American Cinematographer - July 2016 - 75
◗
Behind the Bars
lighting." The production shot 4K 4:2:2
10-bit AVC format in the VariCam's
VLog mode to onboard P2 cards, and
moved to 4K 4:4:4 12-bit for greenscreen or visual-effects work.
For season four, Littee didn't
delve far into creating customized
LUTs, "but I do want to start playing
with that next season," he says. "I want
to work the curve between the falloff
and the blacks. The falloff is very soft,
and I want to make it steeper. A lot of
that you can do with your lighting and
having more negative fill than you
normally would, but I want to see if the
camera can help me out with that."
Along with the camera, Littee
changed lenses, moving from Cooke
S4s to Panavision Primos. "First AC
Scott Tinsley and I spend a lot of time
discussing and testing lenses - not to
mention I've always wanted to shoot
Primos," he notes. "The look was quite
consistent [with the Cookes], so it was
an easy transition." Plus, "the Primos
looked softer on skin tones, especially
African-American skin tones," he says.
"I felt it was gentler and just a hair
warmer." The camera package was
supplied by Panavision New York.
The production carries a couple
of Panavision Primo zooms - the 24275mm SLZ11 and 19-90mm PCZ
(both T2.8) - but Littee tries to limit
their use. "A lot of directors just want to
snap in from a wide to a close [shot]. I've
been fighting that constantly, because
you light a wide very differently than
you do a close-up; I don't think it's fair
to the actresses or the crew. We do use
zooms, but mostly for exteriors."
As in years past, Orange was shot
at New York City's Kaufman Astoria
Studios, as well as at some of the
remaining operational locations at the
semi-abandoned Rockland Children's
Psychiatric Center in Orangeburg, N.Y.
Standing sets at Kaufman Astoria
provided most of the prison's interior:
dorms, kitchen, cafeteria, common
room, visitation room and guards' living
quarters. The psychiatric institute
offered additional rooms - including a
library, hair salon, basement laundry
Top: Kitchen supervisor Galina "Red" Reznikov (Kate Mulgrew) meets with a guard inside an
office. Middle: Another angle reveals more of the scene's lighting. Bottom: The camera is lined
up over the shoulders of Schilling and Prepon for a scene in the prison cafeteria.
www.theasc.com
July 2016
75
http://www.theasc.com
American Cinematographer - July 2016
Table of Contents for the Digital Edition of American Cinematographer - July 2016
Contents
American Cinematographer - July 2016 - Intro
American Cinematographer - July 2016 - Cover1
American Cinematographer - July 2016 - Cover2
American Cinematographer - July 2016 - 1
American Cinematographer - July 2016 - 2
American Cinematographer - July 2016 - 3
American Cinematographer - July 2016 - 4
American Cinematographer - July 2016 - Contents
American Cinematographer - July 2016 - 6
American Cinematographer - July 2016 - 7
American Cinematographer - July 2016 - 8
American Cinematographer - July 2016 - 9
American Cinematographer - July 2016 - 10
American Cinematographer - July 2016 - 11
American Cinematographer - July 2016 - 12
American Cinematographer - July 2016 - 13
American Cinematographer - July 2016 - 14
American Cinematographer - July 2016 - 15
American Cinematographer - July 2016 - 16
American Cinematographer - July 2016 - 17
American Cinematographer - July 2016 - 18
American Cinematographer - July 2016 - 19
American Cinematographer - July 2016 - 20
American Cinematographer - July 2016 - 21
American Cinematographer - July 2016 - 22
American Cinematographer - July 2016 - 23
American Cinematographer - July 2016 - 24
American Cinematographer - July 2016 - 25
American Cinematographer - July 2016 - 26
American Cinematographer - July 2016 - 27
American Cinematographer - July 2016 - 28
American Cinematographer - July 2016 - 29
American Cinematographer - July 2016 - 30
American Cinematographer - July 2016 - 31
American Cinematographer - July 2016 - 32
American Cinematographer - July 2016 - 33
American Cinematographer - July 2016 - 34
American Cinematographer - July 2016 - 35
American Cinematographer - July 2016 - 36
American Cinematographer - July 2016 - 37
American Cinematographer - July 2016 - 38
American Cinematographer - July 2016 - 39
American Cinematographer - July 2016 - 40
American Cinematographer - July 2016 - 41
American Cinematographer - July 2016 - 42
American Cinematographer - July 2016 - 43
American Cinematographer - July 2016 - 44
American Cinematographer - July 2016 - 45
American Cinematographer - July 2016 - 46
American Cinematographer - July 2016 - 47
American Cinematographer - July 2016 - 48
American Cinematographer - July 2016 - 49
American Cinematographer - July 2016 - 50
American Cinematographer - July 2016 - 51
American Cinematographer - July 2016 - 52
American Cinematographer - July 2016 - 53
American Cinematographer - July 2016 - 54
American Cinematographer - July 2016 - 55
American Cinematographer - July 2016 - 56
American Cinematographer - July 2016 - 57
American Cinematographer - July 2016 - 58
American Cinematographer - July 2016 - 59
American Cinematographer - July 2016 - 60
American Cinematographer - July 2016 - 61
American Cinematographer - July 2016 - 62
American Cinematographer - July 2016 - 63
American Cinematographer - July 2016 - 64
American Cinematographer - July 2016 - 65
American Cinematographer - July 2016 - 66
American Cinematographer - July 2016 - 67
American Cinematographer - July 2016 - 68
American Cinematographer - July 2016 - 69
American Cinematographer - July 2016 - 70
American Cinematographer - July 2016 - 71
American Cinematographer - July 2016 - 72
American Cinematographer - July 2016 - 73
American Cinematographer - July 2016 - 74
American Cinematographer - July 2016 - 75
American Cinematographer - July 2016 - 76
American Cinematographer - July 2016 - 77
American Cinematographer - July 2016 - 78
American Cinematographer - July 2016 - 79
American Cinematographer - July 2016 - 80
American Cinematographer - July 2016 - 81
American Cinematographer - July 2016 - 82
American Cinematographer - July 2016 - 83
American Cinematographer - July 2016 - 84
American Cinematographer - July 2016 - 85
American Cinematographer - July 2016 - 86
American Cinematographer - July 2016 - 87
American Cinematographer - July 2016 - 88
American Cinematographer - July 2016 - Cover3
American Cinematographer - July 2016 - Cover4
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