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Testing Your Camera’s Latitude

How to test your camera’s latitude. This is one of the most important tests that you can perform because over exposing is a very subjective and personal artistic choice.

Digital Camera Comparison Chart

I found this Digital Camera Comparison chart over at Fletcher Camera & Lenses, and it’s handy for comparing all the different digital cinema cameras available now. Camera choice in the film days used to be either Panavision or Arriflex, but now there are so many options in the digital cinema world.

December Tour of Asia with Canon

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.

Part 2: Color Correction Made Easy

Matching different lenses to save time during color correction.

Act of Valor: A Case Study in Out of the Box Filmmaking

I spoke at “Adobe Tips and Flicks” in 2012 about “out of the box” filmmaking with the Canon 5D MkII on Act of Valor.

Need For Speed: Innovation, Gear and Cinematography

This post give you insight into how we pulled everything off. Need for Speed was shot on four different camera sensors.

Tiffen Vari IRND Brings Cinematic Look to the BMCC

Welcome to the Hurlbut Visuals Blackmagic Cinema Camera Tiffen Variable ND test.

Panavision Primo Primes: Cinema Quality Imagery

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.

Zeiss Lenses: Sharp and Snappy

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.

Lens Test with Zeiss ZE and CP2s, Canon L Series and Leica R Glass

Part of being a cinematography intern is not only knowing all the gear, but how it can be used to enhance your visual story telling. The characteristics of a lens can infuse a mood, a style, etc. Being obsessed in the subtleties is key. Shane encourages us to use all our tools and test them in the line of fire. We have been using Canon, Leica, and Zeiss lenses but haven’t had the chance to compare them all side by side.

Crash Cam: Filmmaking Inside the Box

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.

Filtration: Beware Of The Reaper Of Cheap Glass

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…

Inspiration and Passion Create Innovation: The Big Story Behind SmallHD

The trailer for the documentary that Hurlbut Visuals produced about this forward thinking company called SmallHD, founded by Wes Phillips and Dale Backus.

Training Your Eye – Lighting for Cinematographers

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.

Lighting with Home Depot Lights: Part 2

A few weeks ago, I wrote a blog post about my lighting package that looked like an aisle inside

Lighting: An inside look into "The Rat Pack"

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…

Frieder Hochheim Hurlblog Interview Part 1 – The Growth and Innovation of Kino Flo

My dear friend Frieder Hochheim goes into the history of his innovative,...

Lighting Series Number 3: The Natural Look of Crazy/Beautiful

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…