In Apple TV+’s gripping new nature documentary Wild Ones, which premiers today, a trio of elite adventurers—expedition leader Aldo Kane, camera trap expert Declan Burley, and wildlife cinematographer Vianet Djenguet—embark on an ambitious journey across six countries and five continents to document some of the world’s most endangered species in unprecedented detail. Armed with AI-driven tech, thermal drones, and over 350 custom-built cameras, the team captures rare, often emotional moments—from the first-ever footage of a Malayan tiger family to the disentanglement of a North Atlantic right whale. But as revealed in this candid Q&A, Wild Ones isn’t just about stunning visuals. It’s a story of resilience—of the animals, the ecosystems, and especially the local conservationists on the front lines. Through setbacks, trench foot, and swarms of bees, the crew highlights how filmmaking can be a force for global awareness and tangible change.

Off the top of your heads—how is this series different from other nature documentaries?

Aldo Kane: I think we all have something to say on that. What sets this series apart is how it blends high-level, blue-chip wildlife filmmaking with raw, on-the-ground conservation. It doesn’t just focus on the animals—it tells the stories of the people fighting with everything they have to protect them. We traveled to six countries across five continents, documenting six incredibly endangered species—with no guarantees. It was tough and exciting, and I think that mix is what makes it different.

A lot of the projects seemed open-ended—like you left a lot of cameras out in the wild. How important was it that the project continue beyond filming?

Declan Burley: Incredibly important. For me, working in Gabon with Etienne was amazing. He shared his knowledge of the forest with me, and I showed him how I use camera traps to identify new groups. We ended up leaving the cameras behind. The team—and Apple—agreed it was better than bringing them back to England. Those cameras can keep working, identifying as many groups as possible and documenting the wildlife that lives there. The more data you have, the more you can show to people.

For me, the best part was being able to teach someone how to rig cameras the way I do. Hopefully, that knowledge will continue spreading, snowballing until camera traps are everywhere. One day, we’ll know every gorilla living in that forest.

When people watch a show like this, they usually just see the final product. Can you talk about the kind of preparation involved?

Vianet Djenguet: Absolutely. There’s a whole team of researchers who liaise with conservationists, rangers, and scientists in the field. That direct communication helps us understand what’s at stake—what the mission is—and from there, we discuss how to tackle every element effectively to achieve those goals. That early groundwork is essential.

And during the shoot, you interacted with local scientists too. How did that collaboration work?

Vianet Djenguet: They were critical. Without them, we’d be lost. They guided us—told us where to go, what we were looking for. Then we brought in our expertise to make it all happen. But really, we were there to support the incredible work they’re already doing to save species on the brink of extinction.

Each of you has a unique skill set—survival, tracking, cinematography. How did those strengths come together in the field, especially when things got difficult?

Aldo Kane: This team wasn’t just the three of us on camera. The crew behind the scenes is also among the best in the world. When you’re in the jungle, mountains, or desert, you don’t just need to survive—you need to thrive. Everyone, including the crew, are experts in those extreme environments.

Not everyone can be good at everything, so we cover for each other. If Declan and Vianet are busy, I’ve got their backs. And if they’re not there, there’s no point in me being there either—I can’t film. It’s about operating as a small, elite, cohesive team with a shared goal.

You’re hauling so much kit through these environments. It looks amazing, but also like a lot of things could go wrong. How do you manage that?

Declan Burley: Stay open-minded and be prepared for things to go wrong—because they will. Especially with remote cameras. You’ve got to stay patient and remember why you’re doing it. It’s not just about getting the shot. It’s about protecting these animals and documenting the people who are out there doing the real work on the ground. That perspective helps you stay grounded.

There are some really powerful moments in the series. For me, one that stands out is the tiger missing its paws. It’s shocking and heartbreaking. Were there moments that really hit home for you?

Vianet Djenguet: For me, it was the disentanglement of the right whale. We didn’t expect it to happen during filming. But when it did, I felt a huge sense of liberation. The risks involved were enormous, but watching the rescue team fight to free that whale—it was grand. And when it was finally liberated, I was filled with joy. I even forgot my seasickness. I felt like I was in another world, just witnessing something incredible.

Declan Burley: Yeah, there were lots of moments. But seeing a tiger caught in a snare on one of our cameras—I didn’t expect that. I was hoping to see a tiger, sure, but not like that. It hit me hard. Malaysia was already tough, and emotions were running high. But I remember Hong saying that images like that are powerful—and he was right. It really got to me.

On the same trip, we also captured footage of a mother and her cubs—three cubs, I think. That was powerful too. What people are doing out there in the field is just incredible. I hope places like the Royal National Park can grow and thrive. That shot stuck with me.

Aldo Kane: One moment that really stood out for me was in Armenia. We filmed a bear that had lost a paw to landmines. I hadn’t really considered that when two countries go to war, the wildlife suffers too. That area was heavily mined. The bears, the Caucasian leopard—every animal there is caught in that conflict. It was a powerful realization.

On the lighter side, I’m thinking of the scene with the bees—you guys camped under a bee’s nest. Were there moments you asked yourself, “Why am I doing this?” Any little frustrations?

Aldo Kane: Every day.

Declan Burley: Yeah, especially in Malaysia. Early on, we all had trench foot. My feet were in such bad shape we couldn’t even show them on camera. I’d wake up at 5 a.m., lying in my hammock thinking, “What am I doing here?” But then I’d remember, “What are we doing here?” And that was enough to get up and go. It was brutal, but worth it.

Vianet Djenguet: That moment with the bees was something else. I remember the rangers laying out their mats and praying peacefully, even with bees swarming around them. I thought, “If they can do this, so can we.” It reinvigorated me. We were there for the right reasons. It’s not just a show about animals—it’s about protecting what’s left, and supporting the people doing the work on the ground.

Aldo Kane: For all the hardship we went through—us three and the crew—we were out there for maybe six weeks at a time. But those guys are doing it every day. Sometimes 21-day patrols in the jungle. They’re under-resourced, overworked, overwhelmed. So every challenge we faced, we knew we were helping bring their story to a global audience on Apple TV+.

That’s the goal: to inspire the next generation. Let them know they can help too. They can get out there. They can be part of conservation and protection.