- Projects / Films
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…
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.
We have had an outpouring of positive feedback on Po Chan’s film “The Ticket.” Everyone at Hurlbut Visuals wanted to give you an inside look at how we used the power of this incredibly flexible, lightweight, DSLR platform, the A camera system that is the 1DC. It gives any filmmaker the ability to dream.
All of you have been so gracious with your comments about how much I help all of you and make a difference, or changed your life in some way. This is a huge responsibility that I take very seriously. I need to set a great example. I need to do my very best, and I need to illustrate for all of you what it means to be a good leader.
As cinematographers, our storytelling camera tools change on a monthly basis, and trying to keep up with all of this is a daunting task. However, the two core tools of storytelling that never change are light and composition.
I am frequently asked how we get so many set ups in a day and how we stay on schedule and budget while shooting. The answer is my Elite Team. I am nothing without my team and they make me shine everyday.
Hurlbut Visuals is excited to introduce the Hurlbut Visuals Blog Interview Series.
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.
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.
Many say that the light meter is dead with digital. I disagree. It is the only tool that you have in your box that can measure what you love.
Episode III “Carnival” was on Day two of our four day shooting schedule. This day was a very ambitious one because we had four company moves. We started at the ranch house location, moved to meadow location, then on to the main street location for the street fight.
My dear friend Frieder Hochheim goes into the history of his innovative,...
The past 3 years have been a very exciting time to be a filmmaker with the many changes in digital […]
Prepping a movie is one of the most important tasks you have as a cinematographer. You can design the whole movie-organize, create, and schedule it in a way that is best for light.
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.
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Here are the apps that I wish I had when I was a budding young filmmaker to help navigate the waters.
Many of you ask, why MōVI? It comes down to the team behind the product, the support, the innovation, the forward thinking, the ability to future proof a product. Freefly Systems delivered.
Your first point of lighting is your key light, which is the light that exposes the face.
As a cinematographer, you are always asked to make compromises. With Gabriele Muccino’ s vision and my ideas for lighting and camera, we were taxing the budget to the absolute limit.
. Our director, Gabriele Muccino saw these videos with the MoVI, and we wanted to come up with the shot that showed the unique ability to be able to pass this camera off from one operator to the other.