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
a
viewer, I normally hate shots of
moons
and
sunsets
-
there is
the end the
something too obviously beautiful
at
about them that takes
We did two
me
out
of the
sun
or
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
an
animal in
a
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
a
20K Fresnel behind the
backing very low to the ground, like
Thanks
the
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
an
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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