Waiting for Lightning, a documentary about pro skateboarding pioneer Danny Way, began production in 2008. Over the course of those four years, the documentary would embrace the modern evolution of camera systems to complete the project.
Projects / Films
The trailer for the documentary that Hurlbut Visuals produced about this forward thinking company called SmallHD, founded by Wes Phillips and Dale Backus.
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.
What I think about when I am blocking a scene and my preferences on how to work from the master to the close-up.
We have so many new digital tools at our disposal that you cannot just pick them up and start shooting with them. Treat your new digital camera like a new film emulsion that needs testing.
It has been a whirlwind since NAB, with all of the new emerging 4K technology and where this fits into the filmmaking process. Here are our tests with the Canon 1DC 4K DSLR camera.
I wanted to thank you all for the huge response on part one of Storytelling Through Composition. Now we move into the tighter side of framing.
Many of you have expressed an interest in composition: what makes a good frame or a bad one. There are a few classic frames that I customize to give them flare. I think this will help all of you find your compositional voice.
My cinematography interns and I set out on a mission to showcase the many uses of a polarizing filter.
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.
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.
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.
The running scene in “The Ticket” that uses my song “Those Kisses” reminds me why I got into the business of making music for films.
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.