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PODCAST: EP 53 – GETTING THE MOST OUT OF YOUR GLASS
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Coors Light – The Bar Sequence
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Tiffen Digital Diffusion
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Coors Light, Part 2 – The Tailgate Sequence
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Tiffen Black Glimmerglass Diffusion
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SIC PODCAST: EP 49 – THE DEVIL IS IN THE DETAILS
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On Set Series: Keith Urban Music Video Part 2
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What’s In Your MōVI Kit?
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Camera Technician Series: What to Have in Your RED Toolkit
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On Set Series: Keith Urban Music Video – Part 1
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DIT Series: What’s In My Set Bag
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Lighting Crazy Beautiful: Part 2 – Setting Up the Master Wide Shot
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Camera Assistant Series: Zen Focus Techniques
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On Set Series: “Waist Deep” – Logistics from the Shoot
n this installment, he breaks down the schedule, crew list, and potential hazards you may encounter trying to shoot an action sequence in one day. Whether you’re working on...
DIT Series: What’s On My Belt
As a DIT, you have to be ready for any situation the DP might throw your way. Many times that could pull you away from the confines of the...
Camera Assistant Series: Pulling Focus – Communicating With Your Team and Laying Marks
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On Set Series: “Waist Deep” – Deliberately Breaking the Rules
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DIT Series: DIT Cart
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Camera Assistant Series: How to Prep a Lens
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On Set Series: “Waist Deep” – How To Blend Perspectives
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On Set Series: “Waist Deep” – How to Shoot with Camera Emotion
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Camera Assistant Series: How to Prep a Camera Package
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Deconstructing Feature Films Part Two: Establishing The World
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Camera Assistant Series: What’s In Your AC Kit? – Part Two
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RED Technician Series: Black Shading Protocol
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DIT Technician Series: Workflow and Management
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On Set: Commercial Cinematography Series: Trane Part 2 – Shot Breakdown
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Camera Technician Series: What’s In Your AC Kit? – Part One
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On Set: Commercial Cinematography Series – Trane Part 1 – Pre-Production
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DIT Technician Series: Live Color Grades & LUTs
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Camera Technician Series: Setting Up Majestic Mode On The MoVI
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SIC Podcast: Ep. 37 – Understanding Your Cinematic Goals
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Blocking And Matching Coverage
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On Set: Commercial Cinematography Series – Acura
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Camera Assistant Series: Setting Up Your Focus Monitor
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How To Test Your Lens
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Deconstructing Feature Films Part One: Visual Effects & The Perfect “Oner”
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Camera Technician Series: Advanced Color Grading
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How To Light Green Screen Series: Lighting With Just Two Lights
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Pre-Production: Selecting Your Aspect Ratio
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How To Light Green Screen Series: Lighting a Moving Subject
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On Set: Into the Badlands – Day Interior Set Lighting For Three Cameras
Shane Hurlbut, ASC will take you through how to light and block for a three camera setup, and explain the compromises you might have to make. He’ll also show you...
How To Light Green Screen Series: Lighting Your Subject
When working with a green screen, knowing how to light your subject is essential. Shane Hurlbut, ASC will take you through his process of professionally lighting talent to avoid...
How to Light Green Screen Series: Using Kino Flo Super-Green Tubes
This instruction will take you step by step in lighting, shaping, dealing with green contamination and camera placement. This is incredibly in depth and gives you my 25 plus...
Blackmagic URSA Mini Test Part 3: Day ISO/Finding Native
Part 3 of 9 series: I will take the URSA Mini to its breaking point and show you what it can and cannot do so you can make informed...
Blackmagic URSA Mini Test Part 1: Overexposure and Skin Tone
Part 1 of 9 series: I will take the URSA Mini to its breaking point and show you what it can and cannot do so you can make informed...
On Set: Into the Badlands – Challenges of Blocking Night Interiors
In this episode of On Set with Shane Day 10 Into the Badlands I go over creating a warmer tonality for Quinn, dealing with challenging New Orleans weather shutting...
SIC Podcast: Ep 28 – Getting to Know Your Camera
This month’s podcast covers how to put your camera through the ringer and get the most out of it. Shane discusses how it’s one thing to own a camera,...
ARRI Alexa LUTs: Interior Times of Day
I developed these LUTs while shooting Need for Speed and every time I use an Alexa on a commercial or feature project, these are the LUTs that build my...
On Set: Into the Badlands – Choosing Your Perspective
In this episode of On Set with Shane Day 9 Into the Badlands I go over shooting on a long lens, natural lighting, circle bounce on close ups, cut...
On Set: Into the Badlands – Creating Contrast with Color
Day 8 was kind of a split day. We took a later call so that we could do some night shooting. We also had that hellacious rainstorm that caused...
On Set: Into the Badlands – Communicating Your Vision Through Color Grading
Day 7 carried a lot of weight. This episode was all about setting up the world with the opening sequence of the first episode. Shane Hurlbut, ASC, goes into...
SIC Podcast: Ep 25 – Planning Your Coverage
This month's podcast covers your questions on planning coverage, when to roll and more.
Custom Picture Profiles: Canon 5D Mark II & III – Canon Glass
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On Set: Into the Badlands – Matching Artificial Light with Day Exteriors
On today’s episode of On Set, I go into lighting to create a powerful mood, shooting day exteriors, using one light to light your scene, and how to shoot...
On Set: Into the Badlands – Character Development Through Camera Movement
On Day 4 of Into the Badlands, I cover shooting establishing shots of the plantation, emulating skylight with Kino Flo Celeb 400 lights, how we used the MōVI...
SIC Podcast: Ep 22 – Understanding Your Tools
This month's podcast covers your questions on topics related to lenses, filters and cameras.
Camera Movement: Emotion Through a MoVI
Today we are going to show you how camera movement feels with just the MōVI with no dolly involved.
Camera Movement: Emotion Through Dolly Push & Pull
Today we are going to show you how a camera on a dolly feels.
SIC Podcast: Ep 20 – Camera Placement, Documentary Cinematography, and Lighting Essentials
In this month's Inner Circle podcast, I cover your questions on cinematography and lighting.
On Set: Into the Badlands – Lighting Day Exteriors & Integrating VFX Plates
Today I’m going to explain how we managed to shape the light with our constantly changing weather and also go into how the MōVI helped us save time on...
The Complete XEEN Lens Test: 14mm, 24mm, 35mm, 50mm, 85mm
Today we are doing a XEEN lens comparison test with the 14mm, 24mm, 35mm, 50mm, and 85mm XEEN lenses. I give you an exclusive wrap up of what I...
How to Read False Color on Your Monitor
Today is about false color and why I like it better than waveform or zebras.
On Set: Into the Badlands – Delivering Scope with Aerial and Drone Photography
Let's get started with this baby! We’re going to begin with the call sheet and pre-production on Into the Badlands.
Lighting for Three Cameras: The Shoot
This is a playbook for all your lighting set ups whether you are shooting with three camera or single camera coverage.
SIC Podcast: Ep 2 – Mastering Lighting Challenges
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Camera Movement: Emotion With a Dolly and Movi Combo
We are going to compare the camera movement and emotional impact of the camera on a dolly versus the camera on a MōVI on the dolly.
SIC Podcast: Ep 10 – What it Takes to be a Cinematographer
This month's podcast covers your questions about cinematography - a little of everything from career advice to LED lighting
How Focal Lengths Make Your Audience Feel
This is what this lesson is all about. Choosing the right focal length will help tell your stories and it is done in a way that you, as the...
Writer | Director: How to Set Up Your Story in 3 Minutes
When you shoot the beginning of a film, there is a huge amount of information that you have to convey to educate your audience in a short amount of...
Custom Picture Profiles: Canon C300
As a bonus this month, here are two of my Canon C300 picture profiles.
Choosing the Right Focal Lengths
In this article, I thought it would be very cool to show you what different focal lengths feel like to assist in your storytelling process.
On Set: Fathers & Daughters – Using a Dolly to Block a Scene
This was one of the most challenging days that I had to complete on time. We got creative using three camera set-ups and something I had never done before-...
On Set: Fathers & Daughters – Consistent Lighting in Day Interiors
How I stayed consistent with lighting and camera when shooting complex scenes out of order; Working with young actors and restricted work hours; and Blocking for multiple camera moves...
On Set: Fathers & Daughters – What Hand Held Camera Tells an Audience
This whole thing was done handheld with our fist of fury — a camera that is a Canon C500 mounted to a couple of handles. You hold it out...
RED Dragon LUTs – Exterior Times of Day
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RED Dragon LUTs – Interior Times of Day
These four LUTs take the Red LOG Film output of the Dragon, eliminate all the green and give you a beautifully balanced image for your lighting and client monitors...
On Set: Fathers & Daughters – Using Available Daylight for Three Cameras
This is our last day with Amanda Seyfried, which was a huge bummer for everyone on the set. She is such an amazing person. She is a wonderful soul...
SIC Podcast: Ep 13 – Setting Up Rules of Engagement for Your Characters
In this podcast, I answer questions on how to shoot film, choosing a film school, budget vs high end lenses and more.
SIC Podcast: Ep 12 – Camera: Formats, Exposure and Focus
My July podcast is all about camera technology from formats and exposure to the emotion and motivation of focus pulling and much more.
How Focal Lengths Make Your Audience Feel
This is what this lesson is all about. Choosing the right focal length will help tell your stories and it is done in a way that you, as the...
Lighting for Three Cameras: The Shoot
This is a playbook for all your lighting set ups whether you are shooting with three camera or single camera coverage.
Custom Picture Profiles: Canon 5D Mark II & III, Canon 6D – Zeiss RAW
This file includes my Canon 5D Mark II, Mark III, or 6D picture profiles for Zeiss RAW (Zeiss Compact Primes, Compact Zooms, and ZE or ZF lenses).
On Set: Fathers & Daughters – Understanding Your Camera Placement
On Set With Shane Day 14 includes a lighting diagram and in-depth discussion of how I lit this scene for a three camera setup all on the Freefly Systems...
SIC Podcast: Ep 10 – What it Takes to be a Cinematographer
This month's podcast covers your questions about cinematography - a little of everything from career advice to LED lighting
RED Dragon LUTs: Neutral and Skin Tone
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Setting your RED Dragon Sensor Up for Success with the Correct IR Neutral Density
In the next two weeks, I will be taking you behind the curtain to show you how I cracked the look of the Badlands and how and why these...
SIC Podcast: Ep 9 – Setting Up Your Camera for Cinematic Vision
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3D LUT Bundle: Canon Day Interior & Exterior “Fathers & Daughters” for your Lighting or On Board Monitor
The custom LUTs my Elite team and I have designed for the SmallHD DP-7 and other on board and lighting monitors were created for Fathers and Daughters.
On Set: Fathers & Daughters – Scouting Small Locations
When you’re scouting these are the types of things to look for so it can expand your vision into the room. It’s not like a set. You can’t knock...
The RED Dragon Sensor: Extensive Tests Part 2
Understand the RED Dragon's breaking point with ISOs, IREs and Latitude. Know when to use the Skin Tone OLPF or the Low Light OLPF and as many myths that...
The RED Dragon Sensor: Extensive Tests Part 1
The master builds a camera design with forethought. They make it future proof; they think out of the box, providing a size that can intensify creativity and a workflow...
On Set: Fathers & Daughters – Executing Seamless One-Shot Sequences
This was the day that I had been looking forward to for a long time in our shooting schedule. The reason why is because I love to do sequences...
Custom Picture Profiles: Canon C100 Mark II
The new sensor technology in the Canon C100 MK II requires a whole new design. I have designed four picture styles for you to use.
Custom Picture Profiles: Canon C100 Mark I
The CPICT401 profile is the more “baked in” looking picture profile. The CPICT402 profile based on the Canon Log gamma without sharpening.
On Set: Fathers & Daughters – Blocking and Lighting for Small Interiors
This was the kind of day that you look at and say, "Oh, my God, how are you going to make this as a cinematographer?”
On Set: Fathers & Daughters – When to Sacrifice Lighting for Blocking
This is when technology all starts to bite you in the rear. This is all the learning process. Remember I always say, "You have to fail to...
Camera: Canon C100 Mark II – The DSLR Killer – Extensive Tests
I was extremely impressed with the C100 Mark II and the improvements that Canon has made from the C100 have solidified this camera for me as the DSLR Killa.
The Digital Camera Sensor: Exposing Your Canon Cinema EOS Camera Platform
The C100/C300/C500 series of a very unique camera platform. Through the process of many camera tests, I have finally found its soul!
On Set: Fathers & Daughters – Executing a Single Shot
Our director, Gabriele Muccino, saw these videos with the MoVI, and we wanted to come up with the shot that showed the unique ability to be able to pass...
Custom Picture Profiles: Canon 7D Mark I & II, Canon 60D & 70D, Rebel T2i, T3i. T5i
We've had a request for my Canon 7D Picture Profile.
SIC Podcast: Ep 3 – Understanding Your Camera, Lens, and Sensor
It's time for the October Inner Circle podcast, where I answer your questions.
Commercial Directing: Achieving the Director’s Vision
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On Set: Fathers & Daughters – The Versatility of the MoVI in Narrative Storytelling
We started out in a psychologist's office, which was on the 13th floor on the Alcoa Building in Pittsburgh. The whole building is made out of aluminum.
SIC Podcast: Ep 2 – Mastering Lighting Challenges
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On Set: Fathers & Daughters – Practical Lighting in Small Interiors
This was a very interesting day. It was our first day with Aaron Paul. He plays Cameron, who falls in love with Amanda Seyfried's character Katie.
Panasonic GH4: Testing the Possibilities
First up in a series of camera tests, the Panasonic Lumix DMC-GH4 with the interface unit that has the audio inputs, SDI outputs and full sized HDMI output.
Custom Picture Profiles: Canon 5D Mark II & III, Canon 6D
Here is a Picture Profile that I used on the Canon 5D while shooting Act of Valor. This works on both the 5D MkII and MkIII.
Writer | Director: How to Set Up Your Story in 3 Minutes
When you shoot the beginning of a film, there is a huge amount of information that you have to convey to educate your audience in a short amount of...
On Set: Fathers & Daughters – Blocking and Lighting for Three Cameras
Day 2 lighting and MoVI adjustments
Tricks to Modify Your GoPro
We have not seen much of the GoPro imagery where it replaces the job of a more expensive camera. That is what we will stress in this post –...
