Freefly MōVI: Shifting the Paradigm – Part 2
The old era of doing things is gone. You no longer need to set up a crane for an overhead shot – just pop the MōVI on a stick. Don’t get stuck in the past, embrace the present, and think about the future.
Director of photography Shane Hurlbut, ASC works at the forefront of cinema as a storyteller, innovator and discerning collaborator, who brings more than three decades of experience to his art. He is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.
The old era of doing things is gone. You no longer need to set up a crane for an overhead shot – just pop the MōVI on a stick. Don’t get stuck in the past, embrace the present, and think about the future.
Properly crafting the cinematography of a movie is a crucial part of the filmmaking process. Let’s talk about a few different styles of film language. There are so many options to choose from when crafting a scene, but it comes down to picking the right ones.
On a feature right now shooting on the beautiful island of Ischia with one of my favorite directors Gabriele Muccino. We are shooting in all kinds of situations and as always, I’m able to turn to Freefly to let my creativity and ingenuity soar.
Take hold of your inspiration and run with it! If that’s one thing I can share with everyone, it is to not avoid what makes you tick as a filmmaker. That soul and essence will be what carries you to greater levels, not conforming to what everyone else wants in the moment, or looks for you to be. Stay true to your style, your passions, and what you want to get out of this industry.
Freefly has been instrumental in flipping the whole paradigm on how I shoot movies. It’s not about the trick shots, it’s more about figuring out how we can use this incredible device that Freefly has created, the MoVI, to shift the paradigm of how we make movies and how it change the dynamics within the movie making industry. Welcome to the future.
This is it – the latest battery pack power showdown. We have Blueshape’s new 140Wh Granite Mini V-Mount running against the Anton Bauer’s Digital 150.
The team here at Shane’s Inner Circle and Hurlbut Visuals wants to continue to support the careers of our members by providing a new platform for exposure: The “Artist Spotlight” hosted on the front page of The Hurlblog. Our new “Artist Spotlight” is a way for our members to share their own stories of how they’ve applied what they’ve learned in the Inner Circle on a recent project. We want to give members the opportunity to dive into detail with their own article that we’ll host here on the Hurlblog.
Throughout my career, I have been interested in using and mastering different mediums to enhance the storytelling experience. Since the dawn of cinema, movies have been captured on celluloid. As time progressed, we introduced new acquisition formats and film gauges like 8mm, 16mm, Super 8mm, 65mm, video tape, and digital video capture. Each new format registers a certain mood/feel due to past experiences with the medium or how it’s been utilized in the history of the moving image. So, how can you utilize different formats to enhance a story?
The look for 2014 in Fathers and Daughters had to feel temporary, lean, crisp, sharp. There would not be any yellow from the Tiffen Antique Suede filtration. The camera emotion has to speak for each character. Taking an actor’s performance even higher is dependent on the camera and how it makes the audience feel. We cannot leave that to only the look of the film itself. We turned to the MoVI for that camera emotion and it worked beautifully in this film.
One question I get asked a lot is how to choose the right focal length. Do I go long in a certain situation or do I go wide? How do you know what to choose? There are different times to employ various focal lengths – knowing when to employ each is part of the craft that is cinematography. Here’s my secret sauce for choosing whether to go long or wide in a scene.
I wanted to nail the look of Fathers and Daughters in-camera. To do that I turned to Tiffen filtration. The 1989 is Katie’s perspective from when she was 10 years old. This look had to be warm, inviting, colorful, with flares and glowing highlights. The Tiffen Antique #2 gave us this yellow, slightly aged quality to it all. The highlights were perfectly bloomed with the Glimmer Glass #1. These filters were magical and got us right where we want to be, all in-camera.
Xeen’s lineup of lenses are spectacular. They’ve hit the nail square on the head with both the look and the price point. They’re true cinema glass that people can afford to own. Xeen’s image quality is unique and beautiful. Here’s a brief look at the Xeen 20mm, specifically at its image quality, breathing, and color rendition.
All of these rules of engagement mean being obsessed with the subtleties. In a 2 hour (plus) feature film, you’re not going to see it. Rather, you’re going to feel it. That’s what the emotion is all about. You want to feel it in some way and not be taken out of the film because of camera work.
Today we’re taking a brief look at the new Xeen 16mm PL mount. This is a cinema lens packed into some affordable pricing. I haven’t seen anything like it out on the market. This is a piece of glass that has a unique look, comparable to some of the qualities normally found in higher end glass.
In a home, it’s very important to understand the etiquette of breakers, circuit boxes and your power needs. Eric Forand, Gaffer for Shane Hurlbut, ASC, takes you through the do’s and don’ts of household power distribution so your production can run smoothly and quickly!
“How do you seamlessly stitch a one shot sequence together using multiple shots?” This is a great question because not many cinematographers break it down. These are just a few of tips from Shane Hurlbut, ASC to get you in the pocket for the perfect “oner.” Shane’s Inner Circle members received his full in-depth guide to one shot sequences as part of their monthly subscription in June 2017. Sign up today and never miss articles like this to enhance your filmmaking!
Author: Patrick Moreau – Today I get to debut a very special film on Shane and Lydia. An untold story that has been 5 years in the making. I couldn’t be more excited to debut our short film on Shane and Lydia’s personal journey from farm boy to Hollywood cinematographer, and what they’ve learned along the way. If you enjoy this story, please check out the full series and podcast at TheRemarkableOnes.org.
Welcome to our Zoom Lens Shootout! We are going to review the brand new Fujinon MK 50-135mm E Mount Cinema Zoom against the Tokina Cinema 50-135mm PL Mount Cinema Zoom. Right now, these lenses are falling into that $3,200 – $4,000 price range, which make them extremely affordable, lightweight, and flexible for most shooters – something that has been missing in our market with all the advancements in affordable tools and tech.
Imagine being able to have the fear work to your benefit. Fear is an emotion that has the potential to help us or harm us. If we recognize fear for what it is and move through it with action steps, fear can be very helpful. If we ruminate and stay stuck in fear, it is a huge roadblock to future success. These are the 4 C’s that will get you, and keep you, on the right track.
Since we started Hurlbut Visuals, giving back has been part of the company philosophy. We believe that no matter what you do, you give of your time and resources as a business. We’ve always been committed to helping children specifically, and from around the world, to help give them a voice, to help give them power. Please join us in helping children!
I had a blast working with Matthews Dutti Dolly. It made our shoot day so much easier – so much so, I wanted to share it with all of you.
Born in Los Angeles, CA.
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