American Cinematographer - October 2014 - 94

◗

Off the Beaten Path

Multiple rigs were used to realize Walker and director John Curran's desired multi-camera
approach across rugged terrain. Middle: This "chariot rig" enabled "aerial" shots with a
forward-moving perspective.

94

October 2014

American Cinematographer

time of day and placing the exposure in
the right part of the curve to retain detail
in the highlights. Olivier and I kept the
images true to the way they were shot,
and balanced them out in the timing.
We did not want to enhance or treat the
look of the film too much, besides the
flashback memory scenes."
Tracks starts with Davidson's
arrival in Alice Springs, where she
begins her lengthy and extensive preparations for her trek. She initially finds
work and accommodations in the local
pub, where casual racism and sexism
prevail. The location was in Quorn,
South Australia; Walker describes the
pub as "quite a large room with a high
ceiling and small windows, so it needed
a fair bit of light." Shooting there
marked the only time during principal
photography when the production was
in possession of a full-size generator and
lighting truck.
Following Walker's predilection
for soft, directional light, gaffer Graeme
Shelton and his crew of three electrics
erected an 18K Arrimax to serve as the
main source coming through a window
diffused with double Grid Cloth. To
provide light through other windows
and several doorways, they also positioned 4K and 6K Pars with 4'x4' frames
of either 250 or 216. A thin layer of
atmosphere was added inside, and lowlevel fill was provided by a few tubes in
a Kino Flo Flathead 80 rigged over the
camera. To replicate sunlight in Robyn's
upstairs bedroom, a 6K Par was directed
into a piece of 6'x4' foamcore mounted
above the room's solitary window. "This
created a soft but directional wash that
appeared to be coming from the
window," Walker explains.
Disgusted by the behavior of
some of the locals, Davidson leaves the
pub and takes up residence in a longabandoned house. The location, found
on a Flinders Ranges property, was
missing window glass and doors, and it
offered fantastic sky views thanks to the
absence of a roof. "We shot Mia arriving
at the house late in the afternoon, when
the sun was low, bathing the weathered
stonework and landscape in warm,



American Cinematographer - October 2014

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

Contents
American Cinematographer - October 2014 - Cover1
American Cinematographer - October 2014 - Cover2
American Cinematographer - October 2014 - 1
American Cinematographer - October 2014 - 2
American Cinematographer - October 2014 - Contents
American Cinematographer - October 2014 - 4
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American Cinematographer - October 2014 - I3
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American Cinematographer - October 2014 - I1
American Cinematographer - October 2014 - I2
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