Some of these techniques might feel “wrong” or unusually composed, but our aim was to create a relentless tension. We also hoped it would engage the audience and encourage them to search the edges of the frame for any movement or hint of our lurking predator. It was very challenging to design coverage for these scenes and required a lot of imagination on behalf of our cast and crew to trust that these sequences would be suspenseful.

As the film title “The Invisible Man” already suggests, one of the protagonists is often not to be seen at all. How could you capture what you can’t see?

We used a variety of approaches to capture our “Invisible Man.” When actor interactions and camera movements were complex, we generally used an Argo motion control system to create repeatable camera moves. This was to ensure we achieved perfect plates of our cast, green suit performer, and backgrounds. One side effect though was that Leigh and I really loved how artificial and austere the motion control camera moves were. We leaned into this and tried to replicate it in our traditional dolly work so the two camera styles would have a synergy. It was very important to me that these visual effects or stunt heavy sequences felt like they were part of the broader visual language we were establishing on the rest of the film.