Cinematographer Anka Malatynska on Rescue: HI-Surf

From the minds of the award-winning executive producer and director John Wells and executive producer and writer Matt Kester, Rescue: HI-Surf is a heart-pounding drama that follows the personal and professional lives of Oahu’s North Shore lifeguards. The heroic first responders often find themselves in life-threatening situations patrolling the famous Seven Mile Miracle, a stretch of sandy beaches with the most pristine surf conditions that’s not for the faint of heart.

Inspired by surf films and documentaries, cinematographer Anka Malatynska captured the raw intensity of these fearless lifeguards as they navigate treacherous conditions. With support from Panavision Woodland Hills, Malatynska used Panavision VA large-format spherical lenses to enhance Oahu’s aesthetic appeal, favoring single-camera setups and relying heavily on natural light. The result is an immersive experience that transports audiences to the heart of the action. 

Panavision: How would you describe the look of Rescue: HI-Surf?

Anka Malatynska: ‘Punk-rock paradise.’ It’s edgy and rough around the edges, yet stunningly beautiful — much like the hard-hitting world of the North Shore that it depicts.

Were there any particular visual references you looked at for inspiration?

Malatynska: Rescue: HI-Surf was shot very much like a documentary. The intention was to create an authentic feel, blending into the environment rather than controlling it. We drew inspiration from local surf films, surf photography, and 100 Foot Wave. We also referenced Loren Yaconelli’s work on Animal Kingdom and Monika Lenczewska’s cinematography on Park.

Loren, our producing director, had collaborated with John Wells on several projects. Just like Animal Kingdom, on Rescue: HI-Surf, it was crucial for our camera to be free to follow the story, creating wide shots that would transition seamlessly into coverage and vice versa. The series predominantly lived in a 35 and 50mm focal length, though we employed other lenses as well. That range formed the core of our visual language: the ‘grounded human point of view.’

What brought you to Panavision for this project?

Malatynska: I’ve been working with Panavision for years. It’s such a solid and supportive relationship that it’s hard to go anywhere else. Panavision also has a system for servicing Hawaii and shipping cameras here, which is incredibly helpful given our salty, rainy, hot and generally corrosive environment for electronics.

What optical qualities did you see in the VA primes that made them the right match for this show?

Malatynska: I wanted lenses that were a bit softer than the Primos or Primo 70s I had used on two previous projects. Anamorphic wasn’t an option, as our water unit couldn’t handle it, and we were also acquiring big-wave surf footage from independent photographers. Also, going into the project, I knew I would be dancing with the light rather than controlling it. I used 90-percent natural light and didn’t have big overhead frames — using a flyswatter was not feasible on most of the beaches where we shot due to wildlife, wind or accessibility issues.

After testing the VAs, they proved to be perfect. They made the world pop with beauty, creating a creamy look without a heavy warm or cool shift. They were ideal for a show where I wasn’t lighting the actors but still wanted them to look good.

How did your experience shooting Rescue: HI-Surf compare to other projects in your career?

Malatynska: We shot a TV series like an indie film. While the show cuts fast, we primarily used one camera and relied on 90-percent natural light. Our camera was right there with the actors, creating an immersive experience for the audience. There were no sides, chairs, or sprawling video villages, just two small handheld monitors for the director and me. Once on set, the directors and I had minimal supervision — no showrunner, network or writers — allowing us to focus on our craft. We were nimble and fast, often inventing solutions on the fly in response to ever-changing weather conditions. Sometimes we had to relocate because an endangered turtle or monk seal settled where we were shooting. Every day was unpredictable and a blessing, making this unlike any other television set I’ve been on. It was like Dogme 95 filmmaking but for a major U.S. network.

I also had the opportunity to work with my personal hero, Don King, the legendary surf and water cameraman who led our water unit. I grew up admiring him, and this time he was my partner in cinematography. I’m sure Don would tell you: In the water, especially in the ocean, there is even less control.  

What inspired you to become a cinematographer, and what keeps you inspired today?

Malatynska: I’ve always seen the camera as a ticket to explore the world. I’ve traveled extensively, but there’s still so much to see and do. It’s that endless possibility that keeps me inspired!