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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.
Whether you love your 5D, shoot weddings with a Sony FS-100, shoot music videos with your 7D, or [...]
The Canon 5D Mark II opened the floodgates to new and creative filmmaking three years ago and is still going strong today. They remain a reliable workhorse for many cinematic options, particularly micro-budget, multi-camera shoots.
Waiting for Lightning, a documentary about pro skateboarding pioneer Danny Way, began production in 2008. Over the course of those four years, the documentary would embrace the modern evolution of camera systems to complete the project.
I want to invite all of you to Cine Gear 2011. Hurlbut Visuals is launching our new DSLR Cinema Rentals division with new rigs and out of the box innovation.
With the price decrease on the Blackmagic Cinema Camera, new functions, firmware upgrades and the anticipated delivery of the Pocket Cam, I thought it would be perfect timing to run more of the tests that I did for Need for Speed.
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.
Tests with the newest Leica Summilux C lenses vs. the gold standard Cooke S4s for Fathers and Daughters.
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.
Hurlbut Visuals is excited to introduce the Hurlbut Visuals Blog Interview Series.
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.
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.
When John Stockwell asked me to do a film set in the Bahamas about sunken treasure, greed, fun, and really hot chicks I was in. I had never done a movie on the water.
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.
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.
What I think about when I am blocking a scene and my preferences on how to work from the master to the close-up.
On The Ticket, the lighting was a challenge because we used natural, available light and shaped it. I turned lights off, then added accent lights to bring out the depth of a location.
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.