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Reading a Light Meter: Tips and Tricks
Jan24

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.

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My Go To Lighting Package Part Two: The Basics
Aug15

My Go To Lighting Package Part Two: The Basics

When you have a small team to tell your story, you need to find lights that do many things and provide many color temps. You need some that can focus and ones that are a broad source.

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DSLR Cinema: Crafting the Film Look with Large Sensor Video Cameras
Aug02

DSLR Cinema: Crafting the Film Look with Large Sensor Video Cameras

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.

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Lighting Day Exteriors
May15

Lighting Day Exteriors

Lighting day exteriors is as much about choosing the right time as it is about your manipulation of the daylight.

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Training Your Eye – Lighting for Cinematographers
Apr03

Training Your Eye – Lighting for Cinematographers

Many say that the light meter is dead with digital. I disagree. It is the only tool that you have in your box that can measure what you love.

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Hurlbut Returns Podcast
Mar14

Hurlbut Returns Podcast

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.

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Using Color Temp to Create Depth and Dimension with your HD Video
Feb13

Using Color Temp to Create Depth and Dimension with your HD Video

Lighting so that you can tell your stories with realism and accurate color temp.

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Creating a Beauty Light with a Book Light
Nov15

Creating a Beauty Light with a Book Light

My Book Light tutorial on how to build it and why it is so useful. Plus, how I got started in this business.

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How to Light for Specific Camera Blocking: Master to Close-Up
Nov01

How to Light for Specific Camera Blocking: Master to Close-Up

What I think about when I am blocking a scene and my preferences on how to work from the master to the close-up.

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Herb Ritts Exhibit at the J. Paul Getty Museum
Aug27

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.

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The Power of Lighting with Just Two Lights: We Are Marshall
Aug01

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.

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Lighting with Canon’s 1DC DSLR 4K Capture Project “The Ticket”
Apr26

Lighting with Canon’s 1DC DSLR 4K Capture Project “The Ticket”

On The Ticket, the lighting was a challenge because we used natural, available light and shaped it. I turned lights off, then added accent lights to bring out the depth of a location.

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What It’s Like to be a Hurlbut Visuals Intern (Introduction by Shane Hurlbut, ASC)
Dec03

What It’s Like to be a Hurlbut Visuals Intern (Introduction by Shane Hurlbut, ASC)

Meet the Cinematography Intern DREAM TEAM by Shane Hurlbut The Cinematography Internship Program was an educational labor of love for Hurlbut Visuals for the 2010-2011 year. It has been our way of educating and inspiring young filmmakers. The goal was to create a variety of hands on immersive experiences: shooting, lighting, theory, and storytelling, Let’s meet The Dream Team! Julien Lasseur French, sophisticated, creative, incredible...

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Lighting Basics Series I:  Where to place your KEY LIGHT
Jul08

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.

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Final Days of Deadfall: Giving the Stag Horn Saloon Life, Texture, and Color: KINO FLO
Apr22

Final Days of Deadfall: Giving the Stag Horn Saloon Life, Texture, and Color: KINO FLO

It is so sad saying goodbye to Montreal. I love this amazing city. The crew was the [...]

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Designing the Visual Landscape of Deadfall
Mar10

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 [...]

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Lighting Series Number 4:  "Into the Blue" Sunset for Hours
Feb15

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.

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Lighting Series Number 4: Extending Dawn on the Practice Field in “DrumLine”
Jan04

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.

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Lighting Series Number 3: The Natural Look of Crazy/Beautiful
Dec11

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…

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Lighting Series Number 2:  Going Inside the Hallowed Walls of a Secret Society on "The Skulls"
Nov23

Lighting Series Number 2: Going Inside the Hallowed Walls of a Secret Society on "The Skulls"

When Rob Cohen asked me to shoot his next feature after we finished “The Rat Pack,” I was ecstatic. I could not wait to get the script. He told me that it was a thriller about the Skull and Bones Secret Society at Yale.

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