRATOR: For the next four hours,

the shark takes its own
migratory self-portrait.

The Crittercam footage
is a rare, intimate view

of the shark's secret world.

But it doesn't help prove the theory
that they're here to hunt or breed.

For cameraman Andy Casagrande,

solving the puzzle of these
shadowy, misunderstood hunters

has become a lifelong obsession.

CASAGRANDE: First time l saw
a great white shark was on television.

l was seven years old.

And l always thought,
is that thing real?

And when l found out it was,

l said, how can they possibly film
that thing without getting eaten?

Then l grew up and realized, "Wow, they
actually used cages for that thing."

And after filming sharks
for many years,

l realized cages really don't
give you the best shots

and don't help you that much.

The only way to really get the stuff
you want is outside of the cage.

This is about animal migrations

so we don't want to just see
a static shot of a shark

coming to the cage
and going past.

The only way to get
these shots of the sharks

moving and traveling
and on this grand journey

was to get out
and swim with them.

Don't try this at home.

NARRATOR: From the cage,
he observes the behavior of the shark.

With seven years of experience,

he's learned which sharks
he thinks he can work with

and which ones to avoid.

CASAGRANDE: The first thing we do
is to try to size up the shark:

ls this shark aggressive?
ls he relaxed?

lf they look mean,
they generally are mean.

lf the shark is really scarred up
and scratched and missing teeth

and half of its tail is bitten off,

that's like a brawler.

lt's just like you go to the pub,

you see a guy with bloody knuckles
and a black eye,

you don't run up and
put your camera right in his face

and take his picture.

NARRATOR: He thinks he's found
a cooperative shark

and makes the decision
to leave the safety cage.

CASAGRANDE: Your adrenaline
starts pumping,

you're swimming out there,

you're trying to keep the camera
really stable, really still.

One of the biggest sort
of mental mind game challenges

of filming great white sharks
is yourself.

You have to mentally tell yourself

and fight that feeling
to want to flee from this animal.

NARRATOR: Casagrande needs
to stay alert for other sharks.

CASAGRANDE: The biggest sort of danger
is not the shark that you can see;

it's the shark you don't see.

They like to be below you,

and you are vulnerable
when you're above them.

WOMAN: Andy is so hardcore.

Yeah. Oh, my God.

Dude, seriously?

Yeah, that was intense.

NARRATOR: The risk pays off.

CASAGRANDE: When you're able
to get out of the cage,

you can do all kinds of things.

You can get silhouette shots,
you can swim along with the animal,

you can zoom in on the teeth,
it just opens up a whole new world.

NARRATOR: Casagrande gets
more than he bargained for.

Four sharks is three too many.

CASAGRANDE: Four of them
at a time,

that one swam up at the surface
coming out,

and l decided to swim out to it,
getting a nice shot,

then l realize, "Whoa,
there's one down there,

there's one over here,
and there's one behind me,"

and l saw you looking at me going,
"Get back, get back."

And that was pretty sketchy

but, man, there's nothing
like getting outside of the cage

with these apex predators.

NARRATOR: Casagrande has managed
to get beautiful shots

of great whites migrating.

But he still wants to help solve the mystery
of why they come to Guadalupe.

He tries a different approach:

an underwater camera
attached to a long pole.

After a month trying,
he hits pay dirt:

incredibly rare footage
of a great white feeding.

The footage and the identity
of the shark's prey is a vital clue

about why great whites journey
all the way to Guadalupe:

to intersect with the migration
of northern elephant seals.

Over 7,000 miles away,
in Mali, West Africa...

cameraman Bob Poole searches

for an elusive group
of migrating desert elephants.

But the Sahara is about to throw him
a gigantic bombshell.

POOLE: We knew that eventually
there would be a dust storm,

or what there they call a tempete.

The day that the thing came,
l felt something funny,

l kept saying, you know, tempete?

And then El Medhi was with us,
said, "Oui, oui, grand tempete."

This thing is going really, really fast.

Yeah, we are.
We're going to stick this out.

God, it's...it's across
the entire horizon.

Didn't spend a lot of time wondering

what it was going to be like
once the thing hit,

because there was nowhere
we were going to run.

Scary, man, look how fast it's going.

And it was just wind, you know,
with driving sand.

But we just kept rolling.

And the thing ran over us
like a freight train.

lt's turning red, l can't believe this,

the sound and the wind,
it's so scary, it's so crazy.

We were just watching
this wall of sand come at us

and it got closer and closer,

suddenly it just turned red,
and then it just went black

and, l mean, black as
in the middle of the night.

And now we are hunkered down
in the back of this cab,

and the wind is just howling
over our heads, blowing sand,

and you can see,
l don't know if you can see,

but it's a bright red glow,
it's like the world came to an end.

NARRATOR: lt seems like
they've been transported to Mars.

For four hours, the sand
blocks out the sun.

POOLE: lt's like jumping
into a giant sandblaster.

Oh, my God, it's getting lighter,
look at this.

But, man, oh, man, that is nuts.

l tell you, John, it really,
this goes down

as the wildest thing l have ever
seen in my life, honestly.

Can you believe that?

NARRATOR: Poole has survived
his trial by sandstorm.

But now, he has to survive
the desert elephants of Mali.

POOLE: lt's four.

Best part of the day.

lt only goes downhill from here.

NARRATOR: Today, he is hoping
to film family groups at dawn.

But mothers and their calves
present a very daunting challenge.

POOLE: lt's not like they are
out to get you or anything like that,

but these females, you know,
they're stressed,

and their babies are,
you know, are their priority.

We have to get in there, into the midst
of these elephants, undetected.

That's our challenge.

NARRATOR: Poole is with a local tracker
named El Medhi Doumbia

and Producer James Byrne.

They have to work on foot‒

the elephants here
are not habituated to vehicles

or comfortable around people.

POOLE: They call this forest
over here Tabarak Borak,

but we call it Tora Bora because
it's a super dangerous place,

it's just stuffed with elephants,
nobody goes in there.

We are trying to get
the elephants walking, you know,

that classic shot with the elephants
walking in front of the ball,

the sun as it rises.

Wind's blowing this way.

NARRATOR: Filming elephants on foot
is a risky assignment.

But Poole has a strategy.

POOLE: Elephants don't see
very well at all,

but they can hear really well
and they can smell incredibly well.

NARRATOR: The key is to stay downwind
and work silently.

POOLE: We are going to creep
up to the edge here

where we'll be close enough
to get nice shots,

but we won't be detected,

but we got to move fast
because the sun's coming up

and they're already on the move.

Right here.

NARRATOR: El Medhi and Byrne
watch Poole's back.

POOLE: Sometimes your heart
starts pounding because you think,

"Oh, my God, if the wind shifts,
or suddenly they discover l'm here,"

and you're too close, you can't run,
there's nowhere to run, you know?

There's nowhere to...maybe run
around a bush or something.

NARRATOR: He's downwind
and in a perfect position

to get the sunrise shot he wants.

POOLE: You can easily find yourself
in this point of no return,

where now you are so close
that if you move, they can see you.

l am definitely, you know,
sort of trembling at that point.

Because you just realize
that, God, you know,

if this thing suddenly detects me,
what are you going to do?

NARRATOR: There's a problem:

another group is coming up
behind him.

POOLE: Then suddenly these guys
come out of the bushes,

and you don't even hear them,
and then they've got you backed,

they're behind you and
they're in front of you

and you don't have
anywhere to go

but out into the sand dunes
in front of them.

NARRATOR: Poole has no choice
but to retreat.

POOLE: But now my tripod
is stuck down there.

lt's going to be interesting
to see what they do.

[elephant snorts]

[bleep]

[laughs]

Come sneaking up on me like that.

Ay yi yi.

Well, that was interesting.
At least my tripod didn't get trashed.

Was close, though.

NARRATOR: Over 5,000 miles away,

on the Mississippi River
in the United States...

cameraman Neil Rettig is also
trying to get close to his subjects.

They're a lot less intimidating
than elephants,

but no less challenging.

RETTlG: Absolutely claustrophobic
as heck in this blind,

but l think we are going to get
some great stuff in the end.

Twelve feet away
from the peregrines,

and a hole down
in the bottom of the blind,

makes it kind of difficult
to keep equipment in.

And l stay roped in
the entire time l'm in here.

NARRATOR: Rettig's daring
cliff face blind

gets him rare close-ups
of the nesting behavior

of one of his favorite birds:

the peregrine falcon,
the fastest bird on Earth.

RETTlG: You guys see him?

NARRATOR: For Rettig, birds
are a lifelong obsession.

RETTlG: lt's really neat
to watch falcons stooping,

coming pretty fast
at the bald eagles.

lt's spectacular, actually.

NARRATOR: For the Great Migrations series,

he's been tasked with cracking the code
of the migrating birds

that come through the Mississippi Flyway
in Wisconsin.

Wild birds are incredibly skittish
and really hard to get close to.

Rettig and fellow cameraman John Benam
have an ingenious idea:

a floating blind that looks
like a muskrat lodge.

RETTlG: What we're doing right now
is to get some unusual shots

of these huge rafts of diving ducks

and trying to stealthily kind of
just paddle with these fins on‒

l've got fins on right here‒

very slowly move in,

and try to get within range
with the high definition camera,

and a wide angle lens to actually
get some really cool shots,

right on the birds' level
from a couple of feet away.

You guys got to kind of
tell me where l am,

l can't see [bleep],
'cause l'm going backwards.

Am l moving?
Am l making good time?

BENAM: Yeah, man, you're fine.

RETTlG: When you're in it,
you've got to paddle backwards.

We had these flippers on,
you can't see where you're going,

so every now and then,
you'd have to stop

and peep through a little peephole,

and we were able to get
within 10, 15 feet

to get some really
extraordinary shots.

NARRATOR: On the other side of the world,
in the rainforests of Borneo,

camerawoman Justine Evans
also uses a blind

to spy on her unsuspecting subjects.

To get to it each morning,

she has to climb over 150 feet up
into the roof of the jungle.

EVANS: Looks like we found
the perfect fruiting fig.

NARRATOR: She's here to film
all the primates

that congregate for a brief explosion
of tasty figs.

EVANS: She looks like she's lining up
to go for a big jump here.

Whoa! That was it!

l think l stayed with her.

That was amazing.

l've got red leafs,

l've got red leaf monkeys
coming into the tree.

There's going to be trouble.
Yeah, look, she's coming down.

She's getting really close to him.

Wow, the female gibbon
is really upset.

She's so furious.

She tried to touch him.

Both of them have
dropped out of the tree.

lt's been absolutely incredible,
and it's been non-stop all day long.

NARRATOR: Over the next month,
for 14 hours a day,

Justine stakes out the fig tree.

Meanwhile, the rest
of the Borneo crew

gears up to film a monkey's eye
view of the canopy.

Andy Shilabeer and his rigging team
deploy their own unique invention.

lt's called the Black Widow:

a remote-camera system designed
to glide through the treetops.

They spend two weeks dangling
150 terrifying feet above the ground,

setting up the ropes and cables‒

all forjust three quick shots.

MAN: The view that it opens up
is just great.

Yeah, this is gonna be an epic shot.

l think this is really gonna
blow some minds.

NARRATOR: The final results
are a breathtaking glimpse

into the aerial highways used
by Borneo's acrobatic primates.

From the steaming jungles of Borneo
to the land of the midnight sun...

St. Lawrence lsland,
off the west coast of Alaska.

RAVETCH: Okay, we're going.

Here we are.

NARRATOR: Cameraman Adam Ravetch
is here to film migrating walrus.

Underwater cameraman Johnny Friday

has packed the bare necessities
for the day trip.

FRlDAY: We've got 24 gallons of fuel,
a can of Spam...

and a gallon of water.

We also got a few rifles
in case we need to live off the land.

NARRATOR: lt's 8 a.m.

They start theirjourney of up to 30 miles
through ice and rough currents

to get to the walrus.

RAVETCH: A lot of fog out here.
A lot of ice.

FRlDAY: We're already in a jam.
150 yards.

RAVETCH: See if we can do
some baby/mom stuff.

We've been weathered in
for 15 days.

We only have one day
of filming walruses.

We just found a group over here,
so we'll see if we can film them.

Cool opportunity here.

A lot of babies and mothers.

l'm wondering if l can get over
on a chunk of ice.

NARRATOR: The walrus seem
unperturbed by the team's presence.

They manage to film intimate close-ups,
both above and below the water.

After waiting for 15 days
for the weather to clear,

they've finally got the shots...
but at a cost.

Unwittingly, they've become
prisoners of the ice.

FRlDAY: With he wind dying down
and the current,

or the tides moving
all the ice together,

so we are trying to find a way
to pick ourselves through this ice,

but it's not looking so good.

We've made a little bit of headway,

but every time we get
about a mile up,

we have to turn around and go back
another half mile or mile or so.

NARRATOR: They burn precious fuel
trying to find a way through the ice.

RAVETCH: We are in a maze of ice
that's closing in around us.

There is very little open water.

MAN: Oh, [bleep]

MAN: Go back, guys, go back.
You're both falling in.

MAN: How's the CB working?

MAN: lt works. l tried to call out
and nobody answered.

NARRATOR: They're so remote
that rescue is impossible.

RAVETCH: Trying to get
to this open water right here,

trying to get home,
but we are still 1 1 miles out.

Lots of ice.

Forward!

NARRATOR: Finally,
they reach open water.

But by now, their fuel supplies
are dangerously low.

MAN: Are you worried?

RAVETCH: Well, yeah, a little bit.

l mean, what happens
if we run out of gas?

We just got to keep going,
keep pushing over the ice,

keep making our way
and gambling.

NARRATOR: At 6 a.m.
the following morning,

22 hours after they left,
they make it home.

They have only one gallon
of gas to spare.

RAVETCH: We just saw land,
we just saw land.

Getting a little worried there
for a while.

NARRATOR: Seven and a half
thousand miles away,

in southern Sudan, East Africa...

one of the least known great migrations
in the world is under way.

This is the annual journey
of 800,000 white-eared kob

in Boma National Park.

Because of Sudan's tragic civil war,

our crew is the first to film
on the ground here

in over two decades.

To find the kob,
they must go off-road

and follow their GPS
into the wild unknown.

[talking]

BYRNE: We're not going to Pachella.
We're going all the way over here.

NARRATOR: Producer James Byrne
leads the expedition.

BYRNE: ...and go off-road due east.

NARRATOR: The local support team
is clearly skeptical about the plan.

Cameraman Bob Poole works hard

to convince them to entrust
their lives to a GPS unit.

POOLE: But there's no swamps.

Well, there may be a swamp,
but if there is, it's a small one.

You go around it.

NARRATOR: Even second cameraman
John Benam has his doubts.

BENAM: There's a GPS with a point

that just kind of says,
you know, you are here,

but we don't really know
where here is.

NARRATOR: lt's a perilous trip:

land mines and armed gangs
are real and present dangers.

The team enlists five rangers
for security.

NARRATOR: But they discover that
what they need more than anything

is a good off-road driver...

[bleep]

NARRATOR: ...and a good mechanic.

[starter cranking]

POOLE: Man, that's your problem there.

Your ground is completely finished.

The thing is, the roads are so rough
that on the way over here the guys,

the housing that holds the battery
is broken off.

Take this battery out, go over there,
hook it up with some jumpers.

[engine revving]

We are in the middle of nowhere.

l mean, you can't even believe
how far this place is from anywhere.

NARRATOR: The team's progress off-road
is painfully slow.

Every day they literally
spin their wheels.

BYRNE: What we have here is
the official definition of a quagmire.

POOLE: This is a quagmire.

Let it be known that
that vehicle over there

is what we call in Swahili "juocali."

lt means like, it's completely [bleep].

NARRATOR: Undaunted, they soldier on.

But as soon as they overcome one obstacle,
a bigger one appears.

Cameraman, mechanic,
now potential human prey.

ln a river likely to be
home to crocodiles,

Poole checks for logs
that could obstruct the vehicles.

POOLE: Let me give you
my stuff in my pockets.

NARRATOR: Eight days of travel
begin to take their toll on team morale.

BENAM: Today was a lot of driving
without a road.

There will be more of that tomorrow

and there was more of that
the day before.

MAN: lt's like a journey
without end.

MAN: ln my life, l think
this is the toughest

since l started doing safari.

BYRNE: They've been on the road
for about eight days,

so these guys are tired.

NARRATOR: Finally, on the ninth day,
the end is in sight.

[cheering]

BYRNE: All right, this is it, man.

MAN: Awesome.

POOLE: Beautiful!
Unbelievable!

Look at this place.

Oh, my God.

lt's just perfect.

l mean, even from the air
it didn't look as good as this.

lmagine, these guys have been
driving 1 1 days to see this...

oh...roadless wilderness!

BYRNE: Full of kob everywhere...
kob as far as the eye can see.

We're in kob heaven.
Kob heaven!

NARRATOR: They've timed
their arrival perfectly

to coincide with the kob's annual rut,

when males fight each other
for mating rights.

For the first time
in over two decades,

these little-known pugnacious animals
and their epic migration

can be seen once again.

Just 650 miles south of southern Sudan,
in Ndutu, Tanzania.

Cameraman Andy Casagrande
is on a mission

to get the definitive slow-motion shots

of cheetahs hunting
migrating wildebeest and zebra.

CASAGRANDE: The sun's coming up
here in Africa.

We've been up for a couple of hours.

We're heading out onto the plains

to catch some of the action
of the migration.

Hopefully, we'll get lucky
with some cheetah kills, lions,

whatever else that might be
hunting this morning.

See what happens.

NARRATOR: He decides to follow
a mother cheetah.

With three extra mouths to feed,
she's sure to be hunting every day.

CASAGRANDE: That looks pretty clean.

So...we're filming the fastest
land animal in the world, the cheetah,

with the super high-speed,
super high-definition video camera.

lt captures 1,500 frames per second.

lt's essentially super,
super slow motion,

and with cheetahs you need
every bit of frame rate possible.

And they're moving
towards the herd. Perfect.

Let's go get 'em.

Okay, that's good, that's good.

And then she sits down.

[flies buzzing]

lt's getting hot in here and there's
lots of flies, these [bleep] flies...

She's got to eat sometime.

Let's see what she can do today.

There's a whole line of wildebeest
lining up on one side of her

and a small herd of zebra
on the other.

This is her fourth day hunting
and she still hasn't made a kill.

She has got to eat,
and so do her cubs.

NARRATOR: Whether it's inexperience
or fear of injury,

this cheetah seems to give up
all too easily.

CASAGRANDE: And the cheetah
is sitting down again.

You know, l've just realized
that l don't think

l have changed or washed

the trousers that l'm
wearing right now

for the past 17 days.

NARRATOR: Casagrande's patience
is wearing thin.

CASAGRANDE: You know,
you grow quite attached to these animals

while you're filming them.

Sometimes you give them names,

sometimes you give them
swear words for names.

MAN: Good morning.

CASAGRANDE: Good morning.
l feel good; l think we will be fine.

Let's do it.

We are heading out on the plains
for some action.

lt's been slow,
but today is the day.

We are going to get the kill,
it's gonna be today.

lt better be.

Today may be
the day we get...

[radio chatter]

...lucky.

[singing] lf l was a cheetah,
l would run super fast,

chasing all the animals
around the grass.

So we've got a situation here.

The three cubs are
underneath our car

and the cheetah is hunting
in front of our car.

We have no angle on the shot.

We could go to the roof,
but it's way too windy

and the camera is
all over the place.

We can't move the car
to get in position

and the cheetah is about to hunt.

lsn't that [bleep] up?

lf she makes a kill
and we can't shoot it,

l think l'm gonna find myself
working at the bank

or a supermarket or maybe...

maybe l'll just...

yeah, l'm not sure what l'll do.

l'm going to check on those little cubs.

lt's been almost...
almost an hour.

They're still sitting under our car.

The mother is still at the front,
where we can't get an angle,

and she is still hunting.

So the mother
is coming back now

to retrieve her cubs
from underneath our vehicle.

NARRATOR: The next day, Casagrande
finds the cheetah mother

stalking near a zebra herd.

CASAGRANDE: Maybe she's going
to go for one of those little zebra.

Here we go again.

NARRATOR: But instead
of the mother on the prowl,

it's the cubs that are practicing their skills,
mock-hunting huge zebras.

lt seems like innocent fun.

But in an instant,
the tables are turned.

CASAGRANDE: You won't believe this.

We just filmed, one of the three cubs
gets stamped by a zebra.

During a hunt the mother, one of the cubs
just got stamped by a zebra.

lt's dead.

MAN: She's alive! She's alive.

CASAGRANDE: The cub?

MAN: Yeah, she's alive!

CASAGRANDE: Where is she?

MAN: She is there.
l can see her.

CASAGRANDE: Where?

Turn around, turn the car...

Holy [bleep], she's alive,
the cub is alive.

Oh, my God, oh, my God.

That was horrible.

She's there!

NARRATOR: When Casagrande
reviews the ultra slow-motion shot,

he sees what his naked eye
had missed.

CASAGRANDE: After reviewing
the phantom footage,

it was quite evident
that the cub escaped.

l can't believe that cub's alive.
l can't believe that cub's alive.

NARRATOR: The great migration
of wildebeest and zebra

tracks north to Kenya.

250 miles and five months later,
they arrive at this legendary river.

Cameramen John Benam
and Bob Poole are waiting.

POOLE: Holy-moly.

Oh, man. Look at that.

[wildebeest lowing]

NARRATOR: Everything is in place

for perhaps the most iconic
migration spectacle on Earth.

BENAM: About to cross.

lt was absolute chaos,
just massive hooves,

just going, going, going, running,
running, running, crossing.

As soon as they saw that calf, man,
they beelined right in there.

And the bloodshed,
the just overall carnage

was something to behold.

lt was just kill after kill after kill.

NARRATOR: Mothers try
to shield their young.

But not all succeed.

John Benam trains his lens
on a scene he will remember forever.

BENAM: We heard this calling from a calf,
kind of over through the bushes.

[calf bellowing]

And this massive, you know, 12-foot croc
is just attached to its backside.

He kept pulling the croc,
literally out of the water with him.

He was so strong, he was like
pulling himself up on the bank.

[calf bellowing]

lt was extremely emotional.

Everyone who was watching,
including myself, were moved to tears.

NARRATOR: The death of any calf
is heart wrenching,

the end of an all-too-brief life.

But for every calf that dies here,
thousands make it across.

lt is these individual moments
of tragedy and triumph

that the Great Migrations crew
set out to film...

CASAGRANDE: Oh, my God,
l can't believe this.

MAN: How'd it go?

MAN: Good.

MAN: Thanks.

MAN: My pleasure.

WOMAN: There's one.

WOMAN: lt's gonna be awesome;
l'm gonna be flying with the monarchs.

NARRATOR: ...to put a face
to one among millions...

MAN: And that's what it's like
to feel like a walrus.

NARRATOR: ...to tell the most moving
stories on Earth...

the stories of the great migrations.