- Projects / Films
How we’re kitting out the MōVI on Fathers and Daughters.
How we shot the action sequences for a series of Trane AC commercials with extreme heat and a bus crash.
The Canon 5D Mark II opened the floodgates to new and creative filmmaking three years ago and is still going strong today. They remain a reliable workhorse for many cinematic options, particularly micro-budget, multi-camera shoots.
Whether you have very little experience or consider yourself intermediate or advanced, the educational tour that Patrick Moreau is running is a HOME RUN!
As cinematographers, our storytelling camera tools change on a monthly basis, and trying to keep up with all of this is a daunting task. However, the two core tools of storytelling that never change are light and composition.
In the winter of 2012, I had the amazing opportunity to teach side by side with a gifted storyteller. Patrick Moreau and I were both speaking for Canon, educating about how we were similar (filmmakers and storytellers) and different in our unique approaches.
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.
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.
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.
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.
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.
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.
We’ve had a ton of questions via Twitter, Facebook and the hurlblog about shooting Act of Valor, so I thought I would share them in a Q&A format. Thanks so much to everyone for your support and kind words about the film!
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.
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.
Popular Posts This Month
Here are the apps that I wish I had when I was a budding young filmmaker to help navigate the waters.
Many of you ask, why MōVI? It comes down to the team behind the product, the support, the innovation, the forward thinking, the ability to future proof a product. Freefly Systems delivered.
Your first point of lighting is your key light, which is the light that exposes the face.
As a cinematographer, you are always asked to make compromises. With Gabriele Muccino’ s vision and my ideas for lighting and camera, we were taxing the budget to the absolute limit.
. Our director, Gabriele Muccino saw these videos with the MoVI, and we wanted to come up with the shot that showed the unique ability to be able to pass this camera off from one operator to the other.