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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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The “Where’s the 5D” contest was so close that the winner Josh beat our runner up Tim by a single shot. Josh will claim his prize this Wednesday when he visits me on the set for the day.
We decided to add a runner up prize…
Here is a little instructional video from our Hurlbut Visuals HDSLR Bootcamp. A huge thanks to editor Chris Fenwick (Slice Editorial) for taking the time to cut this footage!
I have talked in the past about the power of the hybrid approach. Taking the best from still photography and the best from motion picture photography and colliding them….
Shane’s suggested menu settings for using the Canon 1DC as a cinematic movie maker.
Shane addresses the challenges of the HDSLR platform and helps find solutions to rolling shutter, moire and overheating.
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.
As I embark on a long creative, exciting journey on Need for Speed with DreamWorks, I wanted to share some of my most recent findings from a five day camera test that pushed every camera to its breaking point.
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…
We demo the power of the glass filter, including the ones that I use and their wonderful benefits.
I love shooting commercials that make a difference and give back to local communities. Hurlbut Visuals recently collaborated with Vaughn Wedeen Kuhn to lens the next set of Department of Transportation spots for New Mexico.
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.
When I was doing a Canon 5D film test in January of 2010, I put eight 5D’s in a line for this cool action camera array.
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.
A few weeks ago, I wrote a blog post about my lighting package that looked like an aisle inside
It is so sad saying goodbye to Montreal. I love this amazing city. The crew was the [...]
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.
21 months ago I never could have predicted the direction of my life. With the invention of the 5D camera, I started to understand that creating the look of “digital film” took an of the box thought process and my collective experience as a cinematographer. I did not anticipate how much I would enjoy sharing and giving back through teaching because…
One of the most popular requests was for lighting instruction. In the HD world and film, lighting is king. Knowing how to light and not just rely on available light is what being a cinematographer is all about.
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.