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Recent Reviews From All Categories

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The Canon 5D Mark II vs. Extreme Heat

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…

Testing Your Camera’s Emulsion

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.

HDSLR Educational Series for Cinema: A Joint Venture with B&H

Visit the B&H HDSLR hub now [...]

Canon 5D MK II & The Video Village Challenge

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.

Canon 5D MK II – Challenges and Solutions

Shane addresses the challenges of the HDSLR platform and helps find solutions to rolling shutter, moire and overheating.

We Have A Winner To Our "Where’s the 5D" Contest

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…

Cinema Style Lenses

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: Cinema Quality Imagery

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.

Shane’s Gear Bag

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.

Crash Cam: Filmmaking Inside the Box

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.

Adapting Your Canon Arsenal with Duclos

The Multi-Mount is a modification process developed by Duclos Lenses that offers a variety of mounts to be swapped on a given lens.

Lens Test with Zeiss ZE and CP2s, Canon L Series and Leica R Glass

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.

Designing the Visual Landscape of Deadfall

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 [...]

Reading a Light Meter: Tips and Tricks

The light meter is essential for matching and to get your head around light ratios as a young cinematographer.

The Power of Lighting with Just Two Lights: We Are Marshall

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.

Frieder Hochheim Hurlblog Interview Part 1 – The Growth and Innovation of Kino Flo

My dear friend Frieder Hochheim goes into the history of his innovative,...

Lighting Series Number 4: "Into the Blue" Sunset for Hours

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.

Lighting Series Number 3: The Natural Look of Crazy/Beautiful

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…