Planet Earth 2 is, quite simply, extraordinary. When its predecessor, Planet Earth, hit the screens 10 years ago, it was difficult to imagine how that stunning high-definition wildlife camera work and production creativity could be bettered. But the new series from the BBC, filmed in Ultra-HD and narrated, once again, by Sir David Attenborough, has set a new gold standard.

Watching the vivid imagery, it’s difficult not to wonder what it must be like to be involved in such a production, especially at the cutting edge, where the action is happening. In other words, right there behind the lens of these miraculous cameras.

“These big shows, they are all big team efforts. The wildlife camera person in front of the animal, I have to think that he gets the best job. We get the time to spend in the wild, in front of the animal. But we wouldn’t be there if it wasn’t for the enormous pyramid of people underneath us. Researching, finding the ideas, deciding to do the ideas, and putting people like me in the right place for the right amount of time.”

These were the words of wildlife cameraman, Doug Allan, speaking to Ryan Tubridy this morning, and they come from a man who clearly knows how blessed he is to work in such a rewarding role. Doug first worked with Sir David Attenborough in 1981 and hasn’t lost one ounce of enthusiasm for the job in all the intervening years.

“Every time I go on an assignment, it feels like a different job because I may be going to a different part of the world, or a different animal. Even if I’m filming the same animal, I will be doing a different behaviour with it.”

Wildlife camerawork, according to Doug, has been elevated to a new level in recent years because of the extraordinary sophistication of equipment. It is now possible to film things in much greater slow motion than previously, to shoot in lowlight, under the sea, in darker locations, and pick up bioluminescence in a way that was previously impossible.

The size of the cameras is also hugely relevant. As they have become smaller, it is possible to place them in much more discreet locations, interfering far less with the environment, so wild animals are virtually unaware of their existence.

But one of the most important things in making wildlife documentaries at this level is simply being allowed the time to do your job.

“Every one of those episodes in this new series, you are probably looking at 400 to 450 filming days, just to make one program…. And two years of solid filming to get it. “

It has to be this way, according to Doug. What you really want is rare, or difficult to film scenes from nature, and this takes extraordinary patience and resources. But on top of time and patience, you also have to take care of yourself when you are getting up close and personal with big wild animals. Doug's speciality is underwater camera work, filming whales, dolphins, seals, polar bears, fish. And many animals, particularly mammals, can be moody.

“You certainly have to give a lot of respect to a polar bear if you’re going to go into the water with it…. As far as filming is concerned, you want them nice and relaxed and almost indifferent to you.”

Doug is in the West of Ireland at the moment, in the middle of a talking tour, the details of which are on his website, dougallan.com

Doug's interview with Ryan is full of wonderful anecdotes from his time on the job, getting intimate with the lives of an enormous range of wild animals. It’s well worth listening back to the full thing here.

Photo Credit: Getty Images