{"id":110501,"date":"2019-03-12T06:00:03","date_gmt":"2019-03-12T11:00:03","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=110501"},"modified":"2019-03-14T09:53:13","modified_gmt":"2019-03-14T14:53:13","slug":"interview-dp-tales-by-light","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/interview-dp-tales-by-light\/","title":{"rendered":"Insights into the Cinematography of the Award-Winning Docuseries &#8220;Tales By Light&#8221;"},"content":{"rendered":"<h2 id=\"we-sat-down-with-the-dp-of-netflixs-tales-by-light-to-talk-about-his-approach-to-shooting-an-award-winning-docuseries-on-wildlife-and-human-impact\">We sat down with the DP of Netflix\u2019s &#8220;Tales By Light&#8221; to talk about his approach to shooting an award-winning docuseries on wildlife and human impact.<\/h2>\n<p>In 2014-2015, international award-winning director, producer, and DP <a href=\"https:\/\/untitledfilmworks.com.au\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Abraham Joffe ACS<\/a> created the stunning six-part docuseries <em><a href=\"https:\/\/www.netflix.com\/title\/80133187\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Tales by Light<\/a><\/em>. The series travels the world &#8220;capturing indelible images of people, places, creatures and cultures from new, previously unseen angles.&#8221; He followed this with <a href=\"https:\/\/vimeo.com\/285062960\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\"><em>Big Cat Tales<\/em><\/a>, a series following the lives of lions, leopards, and cheetahs on the Masai Mara Reserve in Kenya.<\/p>\n<p>Here&#8217;s what he had to say about cinematography and the work.<\/p>\n<hr \/>\n<p><strong>PremiumBeat:<\/strong> Abraham, how did you get started as a cinematographer?<\/p>\n<p><strong>Abraham Joffe, ACS: <\/strong>Cinematography was always my first love. I never set out to become a director or producer, per se \u2014 I just loved creating images and shooting. When I was a teenager, my parents traveled around Australia, writing books on the fascinating characters they came across. So, during that time, I sat in on hundreds of interviews, and was exposed to the beauty of the natural world. I think these years infused in me a curiosity for human stories, and the environment.<\/p>\n<p>I was inspired by\u00a0pioneering wildlife filmmaker <a href=\"https:\/\/en.wikipedia.org\/wiki\/Malcolm_Douglas_(documentary_maker)\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Malcolm Douglas<\/a>. I remember meeting Douglas when I was about 12 years old, and for several years afterwards, I sent him the projects I was working on. One day, he asked me if I wanted to be a camera operator for his upcoming adventure series. I said yes, and then spent the next several months traveling and shooting with him in the remote Kimberleys in Western Australia. I was 19 then, and that whole experience solidified what I wanted to do for the rest of my life. Living and capturing life in its extreme, and sharing it with others.<\/p>\n<p><iframe loading=\"lazy\" title=\"Tales By Light Season 3 Trailer 4K\" src=\"https:\/\/player.vimeo.com\/video\/283385142?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe><\/p>\n<p><strong>PB:<\/strong>\u00a0What experiences led you to creating your Netflix series,\u00a0<em>Tales by Light<\/em>?<\/p>\n<p><strong>AJ: <\/strong>In the years following my work with Malcolm Douglas, I had further experiences filming around Australia and my first shoots in Africa. It was then that Canon Australia approached me about shooting a series of short profile pieces on some of their Canon Masters. This was originally supposed to be a talking head interview, with a few of their best photos, overlaid. But, I thought rather than just show their work, why don\u2019t we go and shoot these photographers, in the field?<\/p>\n<p>One of the first photographers we followed was <a href=\"https:\/\/darrenjew.com\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Darren Jew<\/a>, a renowned underwater photographer, who was shooting a series on Humpback whales in Tonga. So, I pitched Canon on joining Darren and filming him doing his day job. This was in the days before DJI had exploded, so I worked with an experienced hexacopter drone operator. So, we were able to capture these amazing aerial shots, as well.<\/p>\n<p>Canon loved the piece, and I was invited to showcase the film at the Sydney Opera House, for one of their events. Afterwards, I found myself face-to-face with the director of Canon Australia, and I pitched him on expanding this concept to a television series for Australian TV. To my amazement, they loved the idea, and the series moved forward. Eventually, we got it in front of Netflix, and they picked it up.<\/p>\n<p>If it wasn\u2019t for passion projects \u2014 just going out there and doing it, and not chasing the money \u2014 this success wouldn\u2019t have happened. I was passionate about telling these stories. I think that rubbed off on the right people \u2014 people who were ultimately able to finance it.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-110510 size-full\" title=\"Insights into the Cinematography of the Award-Winning Doc-Series &quot;Tales By Light&quot; \u2014 On Location\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/03\/Abraham-joffe.jpg\" alt=\"Insights into the Cinematography of the Award-Winning Doc-Series &quot;Tales By Light&quot; \u2014 On Location\" width=\"755\" height=\"400\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/Abraham-joffe.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/Abraham-joffe.jpg?resize=300,159 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/Abraham-joffe.jpg?resize=277,147 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/Abraham-joffe.jpg?resize=359,190 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/Abraham-joffe.jpg?resize=543,288 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/Abraham-joffe.jpg?resize=560,297 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/Abraham-joffe.jpg?resize=150,79 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/p>\n<p><strong>PB:<\/strong>\u00a0<em>Tales By Light<\/em> takes place in many fascinating and remote locations around the world. How are you structuring your shooting days?<\/p>\n<p><strong>AJ:<\/strong> It depends a lot on the subject matter and location. But there are some\u00a0common processes.<\/p>\n<p>In terms of must-haves, we make sure that we have enough batteries and cards for an entire day\u2019s worth of shooting \u2014 this is very important. One thing that does limit us to how &#8220;rough&#8221; we go is that we do need power at night. With that said, we\u2019ve gone to some pretty remote locations, like up the Sepik River in Papua, New Guinea. We were working off generator power for three weeks, in grass huts, along mosquito-infested rivers.<\/p>\n<p>When we hit the ground on location, we\u2019ve already done a lot of research and preparation. On special occasions, wherein we\u2019re working with high profile talent \u2014 such as the case in S3.E1.: &#8220;Children in Need<em>,<\/em>&#8221; where we travel with Orlando Bloom through Bangladesh \u2014 we&#8217;ll actually do a location scout, ahead of time. I do believe in the adage that just getting to the location (and being prepared), you&#8217;re 80 percent there.<\/p>\n<p>We max out at about three weeks \u2014 or 21 days \u2014 of shooting time, for a single shooting period. Each day, we\u2019re getting up early in order to capture that early morning light, and we\u2019re often chasing the light, at the end of the day. This is especially true when working on wildlife shoots. When we\u2019re working in the Masai Mara (S2.E1.), we actually like to be on location and shooting in predawn light. So, that little bit of light before the sun rises. This means we\u2019re up and trying to locate wildlife in the dark.<\/p>\n<p>A double backup always happens at the end of the day \u2014 back at the hotel, motel, tent, or hut. We can, at times, shoot up to 2TB+ of data, each day. I run double laptops to two separate SSDs, just to wrangle all of the data we shoot. Of course, it\u2019s always a plus when we have a dedicated data wrangler on set, but this isn\u2019t always the case. We\u2019ve also used a NAS on some shoots, which is able to pull data quite quickly.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-110512 size-full\" title=\"Insights into the Cinematography of the Award-Winning Doc-Series &quot;Tales By Light&quot; \u2014 Abraham Joffe ACS and crew on boat\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/03\/20180121-164925-_B4V0413.jpg\" alt=\"Insights into the Cinematography of the Award-Winning Doc-Series &quot;Tales By Light&quot; \u2014 Abraham Joffe ACS and crew on boat\" width=\"755\" height=\"400\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/20180121-164925-_B4V0413.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/20180121-164925-_B4V0413.jpg?resize=300,159 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/20180121-164925-_B4V0413.jpg?resize=277,147 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/20180121-164925-_B4V0413.jpg?resize=359,190 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/20180121-164925-_B4V0413.jpg?resize=543,288 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/20180121-164925-_B4V0413.jpg?resize=560,297 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/20180121-164925-_B4V0413.jpg?resize=150,79 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/p>\n<p><strong>PB: <\/strong>At the end of shooting days, are you and your team reviewing dailies?<\/p>\n<p><strong>AJ:<\/strong> I&#8217;d love to, but mostly, we simply don\u2019t have the time. For me, I\u2019ll open a few shots just to check for any issues, like sensor dots. I\u2019ll do a quick listen to our audio from that day as well.<\/p>\n<p><strong>PB:<\/strong> How big is your production crew for a docuseries like <em>Tales By Light<\/em>?<\/p>\n<p><strong>AJ:<\/strong> Typically, our crew is made up of 3-4 people. I do like working with <a href=\"https:\/\/www.premiumbeat.com\/blog\/shoot-produce-edit-the-rise-of-the-pro-shreditor\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">predators<\/a>\u00a0\u2014 multi-skilled filmmakers who can operate, run sound, fly the drone, etc. I like working with them because you can adapt, you can split into small groups, if necessary. This is good because this allows us to remain small and operate in a low profile. Oftentimes, we\u2019re shooting in sensitive areas that cannot support large footprint productions. It\u2019s also less intimidating for our subjects, as well. Not to mention the cost savings, per location, from having a smaller crew. We keep it casual, agile, and respectful. Our main goal is to leave these places in better shape than we found them.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-110513 size-full\" title=\"Insights into the Cinematography of the Award-Winning Doc-Series &quot;Tales By Light&quot; \u2014 Indigenous males and photographer\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/03\/26K3285-2.jpg\" alt=\"Insights into the Cinematography of the Award-Winning Doc-Series &quot;Tales By Light&quot; \u2014 Indigenous males and photographer\" width=\"755\" height=\"400\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/26K3285-2.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/26K3285-2.jpg?resize=300,159 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/26K3285-2.jpg?resize=277,147 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/26K3285-2.jpg?resize=359,190 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/26K3285-2.jpg?resize=543,288 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/26K3285-2.jpg?resize=560,297 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/26K3285-2.jpg?resize=150,79 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/p>\n<p><strong>PB: <\/strong>There are so many amazing moments captured in <em>Tales By Light<\/em>. I\u2019m thinking in particular S1.E2.: &#8220;Himalaya,&#8221; where you and your team are following <a href=\"https:\/\/richardianson.com\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Rich I\u2019Anson<\/a>, as he enters a Buddhist monastery. How are you and your operators splitting up the coverage of your subjects and locations?<\/p>\n<p><strong>AJ:<\/strong> The end goal for me is to find a balance between the beauty shots \u2014 the big shots, the hero shots \u2014 and what I call the &#8220;gritty doc coverage,&#8221; where you\u2019re in the scene and letting it unfold as it&#8217;s happening. In <em>Tales By Light,<\/em> we\u2019re trying to create something that is visually striking, that does justice to the locations, while at the same time, shooting real events and trying to document what\u2019s happening.<\/p>\n<p>In the scene where Rich enters the monastery, we certainly filmed that several times. In a scene\u00a0like that, I would typically start with the drone, especially if there\u2019s a chance that the scene could change continuity-wise (i.e. monks coming and going, villagers might pop in and out, the weather could turn, etc.). After that, I would step in and capture a few follow shots on the gimbal.<\/p>\n<p>So, in general, I\u2019ll start wide and then go in for closer shots. When shooting wildlife, sometimes it\u2019s the opposite.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-110515 size-full\" title=\"Insights into the Cinematography of the Award-Winning Doc-Series &quot;Tales By Light&quot; \u2014 Abraham Joffe ACS shark cinematography\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/03\/echeng160418_182614-2.jpg\" alt=\"Insights into the Cinematography of the Award-Winning Doc-Series &quot;Tales By Light&quot; \u2014 Abraham Joffe ACS shark cinematography\" width=\"755\" height=\"400\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/echeng160418_182614-2.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/echeng160418_182614-2.jpg?resize=300,159 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/echeng160418_182614-2.jpg?resize=277,147 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/echeng160418_182614-2.jpg?resize=359,190 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/echeng160418_182614-2.jpg?resize=543,288 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/echeng160418_182614-2.jpg?resize=560,297 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/echeng160418_182614-2.jpg?resize=150,79 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/p>\n<p><strong>PB:<\/strong> Are there any episodes, in particular, wherein you found a good balance between the cinematic shots and the more gritty doc coverage?<\/p>\n<p><strong>AJ:<\/strong>\u00a0Season 3, Episodes 1 &amp; 2: &#8220;Children in Need&#8221; were good examples of how we were able to combine those strong cinematics with more gritty realism. This was achieved by how we structured our shooting schedule. In that scenario, we actually arrived in Bangladesh, a few days before Orlando Bloom. During the time before he arrived, we went and filmed interviews with some of the kids, and we also filmed coverage of their day-to-day. The shoot involved us going to these factories where child workers suffered in horrendous conditions. We weren\u2019t allowed to stay there long, but when we were there, we shot really hard. We didn\u2019t have to worry about Orlando being there \u2014 we could focus 100 percent on getting strong visuals.<\/p>\n<p>A few days later, we returned with Orlando. During this shoot, we were able to focus solely on doc-style coverage (i.e. Orlando&#8217;s reactions to the environment, etc.) If we only scheduled a single visit to knock out both doc-coverage and our strong cinematics, we would\u2019ve likely not been able to do both.<\/p>\n<p><strong>PB:<\/strong>\u00a0What approaches do you take when lighting your subjects?<\/p>\n<p><strong>AJ:<\/strong> We\u2019re using natural light for most of our work. In the field, we don\u2019t do a lot of lit interviews. Having said that, we\u2019re always thinking about the light. We use reflectors, we use cutters, scrims. Sometimes we\u2019re turning off lights, if we\u2019re shooting interiors. If we\u2019re in vehicles, we\u2019re positioning the vehicle so as to make the best use of light.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-110516 size-full\" title=\"Insights into the Cinematography of the Award-Winning Doc-Series &quot;Tales By Light&quot; \u2014 Abraham Joffe in Svalbard winter\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/03\/SvalbardWinter2017-29050.jpg\" alt=\"Insights into the Cinematography of the Award-Winning Doc-Series &quot;Tales By Light&quot; \u2014 Abraham Joffe in Svalbard winter\" width=\"755\" height=\"400\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/SvalbardWinter2017-29050.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/SvalbardWinter2017-29050.jpg?resize=300,159 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/SvalbardWinter2017-29050.jpg?resize=277,147 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/SvalbardWinter2017-29050.jpg?resize=359,190 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/SvalbardWinter2017-29050.jpg?resize=543,288 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/SvalbardWinter2017-29050.jpg?resize=560,297 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/03\/SvalbardWinter2017-29050.jpg?resize=150,79 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/p>\n<p><strong>PB:<\/strong> Last question, Abraham. Since season one, what\u2019s been your biggest takeaway from shooting <em>Tales By Light<\/em>?<\/p>\n<p><strong>AJ:<\/strong> One thing we always want to be doing is shooting on the best sensor, with the best optics. But, if that\u2019s at the expense of our mobility, that\u2019s not good. I think I err on the side of having more flexibility. If we aren\u2019t bogged down with a huge rig, the production is going to be richer because of the improvement of the coverage, and therefore, the story.<\/p>\n<p>As the series has progressed, I\u2019ve begun to prefer the more leaner, meaner setups. I think this is especially important for documentary work.<\/p>\n<hr \/>\n<p>To learn more about <em>Tales By Light<\/em>, <em>Big Cat Tales<\/em>, and Abraham\u2019s other award-winning work, check out <a href=\"http:\/\/www.untitledfilmworks.com.au\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">www.untitledfilmworks.com.au<\/a>.<\/p>\n<hr \/>\n<p><em>All images via Untitled Film Works.<\/em><\/p>\n<p>Looking for more industry interviews? Check these out.<\/p>\n<ul>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-american-gods-composers\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Industry Interview: The Composers Behind American Gods<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-costume-designer-gersha-phillips\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">The Costume Design Behind Star Trek, House of Cards, and Greek Wedding<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-tom-cross-editor-first-man\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Tom Cross on Editing First Man and Working with IMAX Footage<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-dan-marocco-brooklyn-nine-nine\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Interview: Composer Dan Marocco of Brooklyn Nine-Nine<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-screenwriter-patricia-resnick\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Screenwriter Patricia Resnick on Altman, Mad Men, and Working 9 to 5<\/a><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>We sat down with the DP of Netflix\u2019s &#8220;Tales By Light&#8221; to talk about his approach to shooting an award-winning docuseries on wildlife and human impact.<\/p>\n","protected":false},"author":88,"featured_media":110509,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[3843,79],"tags":[536,5380,474],"class_list":["post-class-post-110501","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-filmmaking-2","post-class-category-inspiration","post-class-tag-filmmaking","post-class-tag-inspiration","post-class-tag-interview"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v27.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Insights into the Cinematography of the Award-Winning Docuseries &quot;Tales By Light&quot;<\/title>\n<meta name=\"description\" content=\"We sat down with the DP of Netflix\u2019s &quot;Tales By Light&quot; to talk about his approach to shooting an award-winning docuseries on wildlife and human impact.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.premiumbeat.com\/blog\/interview-dp-tales-by-light\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Insights into the Cinematography of the Award-Winning Docuseries &quot;Tales By Light&quot;\" \/>\n<meta property=\"og:description\" content=\"We sat down with the DP of 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