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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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Find the GoPro Hero 3 shots in the new Need for Speed SuperBowl Trailer and enter to win.
When I began working on “Act of Valor” I was using an Asus 17” monitor to light with. When I got into the color correction bay, I noticed that I had over-lit scenes because the monitor was not seeing what the camera was ultimately seeing.
In mid-October, I got a call from McG to see if I was available to do a Mountain [...]
With the release of the new Z27x and the Z24x monitors, we should look at what makes these babies different from the old workhorse that served as my eyes into the DSLR color space for over five years.
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…
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.
Hurlbut Visuals is excited to introduce the Hurlbut Visuals Blog Interview Series.
When choosing a lens for the Canon 5D Mark II camera you have to consider the look and feel that you are trying to create for the final visual product. My team and I have tested and played with these lenses quite a bit and here is…
In November of last year I had the pleasure of interviewing Mr. Steve Tiffen of the Tiffen Company [...]
Shane Hurlbut, ASC discusses lenses and the challenges of working with a still lens.
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.
I love lenses and examining the subtle differences with each one so I am confident in the resulting image.
Nikon lenses are sharp with a little softer contrast than the Zeiss lenses. The older A lenses are nice because they have a wider
I joined the NeedCreative Podcast again this week. We talked about the art and science of cinematography and then did a mini-workshop. I go into story scenarios and how I would light and lens them.
The light meter is essential for matching and to get your head around light ratios as a young cinematographer.
How to create DIY fire light to shape and manicure available light and make the ordinary look extraordinary.
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.
A few weeks ago, I wrote a blog post about my lighting package that looked like an aisle inside
My phone rang on an evening in the late summer of 2000 while I was directing a Children’s Hospital commercial in Kansas City. It was Tim Bourne, a Hollywood Line Producer. He asked me if I had read the script he sent me a week ago.