American Cinematographer - December 1997 - 94

liams, making her screen debut)
stumble upon a cabin and get

Bethlehem's
men

enjoy a

movie at their

snowed-in for six months. Notes

The
copper-mine
camp.

Windon, "I used

an

81C filter,

which isn't the normal full

location was lit
with a circle of

correc¬

tion you

would use with a tungsten

256KHMI Pars

stock,

the film still looked blue."

pools
of light, while

Inside the cabin, however, he cre¬
ated a more golden look, a reflec¬
tion of the candlelight and firelight
which illuminated the dwelling.

to create

another HMI
Par

was

used to

create the

For scenes that occur as
the snow melts and the characters
leave the cabin, Windon switched
to a more natural ambiance. "Noth¬

projector beam.
The

so

screen

image would be
inserted in

postproduction.

ing too golden, though," he notes
emphatically. "There I used a regu¬
lar 85 filter to give the actors more
normal skin tones." For later

scenes

in

mately scrapped this idea. "The
film starts out very bleak/' he
notes. "I used very little filtration
and went with tungsten film stocks
[for the daylight scenes], which left
with a little bit
and desaturated

me

more

of

a

blue

image on the

negative."
As the Postman furthers

his

foray north to Oregon and then
Washington, the surroundings be¬

Good

beautiful due to the
environment's trees, greenery and
come more

mountains. Here,

Windon slowly

added more color and warmth to
the photography.
The Oregon portions of
the film actually called for two dis¬
tinct looks. Initially, the Oregonian

setting is wintery and desolate
when the Postman and his

reasons

+

tion of 85 and Coral filters and

CC-20

a

yellow.
To elicit subtle emotional

the film, Windon notes
that the filmmakers performed a
lot of in-camera speed changes. In
moments in

one

Williams' character

scene,

watches as the Postman rides out
of town. "We were pushing in on
Olivia on the Steadicam," recounts

Time is money:
From universal track and

doorway dolly
riding crane.
Safely said,
this is no problem for the FELIX.
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TUV tested and approved (Technical

for the FELIX
(set-up

com¬

panion (British actress Olivia Wil¬

Washington, Windon created a
heavy golden aura with a combina¬

to

breakdown + transport
1 man + stationwagon)

=

man

Surveillance

Association).

Extensions for remote

head operation.
changeover from
track to floor; set-up in minutes.
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Last but not least: the price!

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American Cinematographer - December 1997

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