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Netflix’s ‘Ancient Apocalypse’ is a documentary series fit for any ancient-history lover, its second season having just been released in October.
The hit series is hosted by journalist Graham Hancock who travels the globe hunting for evidence of mysterious, lost civilisations, dating back to the last Ice Age. With notable guests such as actor Keanu Reeves, Hancock dives into the world of archaeology and myth, history and indigenous knowledge, questioning what we are currently taught as fact/the timeline of prehistory.
Director of Photography Will Fewkes was summoned to shoot the second season of ‘Ancient Apocalypse’ after working alongside Director Marc Tiley for series one.
Will Fewkes has worked in the broadcast industry for over two decades, working on intimate interview-based and observational documentaries as well as large-scale multicamera presenter-led series. Having used Cooke lenses on previous work, Fewkes selected the Mini S4/i, SP3 and Varotal/i range for ‘Ancient Apocalypse’. Cooke spoke to the cinematographer about his time behind the lens.
Having worked with Tiley previously, the pair collaborated and chose to work on a style guide rather than a pure storyboard for the show. Drawing references from films such as ‘Apocalypse Now’ (1979), Fewkes and Tiley developed a cinematic foundation for the series. When discussing series one, Fewkes reflected, “We wanted a cinematic style with big close-ups and wide shots where the character was small in the frame. We carried that style into series two but refined it… we took what worked from series one and amplified it. We improved everything as we went along to elevate the entire series”.
Wanting to streamline the kit as much as possible, the show was shot on Sony FX9 cameras, straying from the F55 that was used alongside the FX9 on series one. Fewkes noted that the FX9s were “ergonomically suited for the challenging environments we filmed in. Plus, they had internal NDs, which were useful.” Referring to his slow-motion work on ‘Ancient Apocalypse’, Fewkes mentioned how this was particularly prominent on series two. “We used 50 frames per second a lot. The slow motion added drama, and it helped cover some of the challenges we faced”.
The team were certainly challenged for series two of ‘Ancient Apocalypse’, entirely shot in challenging environments across South America. “(it) required moving locations three times within Brazil. Peru was challenging because we went from the hot low jungle to high altitudes in the Andes. Mexico was one of the hottest shoot I’ve ever experienced, and Easter Island surprised us with its intensity, unrelenting wind and equatorial sun.” Fewkes recalls. In light of this, Fewkes had to personally hand-pick the crew based on their ability to work in difficult situations.
« The SP3s were mainly used with the FX6 for gimbal work. We used the Ronin RS3 pro with the FX6 and SP3s, and extensive testing and development work was carried out by myself and cam assist Alex Kirkwood to ensure that the RS3, FX6, and SP3s were properly integrated. The gimbal work, though a relatively small part of the series, really elevated the quality of what we were capturing, and in using the SP3s helped cement the Cooke feel and look across the entire series. »
Fewkes chose to take the Cooke 85-215 Varotal/i FF, mini S4/i and SP3 series with him for ‘Ancient Apocalypse’, providing him with a complete arsenal for all environments and situations. To compliment the PL zoom, the mini S4/i primes were selected for their lightweight versatility. Cooke offered a pre-production set for him to trial considering the rigors of the project. “I felt that this was quite a special situation. To be given a set of pre-production lenses, right on the cusp of release, was amazing. I felt proud to be trusted with them on such incredible trips. For us, it was great to test them in different conditions—rainforests, high altitudes, and windy Easter Island. It was reassuring that they could handle the environmental challenges while remaining light and ergonomic.”
When questioned about maintaining continuity across all three lens series, Fewkes commented, “We usually aimed for around T4 or T3.5. We weren’t wide open, but needed some room for the unexpected. It gave us some flexibility without sacrificing too much light”. Despite the Mini s4/i lenses designed for Super 35 format, the cinematographer commented on using them on the full frame FX9: “The minis, above 50mm, covered the full frame well. For wider shots, we had to switch to full frame 5K crop or Super 35. We programmed the FX9’s to easily switch between modes to accommodate the image circle, while retaining that Cooke look”. For documentary filmmaking, its essential to maintain consistency across lenses and focal lengths, and Fewkes found these to make for an adaptable and seamless workflow.
When it came to the zoom, Fewkes found it to be extremely versatile for the unpredictable environment. “The Varotal became a workhorse for me. It allowed me to sit back and still get the close-ups on Graham, while freeing up the second camera for mid-range shots. It was especially helpful in situations where we didn’t have time to plan every detail.” This, Fewkes found, gave Graham the space to explore and deliver his message naturally, providing him room to work without compromising on the breathtaking landscape in the background.
Ancient Apolcalypse series two is now available to stream on Netflix
