Episodic - LB Love Cinematography
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This weekend, I teamed up with director Guy Shalem, and Writer/Producer Dave Castleman for a pilot proof of concept called “The Strivers.” Guy and Dave wanted a dramatic, high contrast look for this law drama.  We shot with two Reds (Epic & Scarlet) with a set of Zeiss super speed MkII lenses. 4k HMIs pars

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SHARK! I can sum up my Feb and March 2016 like this:  Greenscreen, rubber sharks, and lots of wire work.    We’ve been working a two-camera package with Panavised Arri Amiras and Primo V lenses (with a few Primo Ls thrown in there). Switching to Arri I’m very pleased that Panavision Woodland Hills enabled us to

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This is my most up-to-date cinematography montage reel for 2013!

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The “Lizzie” Pilot was shot with the Red Epic and Zeiss primes. We divided the characters “worlds” with different camera operation styles: handheld, vs smooth fluid head or slider movement. Watch the Promo Video!
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“Eve: Beauty and the Blade.” At the 2011 Underdogs Film Festival, “Eve: Beauty and the Blade” received 11 Nominations & was the WINNER of 4 Awards:
• Best Cinematography
• Best Editing
• Best Director
• Best Action Feature
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This sci-fi/suspense thriller series, starring Renee O’connor, was shot primarily on a practical spaceship set and greenscreen. The spaceship set is the very popular standing set found at Laurel Canyon Stages. We rented super blue 8′ kino tubes for the “air lock chamber”…
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Ron wanted a mysterious and contemporary look for his martial-arts 3D venture. My g&e team rigged 3 Kino Flo Image 85s to a Condor, providing a soft overhead source for our main action in the center of a parking lot. Click to Read More…

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I rated the camera at 800 ISO, and we were able to work wonderfully with a few small Diva lights, small tungsten units, and over head fluorescents. CLICK to read more…

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With a micro-crew, this Promo was shot entirely with a couple of Tweenies and 8 china balls. CLICK to read more…

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“Whole Day Down” is a comedy series “about art and the apocalypse”. We were shooting in an entirely white space with skylights. The challenge was creating depth and texture, while managing exposure in the limited latitude of the Panasonic HVX-200.

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“TV Face” is a pulp-comic horror feature, which was subsequently split into a web series. Director Dean Bull had a unique vision for this very stylized piece.  I regularly operated on a dutch head; together with a high frame-rate, we used the dutch head to create very surreal transitions between reality and “nightmare” sequences.  We

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The majority of the film is shot in a large house with an open floor plan and lots of windows. A typical set up involved a 4k and 2.5k HMI pars outside windows, through a frame of diffusion as a key light, or sometimes raw for a blown out edge.
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I was presented with a 15 page script, however, one line in the script read simply “The Battle of Endor”. Click to READ MORE!

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“The Magnitude” is a comedic web series produced by the American Red Cross. We shot this series with the Red ONE (4.5k, RC42) using Zeiss Compact Primes. CLICK to read more…

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