Lighting day exteriors is as much about choosing the right time as it is about your manipulation of the daylight.
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.
I joined the NeedCreative Podcast again this week. We talked about the art and science of cinematography and then did a mini-workshop. I go into story scenarios and how I would light and lens them.
Lighting so that you can tell your stories with realism and accurate color temp.
My Book Light tutorial on how to build it and why it is so useful. Plus, how I got started in this business.
What I think about when I am blocking a scene and my preferences on how to work from the master to the close-up.
From 1991-1996, I had the unique opportunity to work with one of the most talented still photographers of the 20th Century. Not only was Herb Ritts a great artist, he was also an amazing human being.
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.
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.
Meet the Cinematography Intern DREAM TEAM by Shane Hurlbut The Cinematography Internship Program was an educational labor of love for Hurlbut Visuals for the 2010-2011 year. It has been our way of educating and inspiring young filmmakers. The goal was to create a variety of hands on immersive experiences: shooting, lighting, theory, and storytelling, Let’s [...]
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.
It is so sad saying goodbye to Montreal. I love this amazing city. The crew was the [...]
When Stefan Ruzowitzky and I sat down to talk about the look and feel of this film he immediately showed me these Todd Hido shots. They blew my [...]
My phone rang on an evening in the late summer of 2000 while I was directing a Children’s Hospital commercial in Kansas City. It was Tim Bourne, a Hollywood Line Producer. He asked me if I had read the script he sent me a week ago.
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…
When Rob Cohen asked me to shoot his next feature after we finished “The Rat Pack,” I was ecstatic. I could not wait to get the script. He told me that it was a thriller about the Skull and Bones Secret Society at Yale.
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…
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.
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…