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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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The Untitled Navy SEAL movie has taken me to some of the most extreme working conditions that I have ever experienced in my career as a Director of Photography. We traveled to the following locations: the jungles of Costa Rica, the swamps of Mississippi…
I treat each new digital camera that comes out as a new film emulsion, one that needs to be tested before I can use it to help tell my stories. The first step is to find the sensitivity of the sensor.
Visit the B&H HDSLR hub now [...]
At first glance with the Canon 5D you notice one thing, the minute you plug a mini HDMI cable or a 1/8” mini plug into the outputs on the camera, your LCD screen disappears. It is like a sick magic trick that for some reason, not one person can figure out.
Shane addresses the challenges of the HDSLR platform and helps find solutions to rolling shutter, moire and overheating.
The “Where’s the 5D” contest was so close that the winner Josh beat our runner up Tim by a single shot. Josh will claim his prize this Wednesday when he visits me on the set for the day.
We decided to add a runner up prize…
I am back on land and ready to tear it up. The January newsletter has been a big success and I thank you all for your comments and suggestions. This is a collaborative effort and we value your input.
I have been getting many comments from people…
Panavision Primo Primes are the ultimate lenses. They produce cinema film quality imagery that will blow you away. The contrast range is perfect because you have all of the highlight detail, as well as wonderful gradation into the shadows.
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.
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.
The Multi-Mount is a modification process developed by Duclos Lenses that offers a variety of mounts to be swapped on a given lens.
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 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 [...]
The light meter is essential for matching and to get your head around light ratios as a young cinematographer.
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.
My dear friend Frieder Hochheim goes into the history of his innovative,...
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.
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…