American Cinematographer - April 2016 - 32

Top: Goodwin, Wasley and Bagans prep for an interview with former scientologists for an episode
called "Secret Scientology Lab." Bottom, from right: Tolley, Wasley and Goodwin - the latter using a
motorized slider - capture Bagans' monologue at the Scientology-lab location.

driving into the location in classic cars; Tolley
used it again for the episode "Clown Motel
and Goldfield High School," to capture
footage of the motel and aerials of the
neighboring cemetery.
Upon arrival at the location, the B
crew's first order of business is to conduct a
walk-through with the producer, during
which they discuss the b-roll and re-enactments that will need to be captured based
on Bagans' interviews. "Every location is
different and presents a unique set of challenges," Stodden explains. "There is no
32

April 2016

formula for shooting. You have to absorb as
much of the environment as you can; you
really need to be in a highly creative, intuitive place on every shoot. We have a very
short period of time [two days] to get all
these shots."
The original style for the b-roll and
re-enactments was developed by the show's
first cinematographer, Christian Hoagland,
along with Bagans and the producers at MY
Entertainment. Stodden came aboard as a
director of photography during the third
season and has been with the show ever
American Cinematographer

since. The style, he says, "continues to
evolve as we try new techniques and incorporate more creativity into the b-roll and reenactments."
Stodden adds that he's heavily influenced by Owen Roizman, ASC's cinematography for The Exorcist (AC Feb. '74). That
film, he says, "gets referenced a lot. If a
producer wants to give an example of what
type of shot he wants, many times The Exorcist will come up."
For Ghost Adventures' 100th
episode, the crew shot on location in the
real St. Louis home where the events that
inspired The Exorcist occurred in 1949. "It
was a highlight of my career to be in the
same house, in the same room where that
story actually happened, re-enacting some
of the events that actually took place in that
house," Stodden enthuses.
For the re-enactments, Stodden
shoots with an EOS C300, recording
1920x1080 footage at 23.98 fps to CF
cards, and using Canon L-series zooms.
Zieja predominantly shoots with a 5D Mark
III while capturing time lapses, b-roll footage
and additional re-enactment shots as
needed. Both also use a Sony NEX-FS700U,
especially to capture slow-motion shots at
120 fps and greater; the FS700 records
1920x1080 footage at 23.98 fps to SD
cards. Additionally, they carry a Canon EOS
60D and will even employ an iPhone -
using an Olloclip lens system - if it gets
them the shot they need. For filtration,
which is used as necessary when exterior
conditions call for it, they have a polarizer
and a set of graduated ND filters.
When producer and supervising
editor Joseph Taglieri runs the B crew, he
brings his Sony a7S II camera, with which
the crew records at 4K to SD cards. The a7S
II is regularly fitted with a Sigma 24-105mm
(f4) DG OS HSM zoom lens with a Canon EF
mount; Taglieri also carries a Tokina 1116mm (f2.8) zoom, a Canon EF 100mm
Macro (f2.8) and a Lensbaby. At press time,
the production was planning to add a Sony
PXW-FS7 to the B crew's camera package.
Like the A crew, the B crew carries
an Arri lighting kit with two 650-watt and
two 300-watt tungsten units. Stodden's
lighting package also includes two Litepanels 1x1 Mono LED Daylight Spots, one
Litepanels MiniPlus Daylight Spot dual kit,

Table of Contents for the Digital Edition of American Cinematographer - April 2016