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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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Last year, we made a series of six educational videos with B&H to cover everything from the settings we use on the Canon 5D Mark II to the kind of lenses and equipment I recommend.
Operating with some girth on your shoulders gives you control. Having a shoulder cam rig that fits and conforms to your body is paramount.
My last blog post was about story and not getting caught up in all the tech/gear frenzy. Now, I want to talk about [...]
When Scotty Waugh and Mike “Mouse” McCoy, the incredible directing team at Bandito Brothers, asked me to shoot Act of Valor, I was excited, especially after listening to their unique vision for the making of this movie. I was ALL IN. The idea of reinventing the action genre was our mantra. To be able to immerse an audience in a 3D experience that was shot 2D; to capture POVs that felt like you were in an intense first person shooter video game; to move a 2.5 lb camera in ways that you have never seen before. These were the ideas that started to swirl in my head after our initial meeting.
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.
I designed a helmet mount for the Canon 5D Mark II with Gary Hatfied, Dan Owens from Panavision to capture the first person point of view action in a new way. The camera is extremely versatile with…
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…
Hurlbut Visuals is excited to introduce the Hurlbut Visuals Blog Interview Series.
Tests with the newest Leica Summilux C lenses vs. the gold standard Cooke S4s for Fathers and Daughters.
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.
I have been asked by many of our readers to share details regarding my personal Gear Bag. I use a vast array of tools to be able to tell all types of stories. I wanted to break it down with detail.
We demo the power of the glass filter, including the ones that I use and their wonderful benefits.
When Canon and Hurlbut Visuals teamed up on this joint venture, we wanted to put together a trilogy of Behind the Scenes videos where I narrated about what goes on inside my head as a cinematographer. We also wanted to show that even though there is a planning process…
How to read a color temp meter and why it is important. I have always loved understanding the color of different lights — street lights, fluorescents in a store, neon, moonlight, etc.
The new wave of Large sensor cameras with their high ISO range and light sensitivity are changing the way cinematographers [...]
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.
Freider Hochheim continues the conversation about the direction and future of Kino Flo.
Meet the Cinematography Intern DREAM TEAM by Shane Hurlbut The...