American Cinematographer - April 2017 - 24

Top: Two cameras capture a scene between unofficial cult leader Cal Roberts (Hugh Dancy, left)
and fellow Meyerist Kodiak (James Remar).
Bottom: Dancy sits across from actor Clark Middleton for a day interior.

stylized. A lot of it had to be done in post.
Viewers are situated in the
middle of the action on this show, with
the camera following characters and
observing events in a less composed
manner. What was the motivation
behind this kind of dynamic?
Orbach: The fascinating thing about
cults is how they're perceived from the
outside, how they're perceived when you're
in them - and when you're in them, how
do you look at the outside? [Much of it] is
shot handheld, to make it feel as organic
and real as possible.
What was the process for choosing locations?
Orbach: Finding a good location is
24

April 2017

always key, because that's the 'stage.' The
advantage of a pilot is that you have weeks
to be part of the finding of locations. Once it
goes to series, I'm on set shooting [and] my
gaffer, Shawn Greene, goes to scout. With a
feature you will go back to a location a few
times, but there's a 'oneness' to it. However,
with TV you'll return to a location sometimes
20 times, which gets challenging - but for
me it's not about reinventing how you light
every time just so you won't get bored. It's
more about what's right for the scene and
story.
Marydell is an actual place where
they do all kinds of retreats, sessions and
summer camps for kids. It became our home
base. In season one we're there probably 60
American Cinematographer

percent of the time. In season two it's more
evenly split because the movement has
expanded and bought a new building in
Brooklyn.
There were a lot of building options
in Brooklyn. The one we chose is near Flatbush. It ticked all of the boxes; it has a real
cemetery in the front of it and is abandoned
with an old church on the side. It has one of
the oldest graveyards in the city, with people
buried there from the 1600s. It has three
floors, big windows and a lot of different
rooms. I love shooting in practical locations.
[For the tornado-wreckage scenes,]
the foreground was set dressing and design
but the extended part where the tornado hit
was all visual effects. We ended up shooting
at Gold Coast Studios. That was challenging
as far as the orchestration because it was
entirely done in one shot.
What we basically had on stage [at
Haven Studios in Mount Vernon, New York]
was the first floor of the Lane house, the
bedrooms and a hallway. Between the
compound in Nyack, the new center in
Brooklyn, and scenes that happen in other
places, we were still not a heavy stage show
in season two.
What are your thoughts on the
Red Epic Dragon cameras you used on
the show?
Orbach: I love the Red system
because it's a softer curve. When there's
someone standing in the sun, the falloff of
the shade in the background is nicer; it's less
contrasty. It's very sensitive in low light,
which is important to me because I use a lot
of practical lights and streetlights. [Three Red
Epic Dragon cameras were provided by
Panavision for The Path. Footage was
captured in 4K HD at 1,000 ASA, recorded
on Red Mini-Mags at 5:1 compression, and
framed for a 1.78:1 aspect ratio.]
What was included in your lens
package?
Orbach: For season one we used
Panavision Primos, which are beautiful.
Because of the extensive handheld camerawork, in season two we switched to the
lighter Cooke S4s, which we supplemented
with Angenieux Optimo 24-290mm [T2.8],
45-120mm [T2.8] and 15-40mm [T2.6]
zooms.
How would you describe the
contributions of your camera crew? ➣



Table of Contents for the Digital Edition of American Cinematographer - April 2017

Contents
American Cinematographer - April 2017 - Intro
American Cinematographer - April 2017 - Cover1
American Cinematographer - April 2017 - Cover2
American Cinematographer - April 2017 - 1
American Cinematographer - April 2017 - 2
American Cinematographer - April 2017 - Contents
American Cinematographer - April 2017 - 4
American Cinematographer - April 2017 - 5
American Cinematographer - April 2017 - 6
American Cinematographer - April 2017 - 7
American Cinematographer - April 2017 - 8
American Cinematographer - April 2017 - 9
American Cinematographer - April 2017 - 10
American Cinematographer - April 2017 - 11
American Cinematographer - April 2017 - 12
American Cinematographer - April 2017 - 13
American Cinematographer - April 2017 - 14
American Cinematographer - April 2017 - 15
American Cinematographer - April 2017 - 16
American Cinematographer - April 2017 - 17
American Cinematographer - April 2017 - 18
American Cinematographer - April 2017 - 19
American Cinematographer - April 2017 - 20
American Cinematographer - April 2017 - 21
American Cinematographer - April 2017 - 22
American Cinematographer - April 2017 - 23
American Cinematographer - April 2017 - 24
American Cinematographer - April 2017 - 25
American Cinematographer - April 2017 - 26
American Cinematographer - April 2017 - 27
American Cinematographer - April 2017 - 28
American Cinematographer - April 2017 - 29
American Cinematographer - April 2017 - 30
American Cinematographer - April 2017 - 31
American Cinematographer - April 2017 - 32
American Cinematographer - April 2017 - 33
American Cinematographer - April 2017 - 34
American Cinematographer - April 2017 - 35
American Cinematographer - April 2017 - 35A
American Cinematographer - April 2017 - 35B
American Cinematographer - April 2017 - 36
American Cinematographer - April 2017 - 37
American Cinematographer - April 2017 - 38
American Cinematographer - April 2017 - 39
American Cinematographer - April 2017 - 40
American Cinematographer - April 2017 - 41
American Cinematographer - April 2017 - 42
American Cinematographer - April 2017 - 43
American Cinematographer - April 2017 - 44
American Cinematographer - April 2017 - 45
American Cinematographer - April 2017 - 46
American Cinematographer - April 2017 - 47
American Cinematographer - April 2017 - 48
American Cinematographer - April 2017 - 49
American Cinematographer - April 2017 - 50
American Cinematographer - April 2017 - 51
American Cinematographer - April 2017 - 52
American Cinematographer - April 2017 - 53
American Cinematographer - April 2017 - 54
American Cinematographer - April 2017 - 55
American Cinematographer - April 2017 - 56
American Cinematographer - April 2017 - 57
American Cinematographer - April 2017 - 58
American Cinematographer - April 2017 - 59
American Cinematographer - April 2017 - 60
American Cinematographer - April 2017 - 61
American Cinematographer - April 2017 - 62
American Cinematographer - April 2017 - 63
American Cinematographer - April 2017 - 64
American Cinematographer - April 2017 - 65
American Cinematographer - April 2017 - 66
American Cinematographer - April 2017 - 67
American Cinematographer - April 2017 - 68
American Cinematographer - April 2017 - 69
American Cinematographer - April 2017 - 70
American Cinematographer - April 2017 - 71
American Cinematographer - April 2017 - 72
American Cinematographer - April 2017 - 73
American Cinematographer - April 2017 - 74
American Cinematographer - April 2017 - 75
American Cinematographer - April 2017 - 76
American Cinematographer - April 2017 - 77
American Cinematographer - April 2017 - 78
American Cinematographer - April 2017 - 79
American Cinematographer - April 2017 - 80
American Cinematographer - April 2017 - 81
American Cinematographer - April 2017 - 82
American Cinematographer - April 2017 - 83
American Cinematographer - April 2017 - 84
American Cinematographer - April 2017 - 85
American Cinematographer - April 2017 - 86
American Cinematographer - April 2017 - 87
American Cinematographer - April 2017 - 88
American Cinematographer - April 2017 - 89
American Cinematographer - April 2017 - 90
American Cinematographer - April 2017 - 91
American Cinematographer - April 2017 - 92
American Cinematographer - April 2017 - 93
American Cinematographer - April 2017 - 94
American Cinematographer - April 2017 - 95
American Cinematographer - April 2017 - 96
American Cinematographer - April 2017 - 97
American Cinematographer - April 2017 - 98
American Cinematographer - April 2017 - 99
American Cinematographer - April 2017 - 100
American Cinematographer - April 2017 - 101
American Cinematographer - April 2017 - 102
American Cinematographer - April 2017 - 103
American Cinematographer - April 2017 - 104
American Cinematographer - April 2017 - 105
American Cinematographer - April 2017 - 106
American Cinematographer - April 2017 - 107
American Cinematographer - April 2017 - 108
American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
http://www.nxtbook.com/nxtbooks/ac/ac0420
http://www.nxtbook.com/nxtbooks/ac/ac0320
http://www.nxtbook.com/nxtbooks/ac/ac0220
http://www.nxtbook.com/nxtbooks/ac/ac0120
http://www.nxtbook.com/nxtbooks/ac/ac1219
http://www.nxtbook.com/nxtbooks/ac/ac1119
http://www.nxtbook.com/nxtbooks/ac/ac1019
http://www.nxtbook.com/nxtbooks/ac/ac0919
http://www.nxtbook.com/nxtbooks/ac/ac0819
http://www.nxtbook.com/nxtbooks/ac/ac0719
http://www.nxtbook.com/nxtbooks/ac/ac0619
http://www.nxtbook.com/nxtbooks/ac/ac0519
http://www.nxtbook.com/nxtbooks/ac/ac0419
http://www.nxtbook.com/nxtbooks/ac/ac0319
http://www.nxtbook.com/nxtbooks/ac/ac0219_v2
http://www.nxtbook.com/nxtbooks/ac/ac0219
http://www.nxtbook.com/nxtbooks/ac/ac0119_v2
http://www.nxtbook.com/nxtbooks/ac/ac0119
http://www.nxtbook.com/nxtbooks/ac/ac1218
http://www.nxtbook.com/nxtbooks/ac/ac1118
http://www.nxtbook.com/nxtbooks/ac/ac1018
http://www.nxtbook.com/nxtbooks/ac/ac0918
http://www.nxtbook.com/nxtbooks/ac/ac0818
http://www.nxtbook.com/nxtbooks/ac/ac0718
http://www.nxtbook.com/nxtbooks/ac/ac0618
http://www.nxtbook.com/nxtbooks/ac/ac0518
http://www.nxtbook.com/nxtbooks/ac/ac0418
http://www.nxtbook.com/nxtbooks/ac/ac0318
http://www.nxtbook.com/nxtbooks/ac/ac0218
http://www.nxtbook.com/nxtbooks/ac/ac0118
http://www.nxtbook.com/nxtbooks/ac/ac1217
http://www.nxtbook.com/nxtbooks/ac/ac1117
http://www.nxtbook.com/nxtbooks/ac/ac1017
http://www.nxtbook.com/nxtbooks/ac/ac0917
http://www.nxtbook.com/nxtbooks/ac/ac0817
http://www.nxtbook.com/nxtbooks/ac/ac0717
http://www.nxtbook.com/nxtbooks/ac/ac0617
http://www.nxtbook.com/nxtbooks/ac/ac0517
http://www.nxtbook.com/nxtbooks/ac/ac0417
http://www.nxtbook.com/nxtbooks/ac/ac0317
http://www.nxtbook.com/nxtbooks/ac/ac0217
http://www.nxtbook.com/nxtbooks/ac/ac0117
http://www.nxtbook.com/nxtbooks/ac/ac1216
http://www.nxtbook.com/nxtbooks/ac/ac1116
http://www.nxtbook.com/nxtbooks/ac/ac1016
http://www.nxtbook.com/nxtbooks/ac/ac0916
http://www.nxtbook.com/nxtbooks/ac/ac0816
http://www.nxtbook.com/nxtbooks/ac/ac0716
http://www.nxtbook.com/nxtbooks/ac/ac0616
http://www.nxtbook.com/nxtbooks/ac/ac0516
http://www.nxtbook.com/nxtbooks/ac/ac0416
http://www.nxtbook.com/nxtbooks/ac/ac0316
http://www.nxtbook.com/nxtbooks/ac/ac0216
http://www.nxtbook.com/nxtbooks/ac/ac0116
http://www.nxtbook.com/nxtbooks/ac/ac1215
http://www.nxtbook.com/nxtbooks/ac/ac1115
http://www.nxtbook.com/nxtbooks/ac/ac1015
http://www.nxtbook.com/nxtbooks/ac/ac0915
http://www.nxtbook.com/nxtbooks/ac/ac0815
http://www.nxtbook.com/nxtbooks/ac/ac0715
http://www.nxtbook.com/nxtbooks/ac/ac0615
http://www.nxtbook.com/nxtbooks/ac/ac0515
http://www.nxtbook.com/nxtbooks/ac/ac0415
http://www.nxtbook.com/nxtbooks/ac/ac0315
http://www.nxtbook.com/nxtbooks/ac/ac0215
http://www.nxtbook.com/nxtbooks/ac/ac0115
http://www.nxtbookMEDIA.com