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    • 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.


    • Hurlbut’s Visuals Podcast

      December 20, 2012

      The NeedCreative Podcast is an online radio show that covers topics related to creativity. I had the privilege of being the guest of co-hosts Paul Antico and Jason Sidelinger from Anticipate Media to discuss my history and experiences in the film industry.


    • 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.


    • 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.


    • We’ve had a ton of questions via Twitter, Facebook and the hurlblog about shooting Act of Valor, so I thought I would share them in a Q&A format. Thanks so much to everyone for your support and kind words about the film!


    • I started giving a Leica list out to individual colleagues and the request kept coming, so we decided to share it with everyone on the blog. These lenses are only R-Mount, they are the cream of the crop and through variest test we have found them to be excellent.


    • I have had many discussions about the different lens options other than Zeiss ZE’s and Canon’s that mount to the Canon cameras. Zeiss took it to the next level with their Canon mount CP2’s and their new Zooms that come out this summer.


    • The Power of Focus

      February 12, 2010

      Focus is probably one of the biggest obstacles that the 5D encounters. So many of our colleagues have questions and wonder why it is absolutely essential to have a focus puller. They are the backbone of this amazing technology. Shooting with practical…


    • Making HD look like film has a cocktail and one of the essential ingredients to this flavorful recipe is Neutral Density. You have to keep your exposure on a 5D around a 5.6 to get that beautiful shallow depth of field. The 7D should be around…


    • On the still lens front, you have a variety of options. I am addressing this topic from a 40 foot screen digital projection perspective, not a still photography one.

      Zeiss ZE primes rock. Their resolution is spectacular and they are lightweight. Their focus is a little more cinematic then…


    • Here is the breakdown for the Mountain Rescue portion of Navy Swimmer. – 1-camera in deep water housing which captures underwater and split level shots. – 1-camera mounted on the Navy Swimmers helmet to capture him exiting the helicopter and being lowered down in between the rocks…


    • The Bandito Brothers Production Company has a very unique work flow. I have adopted the Bandito Brothers “Real Time” shooting module and combined it with “traditional” filming. Here is how we made it work for the Navy Swimmer commercial.

      Imagine prepping, shot listing and then…


    • Where’s the 5D?

      October 25, 2009

      Remember reading Where’s Waldo when you were a kid? We had so much fun playing a similar game to test your vision and your response was overwhelming! Thank-you for taking the time to play and making it so hard to choose a winner!


    • The Untitled Navy SEAL movie has taken me to some of the most extreme working conditions that I have ever experienced in my career as a Director of Photography. We traveled to the following locations: the jungles of Costa Rica, the swamps of Mississippi…


    • Nikon Lenses: Sharp and Soft

      September 10, 2009

      I love lenses and examining the subtle differences with each one so I am confident in the resulting image.

      Nikon lenses are sharp with a little softer contrast than the Zeiss lenses. The older A lenses are nice because they have a wider


    • Zeiss Lenses: Sharp and Snappy

      September 8, 2009

      Lenses are one of the most critical choices when you are mounting the Canon 5D Mark II to a lens. Do not treat this camera like it is a film body. Remember to mount the camera to the lens, not the opposite.


    • When choosing a lens for the Canon 5D Mark II camera you have to consider the look and feel that you are trying to create for the final visual product. My team and I have tested and played with these lenses quite a bit and here is…


    • The Canon 5D Mark II is approximately 2.5 pounds with a still lens, 4.5″ high 3″ deep and 6″ long. Wow!

      It is nimble and inexpensive so you can have multiple camera bodies working in different configurations simultaneously. Not being stuck with a traditional shoulder mount allows you to create a new visual language.