The human eye is a remarkable piece of precision engineering, but it is also extremely limited. Beyond the narrow range of light that makes up the familiar colours of the rainbow is a vast spectrum of light, entirely unseen. Richard Hammond does just that, using ground-breaking new imaging technologies to take the viewer on a breath-taking journey of discovery beyond the visible spectrum, seeing the world, quite literally, in a whole new light. From death-defying aerial repairmen in the United States using ultraviolet cameras to seek out an invisible force that lurks unseen on power lines, to German scientists unlocking the secrets of animal locomotion with the world's most powerful moving x-ray camera, to infrared cameras that can finally reveal the secrets within a humble beehive, he shows how new technologies are letting us see our world anew.

Hollywood actor Jason Scott Lee has been a student of Bruce Lee's martial art Jeet Kune Do for 20 years and in Secrets Of Shaolin. He fulfils his lifelong dream of joining the institution that invented kung fu - Shaolin Temple. In an intense two-week kung fu bootcamp, Jason will not only discover Shaolin's centuries old secrets of turning the human body into the ultimate weapon, but also experience the spiritual effects of it's Zen Buddhist practices. Secrets of Shaolin promises to be a stunning, action-packed insight into the world's most famous martial art and a spectacular celebration of the place, people and culture that has inspired generations of fans.

A bird's-eye view of some of the world's greatest natural spectacles. Amazing sights from five continents are revealed in a whole new light. Using cutting edge new filming techniques to show everything in exquisite detail, viewers have a uniquely privileged perspective. The first episode takes flight across North America, as a flock of millions of snow geese discover what it is like to be on the hit list of America's national bird: the bald eagle. In California, pelicans reveal devil rays that perform astonishing somersaults and find bizarre grunion fish that wriggle ashore to spawn. In Alaska, bald eagles swoop among brown bears fishing for salmon. And on the Great Plains, cowbirds duck and dive under the feet of fighting bison.

The documentary series gives a bird's-eye view of South America, as condors soar along the Andes, scarlet macaws explore the heart of the Amazon and hummingbirds and vultures see the continent's greatest sights. It is a journey that includes Machu Picchu, the Nasca Lines and the cities of Rio de Janeiro and Santiago. In Patagonia, giant petrels shadow killer whales as they hunt seals by stranding their huge bodies on the beach. At Iguassu Falls, dusky swifts dive through the cascades to huddle in communal roosts while hummingbirds bathe below. In a secret Andean location, condors soar in flocks over 40-strong and scavenge on casualties from herds of fighting guanacos. Elsewhere, a mother condor gently pushes her youngster to the edge of a 200-metre cliff, as flight school begins. Deep in the Amazon, macaws seek medicinal clay. They are joined by a host of secretive jungle animals, including spider monkeys and tapirs, all after the same remedy. In Peru, condors soar over fighting sea lions waiting for causalities and on a mass exodus north, birds converge on the Panama Canal. In Costa Rica, black vultures descend on turtles as they lay their eggs in the sand and pick off the eggs that ping-pong through the air.

To fly like a bird, Earthflight not only captured remarkable images of wild flocks but also relied on some extraordinary relationships between people and birds. Filmed over four years, in six continents and more than 40 countries, the Earthflight team used many extraordinary techniques. For some of the unique flying shots, members of the team became part of the flock. The birds followed wherever they went - even in a microlight over Edinburgh and London. In Africa, paragliders floated alongside wild vultures, while a model vulture carried a camera inside the flock. In South America, wild-living macaws, that were rescued as babies, still come back to visit their 'foster mother' as he travels along a jungle river. In Africa, a radio-controlled 'drone' silently infiltrates masses of pink flamingos without disturbing a feather, and microlights and helicopters capture the dramatic moment white storks arrive over Istanbul. In Africa a tame vulture carried a camera across the African bush and recreated the behaviour of his wild relatives. Similarly, in the USA, a flock of hand-reared snow geese followed the migration route of wild flocks and took in the sights and sounds of New York - managing to get lost in Brooklyn

The filmmakers challenge former Indonesian death-squad leaders to reenact their mass-killings in whichever cinematic genres they wish, including classic Hollywood crime scenarios and lavish musical numbers. Anwar Congo and his friends have been dancing their way through musical numbers, twisting arms in film noir gangster scenes, and galloping across prairies as yodeling cowboys. Their foray into filmmaking is being celebrated in the media and debated on television, even though Anwar Congo and his friends are mass murderers.
Medan, Indonesia. When the government of Indonesia was overthrown by the military in 1965, Anwar and his friends were promoted from small-time gangsters who sold movie theatre tickets on the black market to death squad leaders. They helped the army kill more than one million alleged communists, ethnic Chinese, and intellectuals in less than a year. As the executioner for the most notorious death squad in his city, Anwar himself killed hundreds of people with his own hands.
The Act of Killing is about killers who have won, and the sort of society they have built. Unlike ageing Nazis or Rwandan génocidaires, Anwar and his friends have not been forced by history to admit they participated in crimes against humanity. Instead, they have written their own triumphant history, becoming role models for millions of young paramilitaries. The Act of Killing is a journey into the memories and imaginations of the perpetrators, offering insight into the minds of mass killers. And The Act of Killing is a nightmarish vision of a frighteningly banal culture of impunity in which killers can joke about crimes against humanity on television chat shows, and celebrate moral disaster with the ease and grace of a soft shoe dance number.