Blackmagic graciously supplied a camera for testing. We pushed and pulled this baby to see when it would break as well as where it excelled.
As I embark on a long creative, exciting journey on Need for Speed with DreamWorks, I wanted to share some of my most recent findings from a five day camera test that pushed every camera to its breaking point.
Last week as CEO and co-founder of Hurlbut Visuals, I joined Carl Olson, Chris Fenwick and Mitch Aunger on the Digital Convergence Podcast. We had a wonderful conversation about business, marketing, branding, education and building a team in the world of filmmaking.
How important it is to take your camera tests out of the studio and on to location. You want to see how your camera’s emulsion handles highlights, hot skies, night exteriors and night interiors.
By Po Chan. Shane and I have always said that The Ticket is a love story between art and science. I think the true beauty of art, as well as the art of cinema, is the power to communicate with people on a subconscious emotional level.
How to test your camera’s latitude. This is one of the most important tests that you can perform because over exposing is a very subjective and personal artistic choice.
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.
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.
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.
In this special edition of the Digital Convergence Podcast, Chris Fenwick delves deep into the mind and vision of Po Chan – a remarkable visual story teller, artist, and director of both “The Last Three Minutes” and “The Ticket.”
Greetings! It is with great pleasure that I accept the opportunity to guest blog with Hurlbut Visuals on the topic [...]
We employed Technicolor’s Cinestyle on its maiden voyage. This picture style seemed to work well in [...]
Prepping a movie is one of the most important tasks you have as a cinematographer. You can design the whole movie-organize, create, and schedule it in a way that is best for light.
One week ago I was slated to do two amazing car commercials for the Bandito Brothers, one for Yokohama and the other for Hot Wheels. The spots both had a very unique style and approach. One would be shot with our hybrid 35mm motion picture film and [...]
I have been doing research on other sites recently and checking out the monster camera configurations that people are creating. I question if that is the right path based on the two things attracted me to this camera; the filmic looking sensor and the size.
I am frequently asked about picture style. There are so many internet sites making RAW picture styles, Flat picture styles, Panavision Genesis Picture Styles and all the picture styles in between for the Canon 5D, 7D, and the 1D. It is confusing to know which one to choose and I…
Speed and production value are intertwined. Production budgets are shrinking and companies are asking for more from cinematographers and crews that ever. One way to meet that need is by increasing your speed without sacrificing quality. Specifically, when using Canon 5D Mark II camera for a project…