How to create DIY fire light to shape and manicure available light and make the ordinary look extraordinary.
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.
The Elite Team and I have been using the HP Elitebook 8770w Mobile Workstation, and it has allowed us to reshape and slim down our workflow.
I am always in pursuit of new lighting technology, and this Rosco LitePad kit knocked me out with its size, versatility, color and punch.
We demo the power of the glass filter, including the ones that I use and their wonderful benefits.
How we shot the action sequences for a series of Trane AC commercials with extreme heat and a bus crash.
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.
My name is Mike McCarthy, and as the production engineer for Act of Valor, I worked with Shane and his team in developing solutions to the obstacles presented by early DSLR filmmaking, both on set and in post.
Using the right filtration to impose a mood, create a style, encapsulate a time period or just to cream a woman’s skin can be a very powerful visual tool. The first diffusion I go to time and time again, whether it is film or HD, is smoke.
In this special edition of the Digital Convergence Podcast, Chris Fenwick delves deep into the mind and vision of Po Chan – a remarkable visual story teller, artist, and director of both “The Last Three Minutes” and “The Ticket.”
On The Ticket, the lighting was a challenge because we used natural, available light and shaped it. I turned lights off, then added accent lights to bring out the depth of a location.
We have had an outpouring of positive feedback on Po Chan’s film “The Ticket.” Everyone at Hurlbut Visuals wanted to give you an inside look at how we used the power of this incredibly flexible, lightweight, DSLR platform, the A camera system that is the 1DC. It gives any filmmaker the ability to dream.
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!!!
The current spot was for El Pollo Loco, and the concept was a very action oriented camera, with snap zooms and quick handheld push ins and pull outs. I thought the Canon C300 would be the perfect camera for this job, lightweight and maneuverable.
“Find us on Facebook.” “Follow me on Twitter.” We see social media everywhere these days and rightly so. Tools like Twitter, Facebook, YouTube, LinkedIn, Google+ and more can help small businesses, one man shops, and large brands grow and expand their contacts with clients and customers. This includes filmmakers. The opportunities are great for both raising funds online and for distributing your work.
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 director Scott Waugh called me to shoot the video for the “Act Of Valor” credit crawl song “For You” by Keith Urban, I was excited to have the opportunity to get the whole Elite Team back together. It was equally exciting to hear Keith’s amazing song, which supported the story perfectly.
We were in LA on February 25th for a screening of Act of Valor, followed by a panel discussion organized by Barry Anderson. Our friends from planet5D filmed the event, and we are embedding that video below.
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!
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.