Lead Cinematographer Zeno Petersen on the Making of Shaka iLembe

Shaka iLembe has captured the imagination of audiences worldwide, offering a powerful retelling of the life of King Shaka Zulu. At the helm of this ambitious project is one of the directors and lead cinematographer Zeno Petersen, who brings not only technical skill but also a deep respect for history, culture, and storytelling.

In this conversation, Zeno reflects on the challenges, philosophies, and creative decisions that shaped the series. From navigating limited resources to balancing authenticity with drama, his insights reveal the heart of what it means to tell a story of such magnitude.

Zeno's love for cinema isn’t something he hides, it’s written in the way his eyes light up when he talks about his craft. For him, storytelling isn’t a narrow lane. Whether behind the camera as a cinematographer or stepping into the role of director, his work is about freedom of expression through art.

With over 20 years in film and television, Zeno has shaped the look and feel of South Africa’s most defining productions: Shaka iLembe, Red Ink, Isibaya, Shuga, Zone 14, Isithembiso, and the award-winning feature Back of the Moon. Along the way, he’s earned nominations and wins at the SAFTAs, CCIA award and the Royalty Soapie Awards. Still, Petersen insists that the real achievement is in the act of creating; turning vision into stories that resonate, and with Shaka iLembe, giving audiences a world as grand as the legend itself.

Though Shaka iLembe carried a bigger budget than many local productions, Zeno insists it was never treated as a “luxury project.” Compared to the American series of a similar scale, their resources were modest. What made the difference was discipline and creativity born of constraint. “Having less always puts you in a position where you really need to be creative,” Zeno explains. Instead of relying on expensive gear, the team pushed themselves to find inventive solutions that served the story. This mindset kept the production grounded and authentic.

When asked whether substance or quality comes first, Zeno is clear: the story is the foundation. “If the story falls flat, nobody connects to it. It doesn’t matter what camera you have, what lights you have – it doesn’t work.” Zeno is clear that substance is a basis for all projects, and everything else is a bonus to the work.

While the cinematography of Shaka iLembe is undeniably striking, Zeno was careful not to let visuals overshadow the narrative. Instead of striving for glossy perfection, Zeno leaned into authenticity. “We wanted people to feel the sun, to taste the dust,” he says, describing the textured, raw aesthetic that draws viewers into the lived reality of the characters.

Zeno is quick to credit his collaborators. A project as vast as Shaka iLembe required weaving together many perspectives – writers, cultural advisors, historians, and directors. Guiding this process were executive producers Angus Gibson and Desiree Markgraaff, founders of Bomb Productions.

Zeno credits Angus as the creative anchor of the series: “the mega man of the show.” Under his leadership, the team was able to sift through months of research and conflicting viewpoints to arrive at a unified vision. “You can remake this whole show again and tell a completely different version,” Zeno reflects, “but at some point, you need to decide on one story to tell.”

A distinctive strength of Bomb Shelter Productions lies in its close-knit creative team. Unlike many companies that work project-to-project with freelancers, Bomb has built what Zeno calls “the Bomb family” – directors, editors, designers, and producers who collaborate consistently across productions.

This continuity fosters trust and creative shorthand, much like working with siblings over many years. While Zeno acknowledges the value of freelancing for variety, he appreciates the stability and shared vision that come from being part of a permanent team.

For Zeno, one of the greatest challenges was balancing historical fidelity with engaging drama. Zeno explains that the writers anchored the series in key moments of Shaka’s life—his battles, his relationship with his mother Nandi, and his mentorship under Dingiswayo. But much of what lay between those events required imagination. “You’ve got family members, clans, historians; all with different versions of events,” he explains. “At some point, you’ve got to decide which story you’re telling.”

He laughs as he remembers the story of Shaka’s reflection in a mirror, as even small anecdotes become creative dilemmas. The famous story of Shaka seeing his reflection in a mirror, for example, was reimagined for Nandi, Shaka’s mother. Zeno is reflective as he adds that it's important to find these little moments and build a story around them. Historical sources differ, so the team reimagined the moment, giving it to Nandi instead. She is shown reacting with shock to her reflection, an example of how small anecdotes were reinterpreted to serve the narrative.

This process was not without controversy. With multiple clans, families, and historians holding different versions of events, criticism was inevitable. Petersen admits they receive weekly comments online pointing out supposed inaccuracies. “You can’t please everybody,” he says. “As long as the majority of people believe in the show and love the show, then we’re happy.”

“You can’t please everybody. But if people connect to the story, feel the dust, and taste the sun, then we’ve done our job.”

Zeno himself is a critical man and handles criticism with honesty. At the heart of these creative decisions was artistic integrity. Petersen describes relying not only on research but also on instinct: “When we’re reading scripts, you make decisions based on feeling. If something doesn’t feel right, I’m not going to do it like that.” This combination of cultural responsibility and creative instinct helped shape a version of Shaka’s story that is both respectful and dramatically compelling.

A final but crucial part of the show’s artistry lay in its visuals—particularly the lighting. African skin tones are famously nuanced, and Petersen and his team approached the challenge with sensitivity. The result was delicate, atmospheric lighting that preserved authenticity while highlighting the natural beauty of the cast.

Zeno thoughtfully explains that African skin is beautiful, but nuanced. If you get it wrong, you lose the richness. Zeno and the team worked very carefully to make sure that the lighting honoured that, whilst serving the mood. He points out that the film demanded expansive thinking, especially when it takes place in a time with limited lighting.

By balancing realism with cinematic mood, the lighting became another layer of storytelling, enhancing the texture, emotion, and power of the series.

For Petersen, Shaka iLembe was more than just a television project—it was a responsibility. Balancing fact and fiction, authenticity and drama, tradition and modern cinematic language, the series demanded careful decisions at every step.

Despite the pressures and criticisms, Petersen remains proud of the story they chose to tell. “You can’t please everybody,” he says with a quiet resolve. “But if people connect to the story, feel the dust, and taste the sun, then we’ve done our job.”