Orbiter also played an essential role in one of Juan Sarmiento G.’s favorite scenes of the movie. The last night of shooting in Germany came to mind when he remembered lots of depth in the frame, rain, a prepared animal, special effects, cold, etc.: “At the end, we managed to get the shots we wanted, but I don’t want to give too much away. That night I discovered the beauty of Orbiter’s dome light. The texture of the light with the dome; I totally loved it.”

Besides the light quality, Juan Sarmiento G. learned to appreciate Orbiter’s features. Especially “the possibility of effects and colors combined with the front elements, which drastically change the texture of the light in a matter of seconds,” he found most important. Given the relatively short shooting time—only 16 days in Germany and seven more in Israel—the versatility of the Orbiter relieved a lot of pressure. Finally, the Orbiter facilitated a light atmosphere that allowed for an emotional truth to be created very quickly.

When asking the cinematographer if there was anything he couldn’t have done without the Orbiter, he mentioned: “Well, I want to think we would’ve come up with other creative ideas, but you never know. For sure, I plan to rely on the Orbiter from here on out.”