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AAA Behind the Scenes: Episode One “The Drag Strip”

In January of 2011, I was asked by “The Gentlemen,” Brett Snider and Billy Federighi, a very creative and humorous, directing at Bandito Brothers, to shoot a series [...]

Canon 5D Still a Workhorse for Micro-Budget and Multi-Camera Shoots

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.

Hurlbut Visuals Launches New DSLR Rental Division at Cine Gear 2011

I want to invite all of you to Cine Gear 2011. Hurlbut Visuals is launching our new DSLR Cinema Rentals division with new rigs and out of the box innovation.

Digital Camera Comparison Chart

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.

Looking Inside the Canon1DC DSLR 4K Capture Project “The Ticket”

We have had an outpouring of positive feedback on Po Chan’s film “The Ticket.” Everyone at Hurlbut Visuals wanted to give you an inside look at how we used the power of this incredibly flexible, lightweight, DSLR platform, the A camera system that is the 1DC. It gives any filmmaker the ability to dream.

Know Your Camera: Canon 5D MK II – Turning Your Still Camera Into a Movie Making Machine

Last year, we made a series of six educational videos with B&H to cover everything from the settings we use on the Canon 5D Mark II to the kind of lenses and equipment I recommend.

Leica R Mount Lenses for the Canon HDSLR’s

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.

Filtration: Beware Of The Reaper Of Cheap Glass

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…

Still Lenses That Can Grace The Big Screen

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…

Steve Tiffen of Tiffen Filters Hurlblog Interview: The Tiffen Company

In November of last year I had the pleasure of interviewing Mr. Steve Tiffen of the Tiffen Company [...]

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.

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.

The Making of The Carnival Sequence from “The Last 3 Minutes”

Episode III “Carnival” was on Day two of our four day shooting schedule. This day was a very ambitious one because we had four company moves. We started at the ranch house location, moved to meadow location, then on to the main street location for the street fight.

Lighting Series Number 4: Extending Dawn on the Practice Field in “DrumLine”

My phone rang on an evening in the late summer of 2000 while I was directing a Children’s Hospital commercial in Kansas City. It was Tim Bourne, a Hollywood Line Producer. He asked me if I had read the script he sent me a week ago.

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.

Infusing First Person POV Into Mountain Dew GAME FUEL MW3

In mid-October, I got a call from McG to see if I was available to do a Mountain [...]

Herb Ritts Exhibit at the J. Paul Getty Museum

From 1991-1996, I had the unique opportunity to work with one of the most talented still photographers of the 20th Century. Not only was Herb Ritts a great artist, he was also an amazing human being.

Building the Perfect Key Light

After my blog post about lighting from your local hardware store, I wanted to take it one step further [...]