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SIC PODCAST: EP 13 – SETTING UP RULES OF ENGAGEMENT

  • October 8, 2018
  • Shane Hurlbut, ASC
SIC PODCAST: EP 13 – SETTING UP RULES OF ENGAGEMENT

SIC Podcast EP. 13 is now live on iTunes!

There was a bit of a glitch with the podcast last week, so I’ve recorded a new one for you. In this podcast, I answer questions on how to shoot film, choosing a film school, budget vs high end lenses, and more.

  • Why film school is important and what to look for when choosing one
  • How to learn to shoot film if you have never tried it
  • My lens rules of engagement
  • What monitors are best for on set exposure and color
  • Canon CN-E lenses as a first investment
  • Budget solutions for choosing lenses

Download the podcast HERE:

July 2015 Podcast #2

Thank you to everyone who submitted questions for this month’s Inner Circle podcast. Just a reminder that you can submit more questions here-

http://www.hurlbutvisuals.com/blog/2014/08/submit-your-podcast-questions/

This is how I learned to shoot film while at Emerson College. I shot on a Bolex. If you have always wanted to learn how to shoot film, but didn’t know where to begin … this is where.

Podcast Questions:

1:24

Hey Shane, One of your younger members here! I’m still in high school and likely going to film school. Because my goal is to become a cinematographer, what are some paths that you may suggest to get to that point? Going from PA to grip to gaffer to DP? Or maybe something completely different? I know that going in any direction can lead to the same place, but I’m interested in hearing your thoughts. Thanks Shane!

11:58

Shane, you might think I’m crazy, but I was watching an old Indiana Jones movie the other day, and it looked almost like all the actors were shot on a green screen. I know they weren’t, of course. But there’s something about the look of those movies… is it the film that they’re using? The broad depth of field? Or maybe it’s just masterful separation of subject and background using lighting and contrast? Or maybe it’s even just something in how the movies have been “remastered” in recent years.

17:07

Hey Shane, As many of us have grown up in the digital age, I have yet to shoot on any film formats. I’ve been very interested in shooting on film but have been nervous about the process. I was wondering if you can recommend any places that have some consolidated information about all the aspects of shooting on film, such as loading, pushing, pulling, choosing different perfs, DI, telecine, etc. Thank you. Matt.

21:58

Hi Shane, Love your work, your blog and the inner circle. Thanks for sharing your experience and thoughts with us. I have a question regarding lens choice. I would love to hear what motivates you on lens choices and why you would use a long vs a wide in a certain situation. I’ve watched your youtube videos showing your lens choices for different shots on Need for Speed. On the male characters you tended to use a wide for profile in the car shots and then a long lens for the female character for essentially the same profile shot. But then you switch it up and go to a long for a male character. Then you use different lens for a dialogue piece between characters. So, I would like to know, what’s your secret sauce; that secret recipe for lens choices? Thanks Gene.

28:00

How are you doing, Shane? I have a question regarding on set monitors and their calibration. As of any independent shows, where a DIT would not be available, what would you do/use to get a calibrated monitor so that you can use as a fairly accurate representation of your exposure and color on set? If big monitors (such as Flanders and Sony) are not available, would you ever trust/use the SmallHD OLED series (DP7 or 502) to as a reference for your on set exposure and color? Lastly, do the model of camera matter when it comes to calibration (Canon C-series, Red, Alexa)? Thanks so much for your time and willingness to share your knowledge with us! P.S. It was great to be able to chat with you when you were here at Vancouver! Cheers! David Yao

33:25

HI Shane, first of all, thank you so much for being such an inspiration, my highest respect o you for sharing such wealth of knowledge. This is my very first question as a new member to your inner circle: I was a DSLR cinematographer and I started feeling its the great limitation despite of its ergonomic and size advantage. I feel ready to move up to a midrange PRO camera such as the URSAmini. Another part of the upgrade is to buy my own set of cine lenses. but since they’re not cheap as we all know, I was considering buying the Canon CN-E Set. I found great reviews about them, they have a fast aperture of T1.5, and since they’re EF mount, they would be compatible natively with the URSA mini EF mount as well as all my DSLRs (GH3-GH4-5D). Also they’re almost half the price (25K$) of other more industry standard ones such as Cooke S4 (45K$)… I chose them over the CP2 as they are faster lenses mainly. Do you think this is a wise choice? Did you test the Canon CN-E before? Would you mind maybe comparing them to the other more High end such as Cooke S4, as maybe the difference won’t be worth investing double the price? What would be your advise for this situation in general? Thanks a million Shane.

41:36

Shane, I was wondering if you could speak on budget solutions for lens, I’ve seen an old video where you talked about the nikon ai still glass as being a good choice but with the introduction of rokinon’s “cinema” ds lenses that are all matched in color and unified in the gear positioning for focus and aperture I’m having a hard time picking a set, thanks!

 

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  • One phone conference with Shane First 100 people that sign up before March 11, 2019
  • Early Sign-Up & 15% discount on Live (in person) Workshops
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  • Public Facing Member Profile for Networking & Job Searching
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  • Post your GEAR for Sale or Rental
  • Comments by Shane on Lessons & Courses
  • One phone conference with Shane First 100 people that sign up before March 11, 2019
  • Early Sign-Up & 15% discount on Live (in person) Workshops
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