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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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Blackmagic graciously supplied a camera for testing. We pushed and pulled this baby to see when it would break as well as where it excelled.
This post give you insight into how we pulled everything off. Need for Speed was shot on four different camera sensors.
The Need for Speed camera test comparisons continue, with the Canon C500 vs. 35mm Kodak film stock.
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.
The combination of the MoVI, Canon C500, aerial drones and Leica glass was a slam dunk on this Acura commercial.
Shane’s suggested menu settings for using the Canon 1DC as a cinematic movie maker.
Hurlbut Visuals is excited to introduce the Hurlbut Visuals Blog Interview Series.
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.
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.
Color correction gels can be used many ways, but what I will discuss is how to use them in subtle ways to create color contrast with the new digital sensors.
Shane Hurlbut, ASC discusses lenses and the challenges of working with a still lens.
My dear friend Frieder Hochheim goes into the history of his innovative,...
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.
Many of you requested information on the go to lighting package. Having a package that can do many types of lighting is the secret. Lights that can multi-task are my recipe for success.
What I think about when I am blocking a scene and my preferences on how to work from the master to the close-up.
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…
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.