American Cinematographer - April 2017 - 26

Top: The crew
captures a
tracking shot of
Paul. Bottom:
B-camera
operator Arthur
Africano lines up
a Red Epic
Dragon camera.

Orbach: I have an amazing
Steadicam operator, Phil Martinez. He brings
such a fluidity, and does slight adjustments
that make the camera look dynamic and
alive. The other two Red cameras were
handheld, and were operated by Arthur
Africano and Luke Owen. Toshiro
Yamaguchi, Waris Supanpong and Rebecca
Heller served as first ACs and did amazing
work in very low light-level conditions.
Shawn Greene was also my secondunit director of photography and main director of photography on our tandem days.
He's a big part of the show as far as the lighting of it, and he's an excellent cinematographer. My key grip on season one was Chris
Skutch and season two was Sal Lanza. Sal
had a major role in the way we work with
these cameras.
What was your approach to lighting?
Orbach: I am simple with my lighting
26

April 2017

approach. I don't need the latest light. I'm
happy with Kinos, Image 80s, Maxi-Brutes -
and I barely use HMIs. There is a [night-exterior] shot where Cal Roberts digs a big grave
[at a wooded location shot in Rockland Lake
State Park, where there are no practical
lights]. It was a challenge to get the light to
hit him with the grave above his head. We
used six Maxi-Brutes off condors with our
night color, which was 1⁄4 CTB and 1⁄8 Plus
Green, and Image 80s all around, with an
assortment of small LED [Litepanels] units -
about 12-inches-by-12-inches - for closer
work. For me, those scenes are tricky
because my whole philosophy is realistic
lighting. I just had to accept that there is no
other way to get an exposure in the woods,
even with a sensitive camera. [KAS provided
the lighting equipment for both seasons.]
How much of the final look did
you capture in-camera?
Orbach: I try to get the dailies close
American Cinematographer

to the finished color on-set, so I have to
thank my digital-imaging technician, Tiffany
Armour-Tejada, for making it all streamline
so beautifully. I have been working with her
for around six or seven years. Obviously
there are tweaks that happen, but I think it's
always important to get the dailies as close
to your vision statement as possible because
decisions are made upon what people see.
In regards to the look, I will say naturally
warm for the compound, and a bit cooler
and darker for the night. In the city, it is all
sodium vapor. In the woods we have this
light blue-green look.
Take us through the color-grading process.
Orbach: For the first three episodes,
[colorist] Craig Budrick does a pass and I
look at it in the lab on a calibrated monitor
so we're seeing the same thing. I give him
notes, he does another pass and I look at
that. Then I give Craig more notes if there
are any, and then I look at that. Once we
find the right rhythm and tone, then the rest
of the episodes I [review] at home on a
laptop or TV. [The grade was performed
with Autodesk Lustre at NBCUniversal's
postproduction facility in Los Angeles.]
How would you describe your
overall experience working on The
Path?
Orbach: This show has been a huge
pleasure, and a big reason why are the three
leads. With three cameras working all of the
time, it's complex sometimes - and Aaron
Paul, Michelle Monaghan and Hugh Dancy
are a trifecta of joy. The big thing about this
show is that [executive producer] Jason
Katims, [creator and showrunner] Jessica
Goldberg and Michael Weaver [ASC] -
who is the in-house director - are empowering. They want you to run with it, take
risks, make it edgy, and make it your own.
Michael is a big part of the visual language
and tone.

TECHNICAL SPECS
1.78:1
Digital Capture
Red Epic Dragon
Panavision Primo, Cooke S4,
Angenieux Optimo

➣



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
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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
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American Cinematographer - April 2017 - 107
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American Cinematographer - April 2017 - Cover3
American Cinematographer - April 2017 - Cover4
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