American Cinematographer - May 2006 - 58

Rough Justice
back. Adam

[Glassman] was really
part of my creative process - he
was as
important as my gaffer." But
the cinematographer is leery of plac¬
ing too much emphasis on second¬
ary color correction. "When you
stop the movie for too long and
work a lot with a static image, you
don't work with the kind of persist¬
ence of vision
you keep in your
brain. So I tried

to use

minimal win¬

dows and

grade on the move. I was
always telling Adam, 'Let's try to see
the film running.'"
Delhomme

notes

that the DI

particularly helpful on one of
Propositions most challenging
scenes: a
long dialogue before a re¬
created sunset. After Charlie finally
catches up with Arthur in his remote
hideaway, the brothers sit on a crag¬
gy ledge and talk as they watch the
was

The

sun

sink below the horizon. "As

viewer, I normally hate shots of
moons

and

sunsets

there is

the end the

something too obviously beautiful

about them that takes

We did two

out

of the

sun

has

disappeared.

three real sunsets,

story," says the cinematographer. But
this time there was a good rationale:

all the wide shots." These

"Arthur lives like

the

animal in

using our crane and remote head for
captured

way,

and like animals, he wakes up with
the sun and goes to sleep when it

centered

fire."

silhouetted

20K Fresnel behind the

backing very low to the ground, like
Thanks

the

production's
long shooting days, Delhomme
managed to capture quite a few rosy
skies, which are sprinkled through¬
to

hour. To

was

re-created in

and

the

sun on

the

layers of [251] diffusion
gels to get the
right texture and color. We had
already shot the real sunset and f had

some

and CTO and Yellow

improvised studio in Winton. "At
the beginning of the dialogue, you
can see

re-create

the actors' faces, Delhomme used
six Redheads "bounced on bedsheets
on

combine location shots with

that

full day,
magic
waning light
a

without the time crunch of

dialogue, a fleet¬
ing sunset wouldn't do. Delhomme
to

below the horizon."

close-up profile shots for

the film. But for Charlie and

a sunset

sun

Delhomme's strategy enabled
Hillcoat to work with the actors on

Arthur's extended
had

rear,

against the sunset. "We took highresolution stills of the sky at the key
moment and created a 20-by-20-foot
TransLite backing for the studio
work. I really wanted to avoid using a
bluescreen. To create a sunset glow, I

disappears. So this [scene] shows
how close they are to nature.
Seriously, the dawns and sunsets in
Australia are amazing. The sky is so
red at dawn you'd think there was a

out

from the

men

the horizon, and

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American Cinematographer - May 2006

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