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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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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 [...]
Over the past 3 years, my team and I have shot 2 feature films [...]
The Bandito Brothers Production Company has a very unique work flow. I have adopted the Bandito Brothers “Real Time” shooting module and combined it with “traditional” filming. Here is how we made it work for the Navy Swimmer commercial.
Imagine prepping, shot listing and then…
For the last two and a half months, I have been working with the amazing director Gil Cope on an incredible commercial campaign. Learn about giving back with the Warrior Wedding Project.
Here is the breakdown for the Mountain Rescue portion of Navy Swimmer.
– 1-camera in deep water housing which captures underwater and split level shots
– 1-camera mounted on the Navy Swimmers helmet to capture him exiting the helicopter and being lowered down in between the rocks…
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.
Let’s look at how the crash cam world has changed because of the Canon 5D. It has replaced the eyemo that used to be a clapper of a 35 or 16mm with bad lenses. It could be blown up, bashed into, driven over, or you could even have a car land right on it.
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.
Lenses are one of the most critical choices when you are mounting the Canon 5D Mark II to a lens. Do not treat this camera like it is a film body. Remember to mount the camera to the lens, not the opposite.
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.
Lighting day exteriors is as much about choosing the right time as it is about your manipulation of the daylight.
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.
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 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.
After my blog post about lighting from your local hardware store, I wanted to take it one step further [...]
My next picture was with a director named John Stockwell. After signing onto this project I came to realize that John’s style and sensibility would change me forever as a cinematographer. We both felt this needed a fresh look: something that was…