{"id":26043,"date":"2016-11-03T19:04:48","date_gmt":"2016-11-03T23:04:48","guid":{"rendered":"https:\/\/www.adorama.com\/alc\/?p=26043"},"modified":"2016-11-04T12:11:40","modified_gmt":"2016-11-04T16:11:40","slug":"q-cinematographer-andrew-watson-making-salero","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/q-cinematographer-andrew-watson-making-salero\/","title":{"rendered":"Q & A: Cinematographer Andrew Watson on The Making of “Salero”"},"content":{"rendered":"
\"SALERO
SALERO Cinematographer Andrew David Watson frames up a shot on the Salar de Uyuni. Credit: Nicolas Lindner. Courtesy of Cinereach. \u00a9 Salero Film LLC. All rights reserved.<\/figcaption><\/figure>\n

We recently had the pleasure of speaking with cinematographer Andrew David Watson about his incredible documentary, Salero, a film which transports viewers on a poetic journey told through the eyes of Bolivian “salero,” Moises. \u00a0Moises is one of generations of saleros who harves salt from the radient salt flat of Bolivia’s Salar de Uyuni. \u00a0The secluded region is the earth’s largest salt flat, and the film explores how the saleros are being “thrust into the future,” due to the Bolivian government’s plans to implement new infrastructures to extract a precious mineral from the Salar.<\/p>\n

https:\/\/vimeo.com\/146051605<\/p>\n

Adorama: The aerial footage is stunning! How did you manage to capture this?<\/strong><\/p>\n

AW: The director, Mike Plunkett, actually shot this on his pick-up shoot via a small plane.<\/p>\n

Adorama: How many years went into pre-production and shooting, and had you planned for such a \u00a0long-term project?\u00a0\u00a0<\/b><\/p>\n

AW: I knew from the start\u00a0Salero\u00a0<\/i>would be a multi-year project. Documentary features always seem to take longer than excepted, but I was committed from the start to see the project through to the end.\u00a0From a visual perspective, we were lucky to start this project on RED. At the time there were no other cinema cameras to use on the project. The 5D did not exist yet, and other options such as the brand new\u00a0Alexa were too expensive to use for months at a time. We started on the RED ONE, shot some on the Scarlet and then finished the project on the RED EPIC. \u00a0By sticking to the RED format, we\u00a0were able to keep a continuous look to the film. Despite the film being shot over a 4-year span, it all merges together as one visual journey. This continuity is what i\u201dm most\u00a0proud of on the project, as it’s hard to achieve on years-long projects.<\/p>\n

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A scene from Salero: Nelvi Chambi searches for a cell signal at home in Colchani.\nCourtesy of Cinereach. \u00a9 Salero Film LLC. All rights reserved.<\/div><\/div>
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A scene from Salero: Moises Chambi Yucra and his son Maykel at home.<\/div><\/div>
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A scene from Salero: Moises Chambi Yucra and his brothers at work on the Salar de Uyuni.\nCourtesy of Cinereach. \u00a9 Salero Film LLC. All rights reserved.<\/div><\/div>
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Moises Chambi Yucra on the Salar de Uyuni.\nCourtesy of Cinereach. \u00a9 Salero Film LLC. All rights reserved.<\/div><\/div><\/div>
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A scene from Salero: Nelvi Chambi searches for a cell signal at home in Colchani.\nCourtesy of Cinereach. \u00a9 Salero Film LLC. All rights reserved.<\/div><\/div>
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A scene from Salero: Moises Chambi Yucra and his son Maykel at home.<\/div><\/div>
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A scene from Salero: Moises Chambi Yucra and his brothers at work on the Salar de Uyuni.\nCourtesy of Cinereach. \u00a9 Salero Film LLC. All rights reserved.<\/div><\/div>
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Moises Chambi Yucra on the Salar de Uyuni.\nCourtesy of Cinereach. \u00a9 Salero Film LLC. All rights reserved.<\/div><\/div><\/div><\/div>