was truncated because Spielberg chose to film Amistad (1997) immediately after finishing work on The Lost World: Jurassic Park (1997). Cinematographer, Janusz Kamiński, spent several weeks performing camera tests to define the film's visual aesthetic. The pair considered filming monochromatically as Spielberg had with his Holocaust film, Schindler's List (1993). However, they considered this would seem "pretentious," and were interested in emulating the colored WWII footage from their research. Kamiński let his interpretation of the narrative dictate how to light scenes and narrowed down visual styles by identifying which films he did not want Saving Private Ryan to emulate. He and Spielberg were visually influenced by WWII documentaries, such as Memphis Belle: A Story of a Flying Fortress (1941), The Battle of Midway (1942), Why We Fight (1942–1945), and the Nazi propaganda films of Leni Riefenstahl. They also looked at various books, paintings, and photographs of the Omaha Beach invasion taken by famed war photographer Robert Capa. Kamiński wanted it look like a major production "shot on [16 mm film] by a bunch of combat cameramen." A variety of camera techniques were used to emulate the experience of being on a battlefield: Kamiński removed the protective coating on some lenses, creating a "flatter", degraded image akin to WWII-era cameras, and mismatched lenses when using multiple cameras for an inconsistent result; alternating shutter angles and speeds; and desynchronizing the camera shutter which created a "streaking" effect. Kamiński considered this a risky option because if it failed there was no way to fix the image in post-production. A Clairmont Camera Image Shaker vibrated the camera to emulate the effects of a nearby explosion or rolling tank. Spielberg chose to film in 1.85:1 aspect ratio because he believed it was more lifelike and closer to "the way the human eye really sees," and found widescreen formats to be artificial. Three months were spent scouting for a location to portray the Normandy coast. The real location was too developed for their needs, and many other French beaches were restricted by military or wildlife use; Spielberg believed officials were difficult because they did not want him filming there. Beaches researched in England and Scotland lacked either the aesthetics or amenities required, such as housing for the crew, and the filmmakers needed a specific depth for the cast to leap from the landing crafts into the water. Associate producer, Kevin De La Noy's earlier work on