The American Society of Cinematographers

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The Path
Page 2
ASC Close-Up

I am simple with my lighting 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?

I try to get the dailies close 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.

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?

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.




Digital Capture

Red Epic Dragon

Panavision Primo, Cooke S4,

Angenieux Optimo

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