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On the still lens front, you have a variety of options. I am addressing this topic from a 40 foot screen digital projection perspective, not a still photography one.
Zeiss ZE primes rock. Their resolution is spectacular and they are lightweight. Their focus is a little more cinematic then…
Color correction is just one step of the entire filmmaking process…but oh, what a difference it can make. You can [...]
I started giving a Leica list out to individual colleagues and the request kept coming, so we decided to share it with everyone on the blog. These lenses are only R-Mount, they are the cream of the crop and through variest test we have found them to be excellent.
When Canon approached me to test and shoot a short film for their new 1DC 4K DSLR, I was more than excited. After the first night of testing, one word came to mind. WOW!!!
Making HD look like film has a cocktail and one of the essential ingredients to this flavorful recipe is Neutral Density. You have to keep your exposure on a 5D around a 5.6 to get that beautiful shallow depth of field. The 7D should be around…
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As the pressure from commercial production companies and the ad agencies started to inquire about needing 24p and that they could not deal with the rendering time of all the twixtor files, the 7D started to rise as the premium capture. That is when the aha moment happened for me. I thought, why is everyone asking for second best when the Canon 5D is king.
How we shot the action sequences for a series of Trane AC commercials with extreme heat and a bus crash.
Shutter angle is an important story-telling tool. As a Director of Photography, I love this technique and wanted to show you how I have used it to assist in the character’s emotional arc.
Po Chan and I will be leaving on a five-country tour of Asia with Canon in just a few days. If you are nearby, I hope to see you at one of the events.
When director Peter Odiorne asked me to shoot Sports Authority “Shoe,” the [...]
Focus is probably one of the biggest obstacles that the 5D encounters. So many of our colleagues have questions and wonder why it is absolutely essential to have a focus puller. They are the backbone of this amazing technology. Shooting with practical…
In November of last year I had the pleasure of interviewing Mr. Steve Tiffen of the Tiffen Company [...]
I have been asked by many of our readers to share details regarding my personal Gear Bag. I use a vast array of tools to be able to tell all types of stories. I wanted to break it down with detail.
Panavision Primo Primes are the ultimate lenses. They produce cinema film quality imagery that will blow you away. The contrast range is perfect because you have all of the highlight detail, as well as wonderful gradation into the shadows.
I am back on land and ready to tear it up. The January newsletter has been a big success and I thank you all for your comments and suggestions. This is a collaborative effort and we value your input.
I have been getting many comments from people…
It seems like everyone is jumping on the PL mount 7D bandwagon and I have to say it is very unfortunate that the 5D does not have the same energy. All the specs on a PL mounted 5D have shown that the vignette is a big issue. Most cinema lens…
Using stockings to add a glow, a pearlescent quality, to transport you to a time period that had a sense of glamor, when movie stars were king.
One of the most popular requests was for lighting instruction. In the HD world and film, lighting is king. Knowing how to light and not just rely on available light is what being a cinematographer is all about.
The trailer for the documentary that Hurlbut Visuals produced about this forward thinking company called SmallHD, founded by Wes Phillips and Dale Backus.
A few weeks ago, I shot a run and gun style web series and the generous team over at Hive Lighting gave me one of their units to demo. Plasma light technology is pretty incredible.
A few weeks ago, I wrote a blog post about my lighting package that looked like an aisle inside
Working with less is how I like to light. On We Are Marshall, I challenged myself and my team to think about how we could light a major night exterior in the rain with just two lights.
When Shane told me he wanted to shoot behind the scenes footage of “The Last 3 Minutes” I was very excited as I had only used the 5D MKII for narrative work. I knew that using the 5D for run and gun style documentary work might be a challenge and loved the idea of diving in head first.