Advanced Cinematography: Inside the Color Correction Bay Information
Mastering cinematography takes years of trial and error, finding your style, and your visual rhythm. For over 30 years, Shane Hurlbut, ASC shaped his career in the industry, mastering his craft by expanding his knowledge of every format and even cross-training in different areas (such as lighting) to become a well-balanced cinematographer.
Shane specifically designed the Advanced Cinematography Career Path to make you a better cinematographer. He personally curated an advanced curriculum that guides you through to the next level of your cinematic knowledge behind the camera. Buckle up, this course takes all that you’ve already learned but provides additional layers of time-tested experience to help you master and finesse your craft.
On completion of the Advanced Cinematography Career Path, you’ll have the confidence necessary when you walk on set, understanding efficiency, how to lead a crew, the finer nuances of pre-production, production, and post-production, navigating professional relationships, and how to ultimately master your craft.
Here’s what you’ll get
Module 1 — Advanced Leadership and Responsibilities
- How To Be a Leader In the Industry
- Director and DP Communication
- HA Podcast: Ep 15 Leadership and Attitudes in the Industry
- HA Podcast: Ep 24 Work Ethics and Leadership
- Motivating Your Filmmaking Team
- HA Podcast: Ep 27 Composure On Set
- HA Podcast: Ep 31 Communication is Key
- HA Podcast: Ep 21 Business Network and Crew Attitudes
- HA Podcast: Ep 19 Maintaining Work and Life Balance
- HA Podcast: Ep 48 Getting Focused
- HA Podcast: Ep 53 Be Prepared
- HA Podcast: Ep 47 Growing Pains
- HA Podcast: Ep 56 Filmmaking Family Relationships
- How To Lead Your Team In Tough Climates: Fathers and Daughters
Module 2 — Advanced Cinematography Theory
- HA Podcast: Ep 51 Vocalizing Vision
- HA Podcast: Ep 36 The Art in Business
- HA Podcast: Ep 12 Camera: Formats Exposure and Focus
- HA Podcast: Ep 13 Setting Up Rules of Engagement for Your Characters
- HA Podcast: Ep 14 Mixing The Art and Science of Cinematography
- HA Podcast: Ep 25 Planning Your Coverage
- HA Podcast: Ep 33 Understanding Your Filmmaking Tools
- HA Podcast: Ep 55 Lighting Focused
- HA Podcast: Ep 11 Creating Depth, Mood, and Emotion with LIghting
- HA Podcast Ep 4: Lighting in Layers and Understanding Light Quality
- HA Podcast: Ep 2 Mastering Lighting and Facing Challenges On Set
- HA Podcast: Ep 34 Light Quality and Spectrum
- HA Podcast: Ep 49 The Devil is in the Details
- HA Podcast: Ep 35 Light Placement: On Set Efficiency
- HA Podcast: Ep 52 Breaking Free
Module 3 — Advanced Cinematography Theory Case Studies
- How To Research Your Look: The Skulls
- Establishing The World: Terminator Salvation
- How To Light with Emotion: The Rat Pack
- How To Create and Unlit Natural Look: Crazy Beautiful
- How To Extend Dawn for Hours: Drumline
- How To Extend Sunset for Hours: Into the Blue
- How To Light Night Exteriors with Two Lights: We Are Marshall
Module 4 — Advanced Cinematographer’s Prep
- HA Podcast: Ep 32 Your First Steps in Pre-Production
- Action Sequence Cinematography: How To Deliver Camera Emotion Pt 1
- Action Sequence Cinematography: How To Blend Camera Styles: Pt 2
- Action Sequence Cinematography: Deliberately Breaking The Rules: Pt 3
- Action Sequence Cinematography: Logistics: Part 4
Module 5 — Advanced Blocking and Composition
- Using the Script to Pre-Visualize Your Blocking: Semi-Pro
- Using the Rehearsal to Refine the Shot List: Semi-Pro
- Understanding Camera Blocking and Breaking the Rules: Semi-Pro
- How To Increase Your Lighting Speed: Semi-Pro
- Understanding Light Placement with Multiple Actors: Semi-Pro
- How Light Placement Affects Emotion: Semi-Pro
- All The Prep for One-Shot: A Casa Tutti Bene
- Classic Hollywood Blocking vs Blocking for a One-Shot
- Composition Tells a Story
- What Does the Blocking Process Look Like?
- How To Light a 4-Minute One-Shot
- How to Recreate Moonlight with Hard Shadows
- Lighting the Path of an Interior to Exterior One Take
- Frame Analysis
Module 6 — Exposures and Ratios
- Training Your Eye Through the Use of False Color Pt 1
- Training Your Eye Through the Use of False Color Pt 2
- HA Podcast: Ep 44 Mastering Your Craft
Module 7 — Inside the Color Correction Bay
- 03 DP and Colorist Relationship in the BAY
- HA Podcast: Ep 18 Color Grading & Workflows
Module 8 — Deadfall Case Study
- Location Scouting: Walkthrough with the Director: Deadfall
- Camera Blocking and Setting Up the Scene: Deadfall
- Location Scouting: Theory and Production Design: Deadfall
- Location Scouting: My Cinematographers Scouting Toolkit
- How To Tech Scout a Location: Deadfall
- How Color Temperature Sets the Mood: Deadfall
- Know Where and Why to Place the Master Shot: Deadfall
- How To Balance Your Rooms Ambient Light: Deadfall
- How To Block a Scene with Actors: Deadfall
- Finessing and Shooting the Master Shot: Deadfall
- How To Compose and Light the Close Up: Deadfall
- Fine Tuning the Close-Up Lighting and Executing the Shot: Deadfall
- How To Extend Dusk for Hours: Deadfall
- Using Color Theory and Lighting to Recreate Dusk: Deadfall
- How To Mimic a Police Car Light: Deadfall
- How To Light Your Interior for Dusk: Deadfall
- How To Light and Lens a Two Shot: Deadfall
- How To Light the Reverse Angle: Deadfall
- How To Light the Close Up for Dramatic Impact: Deadfall
- 01 Cinematography: Day Interiors Vol II: Location Scout
- 02 Cinematography: Day Interiors Vol II: Technical Scout
- 03 Cinematography:Day Interiors Vol II: Actor Blocking and Rehearsal
- 04 Cinematography: Day Interiors Vol II: Setting Your Lights
- 05 Cinematography: Day Interiors Vol II: Perfecting Room Tone
- 06 Cinematography: Day Interiors Vol II: Shooting the Master
- 07 Cinematography: Day Interiors Vol II: Lighting the Close Up
- 08 Cinematography: Day Interiors Vol II: Lensing The Close-up
- Turning Around & Lighting Eli’s Close-Up
Module 9 — Into the Badlands Case Study
- How To Create Day Exterior Lighting on a Stage: Into The Badlands
- How To Diffuse Sunlight: Into The Badlands
- How To Replicate Early Morning Exterior Light: Into The Badlands
- How To Replicate Early Morning Interior Light: Into The Badlands
- How To Replicate Late Afternoon Light On Stage: Into The Badlands
- How To Replicate Midday Interior Light: Into The Badlands
- Matching Artificial Light with Natural Sunlight: Into The Badlands
- Challenges of Blocking Night Interiors: Into The Badlands
- How To Create Firelight and Lamplight Effects: Into The Badlands
- How To Illuminate Rain at Night: Into The Badlands
- How To Light Large Spaces: Into The Badlands
- How To Light Nightclub Environments: Into The Badlands
- How To Shape Light in a Forest: Into The Badlands
Module 10 — Fathers and Daughters Case Study
- How To Keep Consistent Lighting in Day Interiors: Fathers and Daughters
- How To Light Large Day Interiors: Fathers and Daughters
- How To Light Night with Existing Street Lights: Fathers and Daughters
- How To Light with Practical Sources: Fathers and Daughters
- How To Replicate Late Afternoon Light On Stage: Fathers and Daughters
- Lighting For Emotion: Fathers and Daughters
- When To Sacrifice Lighting for the Performance: Fathers and Daughters
- How To Control Natural Light: Fathers and Daughters
Module 11 — Swing Vote Case Study
- Night Interior Lighting In Small Spaces: Illumination Experience Master Class
- Night Interior Lighting In Small Spaces: Illumination Experience Master Class Part 2
- Day Interior Lighting In Small Spaces: Illumination Experience Master Class
Module 12 — Need for Speed Case Study
- 04 How to Light Urban Night Car Chases: Illumination Experience
- 05 How to shoot Car Commercials at night: Acura
Module 13 — Lighting for Three Cameras
- How To Light for Three Cameras: Part 1
- How To Light for Three Cameras: Part 2
- How To Block and Light for Three Cameras: Fathers and Daughters Part 1
- How To Block and Light for Three Cameras: Fathers and Daughters Part 2
- Understanding Camera Placement: Fathers and Daughters
- Set Lighting for Three Cameras: Into The Badlands
Module 14 — Advanced Color Theory
- How To Use Color Contrast with New Digital Cameras
- Using Color Temp to Create Depth and Dimension
- How To Communicate Your Vision to the Director with Color: Into The Badlands
- How To Create Color Contrast: Into The Badlands
- How To Create Emotional Impact with Color Temperature: Fathers and Daughters
- How To Light with Mixed Color Sources: The Ticket
- 01 Building Set Lights with Balanced Color Temperature
- Mixed Source Lighting: How To Light in Layers: Illumination Experience Master Class
Module 15 — Advanced Camera Movement
- How to Plan Plot and Execute One Shot Sequences: Fathers and Daughters Part 1
- How to Plan Plot and Execute One Shot Sequences: Fathers and Daughters Part 2
- How To Use A MoVi For Narrative Storytelling: Fathers and Daughters
- Using A Dolly To Block A Scene: Fathers and Daughters
- What Handheld Camera Tells an Audience: Fathers and Daughters
- Aerial And Drone Photography: Into the Badlands
- Camera Movement To Enhance Character Development: Into the Badlands
Module 16 — Advanced VFX Integration
- How To Integrate VFX Plates with Live Action: Into The Badlands
- How To Integrate VFX with Live Action: Terminator Salvation
Module 17 — Choosing Your Lenses
- How To Test Your Lens Part 1
- How To Test Your Lens Part 2
- How Focal Lengths Assist Character Development: Into the Badlands
Module 18 — Choosing Your Lens Diffusion
- Tiffen Digital Diffusion – 50mm
- Tiffen Digital Diffusion – 85mm
- Tiffen Black Soft Effects – 50mm
- Tiffen Black Soft Effects – 85mm
- Tiffen Black Satin – 50mm
- Tiffen Black Satin – 85mm
- Tiffen Black Glimmer – 50mm
- Tiffen Black Glimmer – 85mm
- Tiffen Black Pearlescent – 50mm
- Tiffen Black Pearlescent – 85mm
Module 19 — Creative LUTs
- RED Dragon DSMC 1 LUTs: Neutral and Skin Tone: Into the Badlands
- RED Dragon DSMC 1 LUTs: Exterior Times of Day: Into the Badlands
- RED Dragon DSMC 1 LUTs: Interior Times of Day: Into the Badlands
- RED Gemini Atmospheric Times of Day LUTs: Rim of the World
- RED Gemini Day Exterior LUTs: Rim of the World
- RED Gemini Day Exterior LUTs: Resident Alien
- RED Gemini Night Exterior LUTs: Resident Alien
- RED Gemini Overcast Lighting LUTs: Resident Alien
- RED Gemini Skin Tone Film Look LUTs
- RED Weapon LUTs: Day Exteriors: Adventurers
- RED Weapon LUTs: Day Interiors: Adventurers
- RED Weapon LUTs: Night Urban Environments: Adventurers
- Arri Alexa LUTs: Day Interior and Exterior
- Arri Alexa LUTs: Interior Times Of Day
More courses from the same author: Filmmakers Academy
Salepage: Advanced Cinematography: Inside the Color Correction Bay – Filmmakers Academy
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