“The red string light gave an interesting look, and the storm was very violent so I was not afraid to let it go dark. We designed the boat specifically for this, and I incorporated lighting into the boat to light the cast.” The lighting itself was a challenge, as he wanted clear lighting of the actors without taking away the natural feel of the water, especially during the storm scene. “I worked with the art director to set camera lines between three points-Annette to Jodie, Jodie to Rhys and Rhys to Annette. ![]() Though he says this may have been a blessing in disguise. Originally, they had planned to use the actual boat from Diana Nyad’s swim in 2013, but a couple of weeks before filming, Miranda learned they wouldn’t be able to use it. Annette would swim and the boat would be pulled along through a pulley system.” For the above work, I had a 250-foot track on which two camera cranes would travel to follow the swim. “I had worked with Pete before, so we had a shorthand for the underwater work. The scenes where Annette is swimming alongside the boat were also supplemented with shots from underwater, which were filmed in a large water tank off the coast of the Dominican Republic. ‘Nyad’, Annette Bening as Diana Nyad Liz Parkinson/Netflix “I did take some cues from the images, like the red guiding rope I had made which I mainly used to light Annette from the water.” “We both agreed on forgoing the normal larger camera systems,” he says. To ensure that, Miranda and his underwater cameraman Pete Zuccarini, who he worked with on Life of Pi, decided to use smaller cameras that could be more nimble than larger ones. The most important thing that everyone agreed on was to always keep cameras focused on Annette Bening, who plays Diana Nyad, during the swim. I had some normal, and nutty, ideas that they listened to, because we needed to keep the swimming interesting.” ![]() “I was there to help set up a system to get the most from the actors in the scenes. Cinematographer Claudio Miranda was there to help them along, but he says they were quickly in sync. ‘Nyad’, Annette Bening as Diana Nyad Netflixĭirectors Chai Vasarhelyi and Jimmy Chin are well-known in the documentary filmmaking world, but Nyad marks their first foray into scripted film. “You’re not seeing the whole event when you’re there, but it creates a sort of intimacy in the ring.” ![]() ![]() Using one sound stage for the three major fights, Morgenthau and his team built lighting into the stage and created the backgrounds using CGI. “It’s a very choreographed, balletic and operatic kind of language.” While the rest of the film could be shot using traditional methods, the difficulty was in creating interesting and believable fights to keep the audience engaged. “It’s a very different style of filmmaking,” he says. When it came to the boxing matches, Morgenthau says filming a narrative in the ring presented a challenge. “He’s always had a really strong interest in the filmmaking process, and specifically in cinematography.” With Jordan’s interest in visuals, in addition to his intimate knowledge of the character of Adonis Creed, Morgenthau knew they could achieve something unique. “I feel like this is something he’s been preparing for his whole life,” says Morgenthau. Jordan brought a “visual acuity” to the work that only enhanced the film. However, Creed IIIcinematographer Kramer Morgenthau says that director Michael B. When working with first-time directors, bringing their vision to life can be sometimes be a challenge. Jordan in ‘Creed III’ Eli Ade / MGM /Courtesy Everett Collection
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