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.
Waiting for Lightning, a documentary about pro skateboarding pioneer Danny Way, began production in 2008. Over the course of those four years, the documentary would embrace the modern evolution of camera systems to complete the project.
Po Chan and I will be leaving on a five-country tour of Asia with Canon in just a few days. If you are nearby, I hope to see you at one of the events.
The trailer for the documentary that Hurlbut Visuals produced about this forward thinking company called SmallHD, founded by Wes Phillips and Dale Backus.
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.
Operating with some girth on your shoulders gives you control. Having a shoulder cam rig that fits and conforms to your body is paramount.
As a cinematographer, movement is an integral part of conveying your creative vision and the storytelling process. Whether subtle or dramatic, it’s another tool in your box of creative options.
We have so many new digital tools at our disposal that you cannot just pick them up and start shooting with them. Treat your new digital camera like a new film emulsion that needs testing.
The Elite Team and I have been field testing different power and cable management systems. We have found that the best solution to power the Canon C500 and C300 are the Anton Bauer Dionic batteries, along with the Anton Bauer QRC-CA940 Gold Mount battery plate.
It has been a whirlwind since NAB, with all of the new emerging 4K technology and where this fits into the filmmaking process. Here are our tests with the Canon 1DC 4K DSLR camera.
For the last two and a half months, I have been working with the amazing director Gil Cope on an incredible commercial campaign. Learn about giving back with the Warrior Wedding Project.
Shane addresses the challenges of the HDSLR platform and helps find solutions to rolling shutter, moire and overheating.
I love shooting commercials that make a difference and give back to local communities. Hurlbut Visuals recently collaborated with Vaughn Wedeen Kuhn to lens the next set of Department of Transportation spots for New Mexico.
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.
How we shot the action sequences for a series of Trane AC commercials with extreme heat and a bus crash.
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.
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!!!
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.
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.
When Scotty Waugh and Mike “Mouse” McCoy, the incredible directing team at Bandito Brothers, asked me to shoot Act of Valor, I was excited, especially after listening to their unique vision for the making of this movie. I was ALL IN. The idea of reinventing the action genre was our mantra. To be able to immerse an audience in a 3D experience that was shot 2D; to capture POVs that felt like you were in an intense first person shooter video game; to move a 2.5 lb camera in ways that you have never seen before. These were the ideas that started to swirl in my head after our initial meeting.