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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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Prepping a movie is one of the most important tasks you have as a cinematographer. You can design the whole movie-organize, create, and schedule it in a way that is best for light.
As we blaze the cinematic trail we are always on the lookout for the best gear possible. Recently the guys over at SmallHD sent us the brand new DP6 Monitor. We haven’t had time to put it through any grinding tests but so far it looks pretty useful. For its lightweight size (5.6″), it’s a powerhouse.
I found this Digital Camera Comparison chart over at Fletcher Camera & Lenses, and it’s handy for comparing all the different digital cinema cameras available now. Camera choice in the film days used to be either Panavision or Arriflex, but now there are so many options in the digital cinema world.
I walked into Samy’s Camera last week and a camera assistant was mounting gyros on the 5D to stabilize the camera. She was getting beaten up by the mount and said, “I cannot get this clamped on here.” I said “ Hi, I would love to help…
I have been asked by many of our readers to share details regarding my personal Gear Bag. I use a vast array of tools to be able to tell all types of stories. I wanted to break it down with detail.
When I started the 5 week Marine’s commercial two months ago, I knew we would be in wide open spaces as well as tight quarters on the Amphibious Assault Destroyer. The project required gear that was versatile, so I turned to Kessler Crane’s CineSlider. NAB was where I…
Tiffen has introduced a whole new line of filters for digital sensors and have shot a very in-depth 4K test that premiered at NAB this year,
The Rosco View has increased my speed on location tenfold. Innovation, creation. I love what I do.
Matching different lenses to save time during color correction.
Mr. 3000 Camera Lens Restraint. How different lenses, lighting and color help assist in storytelling.
It seems like everyone is jumping on the PL mount 7D bandwagon and I have to say it is very unfortunate that the 5D does not have the same energy. All the specs on a PL mounted 5D have shown that the vignette is a big issue. Most cinema lens…
Hurlbut Visuals is excited to introduce the Hurlbut Visuals Blog Interview Series.
After my blog post about lighting from your local hardware store, I wanted to take it one step further [...]
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.
How to create DIY fire light to shape and manicure available light and make the ordinary look extraordinary.
When John Stockwell asked me to do a film set in the Bahamas about sunken treasure, greed, fun, and really hot chicks I was in. I had never done a movie on the water.
This week’s post will focus on the subject of DSLR cinema and a fantastic resource known by the same name – DSLR Cinema: Crafting the Film Look with Large Sensor Video Cameras.
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.