Week 6- Colours in Filmmaking


The colour pallet used in films communicates a number of important details such as the style, tone, time period and mood. This week, Hurlbut explores the meanings and motives behind colour choices and the effect they have on audiences. This is particularly of interest to me as we have recently been discussing colour correction in our post classes and is something that relates to the direction I wish to take my future career.

Hurlbut has incorporated a lot of visual elements in this post, which is fitting and surprisingly helpful as he provides visual references and examples of effective and ineffective film colour palettes. Drawing attention to Cinefix’ “10 Best Uses of Color of All Time”, the best use of colour has come in the form of Anna Karina (2014), Fanny and Alexander (1982), Lola Montes (1955) and In The Mood for Love (2000).  These films make exceptional use of the “dual toned look” which is a deeper, richer take on the pastel palette and ‘blends in naturalistically.’


It is important to get your colour palette correct throughout your films as they not only visually stimulate audiences, colours can communicate subtextual meanings on a subconscious level. Understanding colour archetypes makes for a more cohesive film and meaningful story. Hurlbut uses the example of Need For Speed (2014) to demonstrate not only how precise colouring can better a film, but how imperative planning is for such elements- specifically with production design and lighting.





Week 5- Shifting the Paradigm: Part II


This  weeks blog is an extension of the post I discussed in week 1. Hurlbut continues his insights of how to utilize Freefly’s MōVI to the fullest, including his thoughts and experiences when using in conjunction with a dolly, FlowCine Black Arm, old school vs. new school techniques and becoming a crane.

Hurlbut illustrates the best ways to take advantage of Freefly’s devices in one of his most visual posts yet through the use of images, embedded videos and gif’s. The blog flows nicely with a good ratio of textual information supported by the visual content.


Not only does he show how to use the devices being explored, he provides instances in Hollywood films where they have be used- specifically in the 2015 film “Fathers and Daughters”.

[Link to Fathers and Daughters]

Through all of his knowledge of and experiences with the MōVI, Hurlbut explains that its greatest feature is its efficiency. The Freefly MōVI promotes efficiency and flexibility on set without compromising on quality or creativity. As an amiture filmmaker, it is benificial to know about visatile products such as these whereby more than one function can be achieved. From a financial, time and logistic standpoint, the less equipment- the better! Especially when quality is not sacrificed.



Week 4- Lenses & Emotion in Filmmaking


Hurlbut focuses on the history of filmmaking and how far the craft has come in this weeks blog post. The purpose for his ‘trip down memory lane’ is to emphasise the importance of cinematography in the filmmaking process.

What the camera captures is supposed to be the soul and emotion of the piece.

Hurlbut goes on to further breakdown how different lenses, angles and camera movements determine the story being portrayed. For example, to effectively communicate the escence of a leader, one would use a wider lens (such as a 35mm) from a low angle.

Looking at the 2015 film ‘Fathers & Daughters’, Hurlbut discusses how to evoke the emotion of compassion. For this, he suggests a focus on the “key-to-fill” lighting ratio as well as the colours and placement of the compassionate character.

Hurlbut provided some helpful tips throughout this post that are sure to help any budding filmmakers. One thing that specifically stuck with me was to ask myself what is this person going through? And how do I go about achieving this? For each scene.

Other tips include:

  • the camera motion – is there movement or no movement, what should it feel like, the lens choice, should it be a longer lens or should it be a wider lens, pushed in, lower angle, maybe higher angle?
  • The best understanding of what will work best in the moment will come with experience, particularly while on set.
  • Dont be afraid to try things out and craft your own voice. There is no right or wrong in any situation.

Finally, this weeks post aligned with Hurlbut’s previous formatting. Again, this blog was from his own personal knowledge and experiences a and did not incorporate information for other sources.

Week 3- Building Night Interiors


This week’s blog continued with the same simplistic format that Hurlbut’s previous posts have followed. In fact, it reads like a transcript for a vlog. The highly visual post focuses on the building of interior night set’s and the lighting set up’s that are needed to create visually interesting and effective stories. While the usual advertisements throughout the page are still present, this weeks post requires audiences to join Shane’s Inner Circle, a subscription based membership worth $19.95/ month. This monthly fee grants members “exclusive access to Hollywood cinematography” which involves courses on career building or story enhancement, a filmmaking essentials kit, a “thriving filmmaking community” and new content each week.


However, for those who are not members of the inner circle, this week’s blog is cut short- very short. Despite this, what could view view free of charge set a promising introduction to lighting a night interior scene from scratch. With our upcoming in-class lighting workshop, story in a shot project and the short film, it would have been extremely beneficial to be able to continue reading Hurlbut’s list of tips, tricks and advise- particularly given that lighting is not my forte.


Due to the little content in this weeks post, there is not a whole lot to report on hence this weeks blog is short and sweet!