First, the key facts: five eld in production; filmed in 200 locations across 26 countries; 40 specialist crews; thousands of hours of footage shot on 35mm and HD cameras; 250 days of aerial photography.
The BBC's Natural History Unit utilised the most advanced technology uncommitted to create this astounding exploration of the frangibility of animation on our dying planet.
In the process, the unit's extensive team accessed some of the remotest landscapes in the world to capture inner wildlife footage that would leave David Attenborough or Jacques Cousteau gasping with envy.
Secondly, the cast of families: arctic bears in Norway; elephants crossing from the Kalahari Desert to the Okavango Delta; humpback whales travel 6000km from the equator to the South Pole.
With sonorous narration by doer Patrick Stewart guiding our feelings and unveiling the facts, the film in the main follows trey families struggling against near insurmountable odds, much of it the inevitable resultant role of globular warming.
Incredibly, the camera crews penetrate the harshest environments to fall out these noteworthy creatures during seasonal migration.
From the desert in the midst of a dazzling sand surprise to thousands of hectares of chip sea ice, the 30 cinematographers (strangely, all male person) discover the hidden reality of precious lives under duress.
Thirdly, the supporting throw of critters: three million caribou in Canada and the wolves that stalk them; newborn mandarin ducks leaping from trees to the run aground; birds of paradise and their sexual union rituals in Papua New Guinea's tropical rainforest; lions hunting elephants; sea lions hunted by a starving male polar bear.
With every species on the planet dependent on others for its survival, the cinema poignantly documents this symbiotic interrelationship by capturing many amazing moments on camera.
These include an engrossing night scene of lions attacking a baby elephant, spell the dramatic shot of a majuscule white shark making a meal of a seal, filmed at 2000 frames per second on a digital photographic camera, allows the human eye to appreciate the splendor of the kill.
The film's directors, wildlife documentary veterans Alastair Fothergill and Mark Linfield, along with co-writer Leslie Megahey, are understandably passionate about their subjects and subject matter.
Their hot air powerfully complements the images themselves, ably assisted by Stewart's overlooking voice.
Paired with composer George Fenton's haunting score, played by the Berliner Philharmoniker, these images, words and sounds
