To achieve these seamless action cuts between day and night we applied a refreshingly simple technique. Despite using a variety of mechanisms to move the camera including; MOVI Rig, Rickshaw, Grip Trix Electric Camera Car or simply handheld, we attempted to replicate our camera movement and angles precisely in both day and night environments. These matches needed to be close enough to enable us to hard cut between them, thus creating the illusion of continual and seamless motion of the subject. I have always appreciated the power of an ‘action cut’ that transports the subject across time or space. Some of my favorite examples of this technique can be seen in ‘The Graduate’ -1967 (Directed by Mike Nichols and shot by Robert Surtees) where we see the influence of the abstraction and experimentation evident in French New Wave Cinema infiltrate the US mainstream. Using a short test prior to shooting we were able to prove our concept and our instincts correct, finding this low tech strategy to be quite forgiving. Furthermore this loose approach to the material kept the ‘live’ feeling that director Rupert Sanders was looking for whilst enabling the performances to remain fresh and relatively uninhibited. Technically we allowed ourselves some flexibility in post by shooting everything at 48FPS in case we needed to slip frames, time warp transitions or minimize motion blur in case matte or rotoscope work was required.