American Cinematographer - April 2016 - 34
and leaves the location, the A crew prepares
for its lockdown. For this portion of the
shoot, Wasley places four Canon XF105s on
robotic heads; the cameras are fed back to
a "nerve center," where Wasley monitors
and controls each of them throughout the
overnight shoot. (The XF105s record 29.98
fps, 1920x1080 footage to CompactFlash
cards.) Additionally, Bagans and his team
use Sony HDR-PJ710Vs and HXR-MC50Us
as "X cameras" inside the location, capturing 29.98-fps footage at 1920x1080 to SD
cards. They also have a GoPro Hero3+
(which records 1080p files to microSD) and
a Canon EOS M2 (which records HD files to
SD cards) - both modified for full-spectrum shooting - as well as a Testo 885
thermal-imaging camcorder, which records
to a tethered laptop.
When the production returns to its
home base in Las Vegas, Tolley serves as
media manager, going through all of the
lockdown footage and earmarking shots for
Bagans' review. Using Adobe Premiere Pro,
Bagans and editor Devin Lawrence prepare
the investigation portion of the show and
then send it off to New York, where Taglieri
adds it to his own Premiere Pro timeline,
where he's prepared the history portion of
the episode. All color correction is
performed via Premiere at Broadway Video
in New York, and final deliverables are
output at 1920x1080.
"Zak and the crew are extremely
rigorous," says Daniel A. Schwartz, executive producer for Travel Channel. "There's a
lot of discipline in how they put together
the show and develop a look - and even
change the look depending on the mood of
the place. This is a passionate endeavor for
these guys. They love it, and that is why it
works."
TECHNICAL SPECS
Top: Wasley captures Bagans conducting an interview for the episode "Chinese Town of Locke."
Bottom: Cinematographer Mike Stodden shoots a demonic scene with the C300 in a remote
location in Arizona.
and a Pepper light kit that includes four
150-watt units with dimmers.
To facilitate camera moves, Stodden and Zieja often employ Dynamic
Perception's Stage One and Stage Zero
34
April 2016
motorized sliders. Stodden also likes to use
a saddlebag for quick slider moves across
smooth surfaces such as hardwood floors or
bannisters.
Once the B crew gets its footage
American Cinematographer
1.78:1
Digital Capture
Canon Cinema EOS C300, EOS 5D Mark III,
EOS 60D, EOS M2, XF105;
Sony NEX-FS700U, HDR-PJ710V,
HXR-MC50U, a7S II; GoPro Hero3, Hero3+;
Testo 885; Apple iPhone
Canon; Tokina; Lensbaby
●
American Cinematographer - April 2016
Table of Contents for the Digital Edition of American Cinematographer - April 2016
Contents
American Cinematographer - April 2016 - Cover1
American Cinematographer - April 2016 - Cover2
American Cinematographer - April 2016 - 1
American Cinematographer - April 2016 - 2
American Cinematographer - April 2016 - Contents
American Cinematographer - April 2016 - 4
American Cinematographer - April 2016 - 5
American Cinematographer - April 2016 - 6
American Cinematographer - April 2016 - 7
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American Cinematographer - April 2016 - 64
American Cinematographer - April 2016 - 64a
American Cinematographer - April 2016 - 64b
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American Cinematographer - April 2016 - Cover3
American Cinematographer - April 2016 - Cover4
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