American Cinematographer - September 2014 - 20

Top two: Alice encounters Blood. Bottom two: Alice whiles away her time daydreaming,
smoking and stealing from guests.

20

September 2014

American Cinematographer

Par, which the cinematographer describes as
"a quick and versatile source. We had a
limited budget and the 6K was perfect to
quickly move from scene to scene. The 6K
was used for most of the interiors, often
bashed into the curtains or blinds to create a
glowing window source falling into the
room. With that approach, I rarely felt the
need to key-light actors' faces. The scene
where the Mysterious Woman and Blood
have their altercation shows this technique
particularly well." Rouse also used Kino Flo
Image 80s or 4' four banks with a mixture of
daylight and tungsten tubes, as required, on
interiors.
For night exteriors, Rouse and Briand
sought to create a streetlight source that
would not be mistaken for moonlight. "Ben
and I really wanted a color we don't often
see," the cinematographer recalls. "Gaffer
Mark Kavanagh and I tried a couple of different gel packages before settling on a combination of teal and cyan on a daylightbalanced source, which contrasted really
richly with the tungsten warmth of the
motel exterior."
Blood Pulls a Gun was color-timed in
2K anamorphic by Billy Wychgel in Blackmagic Design's DaVinci Resolve 10 at Definition Films in Sydney, Australia. Briand and
Rouse also had a DaVinci system set up in
one of the motel rooms to view dailies on
location. "We watched rushes each day with
[digital-imaging technician] Ben Blick-Hodge
for a tech-check, and we also made some
basic tweaks to the LUT," Rouse recollects.
As the cinematographer explains, the
director's non-traditional workflow played a
key role in production. "Ben really likes to
work across many departments while
putting the film together," says Rouse. "For
instance, the score was written before principal photography so the music could be
played as we set up shots. The music also
helped us find the mood of the grade very
quickly. We did a temporary grade on the
rough cut that was just a quick, instinctual
response to the images. This turned out to
be great for the editor and sound designer,
as they could feel what I like to term the
'viscosity' of the images. When we eventually went back to do the final grade, there
were only a handful of detailed tweaks left
to do, mostly around the saturation levels."
●



American Cinematographer - September 2014

Table of Contents for the Digital Edition of American Cinematographer - September 2014

Contents
American Cinematographer - September 2014 - Cover1
American Cinematographer - September 2014 - Cover2
American Cinematographer - September 2014 - 1
American Cinematographer - September 2014 - 2
American Cinematographer - September 2014 - Contents
American Cinematographer - September 2014 - 4
American Cinematographer - September 2014 - 5
American Cinematographer - September 2014 - 6
American Cinematographer - September 2014 - 7
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American Cinematographer - September 2014 - 44
American Cinematographer - September 2014 - 44a
American Cinematographer - September 2014 - 44b
American Cinematographer - September 2014 - 45
American Cinematographer - September 2014 - 46
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American Cinematographer - September 2014 - 104a
American Cinematographer - September 2014 - 104b
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American Cinematographer - September 2014 - Cover3
American Cinematographer - September 2014 - Cover4
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