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The Need For Speed: The Little Things That Increase Set Up Count

After completing the Navy SEAL movie Act of Valor, my team and I created a workflow and camera […]

The Picture of Versatility: Canon 5D Mark II Helmet Camera

I designed a helmet mount for the Canon 5D Mark II with Gary Hatfied, Dan Owens from Panavision to capture the first person point of view action in a new way. The camera is extremely versatile with…

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.

Julien Lasseur’s Project Greenlight Video

Please vote for Captain Torpedo to support Julien Lasseur.

How Lenses Assist Storytelling: Part Three

Mr. 3000 Camera Lens Restraint. How different lenses, lighting and color help assist in storytelling.

Storytelling Through Composition Part 2

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.

How Lenses Assist in Storytelling

The lens’ traits can help tell your story. The look and feel of lenses, their characteristics of color and contrast rendition, are all relevant factors.

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.

Nikon Lenses: Sharp and Soft

I love lenses and examining the subtle differences with each one so I am confident in the resulting image.

Nikon lenses are sharp with a little softer contrast than the Zeiss lenses. The older A lenses are nice because they have a wider

Lighting Basics Series I: Where to place your KEY LIGHT

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.

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 Canon C300 on an El Pollo Loco Spot

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.

When a Small Move Makes All the Difference: Kessler Crane’s CineSlider

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…

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.

Flanders CM 250 – The Lighting and Exposure Monitor of the Future

The CM 250 is a 24” OLED display that is crisp, clean and delivers beautiful blacks.