Josu Incháustegui, Goya for best photography, 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 us to successfully face the most difficult execution assignments, including aerial sequences.

The photography 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 como un trabajo concienzudo y riguroso en el que el premiado tuvo que abordar el reto de resolver la fotografía en constantes planos secuencia con cambios de luz y de perspectiva. En muchas ocasiones se trató de “dar solución a tomas muy críticas” como la de la persecución.

Incháustegui reconoce que “tanto a Dani de la Torre como a mí nos gusta meternos en líos en todos nuestros proyectos. Por ejemplo, en esta ocasión fue un reto abordar el plano secuencia del cabaret, en cuya realización necesitamos un día entero ensayando y otro día para el rodaje de ese solo plano. Estaba todo absolutamente milimetrado”.

Among the tools that allowed Incháustegui to tackle this work, the director used a camera ARRI Alexa Mini with optics Cooke, as well as a Shotover which allowed us to successfully face the most difficult execution assignments, including area 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. It is the case of The witches of Zugarramurdi; Vicky, Cristina, Barcelona; The Bastards' Fig Tree o Now. He is currently preparing a series for Movistar+.