Shane Hurlbut

Using Color Correction Gels with New Digital Cameras

Shane Hurlbut explains how he uses colored gels on lights to create looks with new digital camera sensors. “Giving Your Story an Early Morning or Late Afternoon Tone” When I first became a cinematographer, there were two companies in the gel manufacturing business, Rosco and Lee. A few years later, a new kid on the block emerged, GAM Filters. Read MoreRead More

Shane Hurlbut on Using Shutter Angle to Drive Intensity

Shane Hurlbut writes about his experiences serving as D.P. on the film “Drumline” and how he used shutter angles to drive the story home. What is shutter speed? Imagine a pie, and that pie has 24 pieces. If the film plane or digital sensor in your camera were to always to see the lens, this Read MoreRead More

The Basics of Shane Hurlbut’s Go-To Lighting Kit

Shane Hurlbut continues his excellent series discussing not only the gear he shoots with but the creative processes behind how he lights his sets: Maurice said, “I want to tell stories, not just cover it.” Look at the line above. This is what all of you have to find in your soul. Be a storyteller, Read MoreRead More

Shane Hurlbut’s Blackmagic Cinema Camera Tests

More than just some fan boy’s shaky footage of whatever knick-knacks happen to be on the cupboard at the moment… Shane Hurlbut gives us a preview of his workflow when testing out a camera for a serious production – looking at the way it handles noise, skin tones, and how contrast ratios will influence the Read MoreRead More

Using a Crane: Educating your Audience on Geography & the Art of Discovery

Shane Hurlbt covers the wide variety of cranes on the market as well as the aesthetic considerations when employing a crane shot. “Geography, Geography, Geography” I go to so many movies and I find that I have no idea where characters are in a scene. The coverage is so tight that you lose the sense Read MoreRead More

Shane Hurlbut’s Go To Lighting Package

Cinematographer Shane Hurlbut opens up his lighting package and talks about his go-to lighting fixtures. If there was ever a light that can do a hundred different things, it would be a Kino Flo. Kino Flos were created by Frieder Hochheim, an absolute genius and a great friend. We have collaborated on so many things over the Read MoreRead More

Shane Hurlbut on How Lenses Assist Storytelling: Part Two and Three

Shane Hurlbut explores the how lenses craft the story in parts 2 and 3 of his series on cinematography and story telling. A favorite film of mine that I have only discussed in a camera motion post is Mr. 3000. When I first spoke with Director Charles Stone III about how we were going to tackle this film, Read MoreRead More

Shane Hurlbut on How Lenses Assist in Storytelling

Shane Hurlbut talks how different lenses handle contrast and tones can help you shade the story you’re trying to make. “The camera is a tool, but the glass serves as your eyes into the story.” The lens’ traits can help tell your story. The look and feel of lenses, their characteristics of color and contrast Read MoreRead More

Shane Hurlbut on How To Light Day Exteriors

  Shane Hurlbutt offers some insight into how professional shows deal with lighting their day exteriors. I have received many requests for information about how I light day exteriors. I thought I would break it down for you. Lighting day exteriors is as much about choosing the right time as it is about your manipulation Read MoreRead More

Training Your Eye – Lighting for Cinematographers

Shane Hurlbut exposes into what you need to know for good Cinematography. “What Do You Like?” Let’s start with the basics. KeyLight: This is the first thing you start with and this light will dictate all of your other levels of exposure with your back light and fill light. Deciding on the quality of you key Read MoreRead More

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