Josu Incháustegui, Goya for Best Cinematography, overcomes the challenge of light in very critical shots in 'The Shadow of the Law'

Among the tools that allowed Incháustegui to tackle this work, the director used an ARRI Alexa Mini camera with Cooke optics, as well as a Shotover that allowed him to face the most difficult orders to execute with solvency, including the aerial sequences.

The photograph by Josu Incháustegui in The shadow of the law, directed by Dani de la Torre, has been recognized with a Goya by the Film Academy as a conscientious and rigorous work in which the winner had to address the challenge of resolving the photograph in constant sequence shots with changes in light and perspective. On many occasions it was an attempt to "provide a solution to very critical takes" such as that of persecution.

Incháustegui acknowledges that "both Dani de la Torre and I like to get into trouble in all our projects. For example, on this occasion it was a challenge to tackle the sequence shot of the cabaret, in which we needed a whole day rehearsing and another day for the shooting of that single shot. Everything was absolutely meticulous."

Among the tools that allowed Incháustegui to face this work, the director used a camera ARRI Alexa Mini with optics Cooke, as well as a Shotover which allowed it to face with solvency the most difficult orders to execute, including the air sequences.

Josu Incháustegui has a long career behind him both as a camera operator and as head of photography for some of the most awarded films of the last two decades. This is the case of The Witches of Zugarramurdi; Vicky, Cristina, Barcelona; The Fig Tree of the Bastards or Agora. He is currently preparing a series for Movistar+.

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