Following the untimely demise of NCIS: Hawai’i on CBS, the beautiful Island of Hawaii is once again firmly back in the Primetime TV spotlight thanks to FOX’s new lifeguard drama Rescue:HI-Surf.
Set on the North Beach of O’ahu — the world’s most hazardous stretch of surf — the series follows the lives and dangerous rescues of the lifeguards who carve out their precarious careers there. Rescue: Hi-Surf has been making waves, not just for its sexy cast and high-stakes drama, but for the prestige cinematography of Anka Malatynska, whose unmistakable creative fingerprints are already known and beloved by fans of NCIS: Hawai’i.
With the camera often neck deep in the churning water, and with no way for the actors to fake their fitness or their immersion in the moment, we had to ask Anka how it was all done. Imagine our surprise to discover that during filming the show was responsible for several water and land rescues of its own, with the filming team turning into a first responders’ team on many occasions.
With ever changing natural elements, the need for shark drone teams, juggling multiple directors, and the “wild beast” that is the ocean always a factor, Anka explains just how she makes the impossible task of capturing lightning in a bottle a reality.
Water Director of Photography Don King also stopped by to give us his perspective on learning how to “embrace the chaos” and to answer our question on the unique challenges of filming an underwater scene featuring actress Arielle Kebbel (who plays Em on the series) that we particularly loved. Thank you Don!
Read on for Anka’s full interview with TVPulse Magazine’s Jennifer Griffin.
TVPulse Magazine: Anka, can you tell us what a cinematographer’s work involves?
Anka Malatynska: As the cinematographer, I lead the camera department, the grip department and the electric department. We are responsible for setting up the photography of the show. I work with each of the directors that come in for each episode to figure out how to tell the story visually. I am in charge of setting that up and maintaining the look of the show throughout the season, through multiple directors.
TVPM: We’ve seen several episodes of Rescue: HI-Surf ahead of the premiere, and one thing we were blown away by is the look of particular shots — rain falling on a corrugated roof, the sun slanting on the beach in the evening, and more dramatic scenes in the water that include dangerous rescues, and towering waves. It all looks so organic and beautiful, and at times deadly! As a viewer, it can almost look like you are working in harmony with nature. How much hard work goes behind setting up shots like these? Surely they can’t be spur of the moment decisions? Especially where the elements are concerned?
Anka: Well, actually a lot of these shots were spur of the moment. That is exactly what we are doing, is in a way working in harmony with nature. So much of the time nature would help us. Because we were shooting on an island in the middle of the Pacific, the weather can be unpredictable. Through my years shooting here, I also shot I Know What You Did Last Summer and NCIS: Hawai’i in Hawaii, I have learned that while I can anticipate the weather through apps and forecasts, the weather can change quite quickly. As much as we prepare, what I really needed both from the crew and directors, was that we were present enough in the moment to make those necessary pivots. In prep, you think this direction is going to look good, logically based on the direction of the sun, but by the time we get there, it might be a completely different condition. We would make those pivots and turn things around pretty quickly. This was a good 80/90% natural light, so we were very nimble on our feet adapting to the changing conditions, working in harmony with nature.
TVPM: Fans will see there are a lot of scenes taking place in the water. Are there many safety precautions you all have to take in these situations?
Anka: Yes, there were many safety precautions taken for our cast and stunt people to be able to shoot in the water. It was Don King who headed up the water unit for the camera department, he was our water DP. He is an experienced big wave and water photographer who has worked on many big films in Hawaii. It’s what he specializes in. He worked with Brian Keaulana, who is a 2nd generation lifeguard. His dad was the first lifeguard on Oahu. Brian is the person who brought jet skis into water rescues, so we were working with the top water people in the world. There were always many support jet skis for the cast. There was also a shark drone team to make sure there were no sharks in the area we were shooting in. There was always a huge safety support team. Both on our water unit and land unit, we had lifeguards. Ironically, during the season our show was responsible for many water and land rescues. Our filming team many times turned into a first responders’ team.
TVPM: I have to mention a particular scene (although there are so many standout scenes I could mention) that was so impressive. In one episode we see Em’s (Arielle Kebbel) workout routine that shows Em running along the seabed while carrying a boulder in her arms. Did that take a lot of work to get just right?
Don King (Water DP): I’d also emphasize how the training the actors underwent really paid off in scenes like this; Arielle was able to handle everything herself. Clear water was crucial, and we planned to shoot in a pristine location, but we can’t control the ocean’s variability. But you know how it is with the ocean; it’s a wild beast and can change in an instant. As I always say, you’ve got to embrace the chaos!
In that situation underwater the shots always look best with a wide lens and low angle, scraping the sand with the camera. Adding movement helps the energy and matches the look of the show. Luckily, the calm ocean that day beautifully aligned with the story of a meditative training ritual in a stunning setting.
Anka: In fact, our show lived on wider angles in general. I think the 35mm was a favorite lens both on land and in water. That’s what gives it that sense of intimacy like you are right there, because the camera is in fact right there.
Everything filming in the water takes a little bit more time. I don’t know that we go for just right or perfection on this show. I don’t think you really can. I think it’s about embracing the happy accidents or beautiful mess. It took a minute to get that scene, that was Don’s [King] work with his water team. That’s one of the easier water sequences to get, somebody running under water with a boulder. That’s actually how lifeguards train in Hawaii. A lot of what you see the lifeguards do on the show, is how it is actually done in real life on the North Shore. We tried to keep it as authentic looking as possible.
TVPM: We know that in addition to your work on Rescue: HI-Surf, you also worked on NCIS: Hawai’i. What is it like to work on shows produced in Hawaii?
Anka: It’s wonderful working in Hawaii. There is a fairly small film industry here. I think we can staff three big projects at a time, so we all know each other. It is like a big family, even though sometimes it’s a dysfunctional family – but eventually you will run into the same people again and again. Producers and productions have to respect their crews out here for their local knowledge. Rescue: HI-Surf was one of my favorite kind of crew situations because I got to pull in all of the people I loved from NCIS: Hawai’i and I Know What You Did Last Summer.
Filming in Hawaii is an incredible experience, and I feel so lucky that I continuously get to work here. One of the most beautiful things about working here, besides it being a constant ‘light show’ — like nature is always showing off her lighting skills. We also do a Hawaiian chant and blessing ceremony at the start of the production. The purpose is to bless the project and give it long lasting Aloha.
TVPM: How did you get started working on TV and Film?
Anka: I feel like ever since I knew what a profession was, I knew I wanted to be a cinematographer. I knew the camera was a ticket to be able to see the world. Storytelling with a camera is being able to not just see the outer world in a documentary sense, but an opportunity to discover the inner landscapes of people. I started working in the camera department in New York in 2000/01 and then I moved to LA and apprenticed to cinematographer James Chressanthis, ASC. Over the next period of twenty years I shot as much as I could, I worked in camera departments and electric departments. I worked in every department under the cinematographer and in many other departments under the advice that you want to do everything under the cinematographer, so that you know what you are asking for. I eventually went to AFI and it took another ten years to break into my first big tv show, Monsterland. By the time I had landed Monsterland, I had quite a bit of experience in indies and commercials, as well as working as a camera operator on bigger sets. After Monsterland, since the end of 2019, I have done seven shows back-to-back. I have worked on over 30 directors in 4.5 short years. I feel so blessed.
TVPM: What are you most excited for fans to see this season on Rescue: HI-Surf?
Anka: Honestly, I am really excited for fans to stick with us and to stick with the season. For me, it only gets better and better. The stories of the characters only get deeper and more human. By the end of the season, we are really focused on the human story and on the human relationships. There are so many twists and turns. While the rescues are exciting and fun and continue with this high-octane rescue show, I feel like it sinks into a much more profound place. I feel like even if I didn’t make the show, by the end of Season 1, I would be obsessed with the show. I’m so excited for people to see the rest of the season. With every episode, the show gets better and better. The finale is spectacular.
Rescue: Hi-Surf continues Mondays (9:00-10:00 PM ET/PT) on FOX.
Fans can catch more of Anka’s work on her official website ankavision.com and her Instagram @ankavision
Follow us @TVPulseMag and Jennifer Griffin on X for more Rescue: HI-Surf scoop this TV season.
