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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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Recently, I shot a promo for HBO’s enthralling television series “Game of Thrones” and had the opportunity to put the Inovativ Echo cart through its paces in a real set environment.
Being the gatekeeper of the Hurlbut inventory, I see all types of gear come and go every week.
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.
The Canon 5D Mark II is approximately 2.5 pounds with a still lens, 4.5″ high 3″ deep and 6″ long. Wow!
It is nimble and inexpensive so you can have multiple camera bodies working in different configurations simultaneously. Not being stuck with a traditional shoulder mount allows you to create a new visual language.
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.
Shane’s suggested menu settings for using the Canon 1DC as a cinematic movie maker.
Shane Hurlbut, ASC discusses lenses and the challenges of working with a still lens.
The lens’ traits can help tell your story. The look and feel of lenses, their characteristics of color and contrast rendition, are all relevant factors.
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.
How using different focal lengths can help assist character development in new ways. It is the cinematographer’s job to assist in the character arc process.
Color correction gels can be used many ways, but what I will discuss is how to use them in subtle ways to create color contrast with the new digital sensors.
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.
When you have a small team to tell your story, you need to find lights that do many things and provide many color temps. You need some that can focus and ones that are a broad source.
Lighting car interiors at night. How I light, what choices I make with specific units, and why one lighting tool is selected over another.
This week’s post will focus on the subject of DSLR cinema and a fantastic resource known by the same name – DSLR Cinema: Crafting the Film Look with Large Sensor Video Cameras.
Many of you requested information on the go to lighting package. Having a package that can do many types of lighting is the secret. Lights that can multi-task are my recipe for success.
When Rob Cohen asked me to shoot his next feature after we finished “The Rat Pack,” I was ecstatic. I could not wait to get the script. He told me that it was a thriller about the Skull and Bones Secret Society at Yale.
The light meter is essential for matching and to get your head around light ratios as a young cinematographer.