Indeed, nothing and no one in the film looks under-budgeted. So buttery in hue and finish is Shane Hurlbut’s widescreen lensing, and so syrupy Paolo Buonvino’s lavishly applied score, that one could be forgiven for exiting “Fathers and Daughters” with a distinct hankering for pancakes.
Shane Hurlbut, A.S.C. is a very focused man. After securing a degree in film and television from Emerson College in 1986, the cinematographer quickly found himself learning grip and electrical work on movies like Phantasm II and Teen Witch. Since then, he has expanded his portfolio to include lead camera on nearly twenty films, including blockbusters like Need For Speed and Terminator: Salvation.
Into The Badlands, a “genre-bending martial arts series,” is an action drama hit for AMC that showcases more than innovative fight choreography but also a complex range of visual styles…. The show has a very stylized look and feel, due in no small part to the masterful work of Director of Photography Shane Hurlbut, ASC.
DP Shane Hurlbut, ASC, (Need for Speed, We Are Marshall, Semi-Pro) shot the show’s six-episode first season with multiple cameras in the swampy, sometimes stormy, summer heat in and around New Orleans. During an intense 51-day production schedule, he and his team — directors David Dobkin and Guy Ferland — used eight RED Epic Dragons and one 6K RED Dragon Weapon.
Director of Photography Shane Hurlbut, ASC used a series of 10 Cooke S4/i focal lengths to shoot Gabriele Muccino’s latest feature Fathers and Daughters, starring Russell Crowe and Amanda Seyfried.
The show was shot in and around New Orleans, and FotoKem’s (www.fotokem.com) studio there provided dailies services. Illya Laney, FotoKem’s dailies colorist, worked closely with cinematographer Shane Hurlbut to establish a series of LUTs that could be used on-set, and then as a starting point for the dailies color process.
Everything about Into the Badlands feels like a gamble. It’s a martial-arts show set in a post-apocalyptic, almost steampunk future. It features long, complicated fight sequences that incorporate heavy wirework, a la wuxia films like Crouching Tiger, Hidden Dragon. It’s even the first time that network AMC has ordered an original show straight to series without seeing a pilot first. But for the show’s director of photography, Shane Hurlbut, these weren’t risks—they were opportunities.
This is an excellent blog made just for filmmakers by a very well known and respected filmmaker. Shane Hurlbut is a working Hollywood DP and cinematographer, and his blog provides readers a glimpse into a world so many dream of—filming big budget productions.
Cinematographer Shane Hurlbut, A.S.C., and AMC have joined forces for the highly-anticipated show Into the Badlands, shot on EPIC DRAGON and WEAPON®. The series is an adaption of the 16th century novel by Wu Cheng’en entitled, “Journey to the West,” and follows a martial artist and his companion as they search for enlightenment in a territory controlled by feudal barons.
Video interview with Shane Hurlbut about Cinematography.
Hollywood Cinematographer Shane Hurlbut ASC interviewed by Adam Loretz from The Filmmakers Workshop. Kick back and spend a fun 43 minutes in the company of a true master of cinematography. Hear Shane’s feedback on his recent Illumination Tour, camera technology, choosing scripts, his current film, Fathers and Daughters and much more.
With a little diligence and resourcefulness, would-be students can access a world-class academic education right on their computers. However, when it comes to more specialized subjects such as cinematography, sifting through the chaff of amateur tutorials to find the kind of hard-learned, real-world knowledge that true professionals possess can be difficult—especially since many said professionals don’t have the time or resources to spend on education. Enter Shane Hurlbut, ASC, and founder of Shane’s Inner Circle.
Shane Hurlbut, ASC has worked as director of photography on 19 feature films (such as The Greatest Game Ever Played, Terminator: Salvation, and Act of Valor) as well as hundreds of commercials and music videos. He also blogs prolifically about cinematography on the popular website, Hurlblog, that he runs with his wife, Lydia.
In the second part of this interview with cinematographer Shane Hurlbut, we cover his upcoming “Illumination Experience Educational Tour“; why he’s undertaken this project, and the format and objective of the classes.
I first saw cinematographer Shane Hurlbut speaking at a trade show held in New York City in 2010 hosted by Canon. Hurlbut had just finished shooting Act of Valor, shot predominately using the Canon 5D Mark II, and he burst on stage with enough energy to power the building.
I got a chance to sit down with renowned cinematographer Shane Hurlbut and ask him about his path from a farm in upstate New York to the sets of multi-million dollar blockbusters. Shane is a real deal Hollywood DP. Think Terminator 2, Act of Valor, We Are Marshall, Need For Speed, and so many more.
Shane Hurlbut makes another appearance on the Digital Convergence Podcast. Not only is Shane an outstanding cinematographer—he is a generous mentor and educator. In this episode, Shane shares with me his thoughts on how the new “emulsion”—the sensors of amazing digital video cameras—affects the cinematographer’s choices in gear. He argues that one camera cannot fit all situations, that each camera has strengths that must be exploited based on the needs of the story.
Cinematographer Shane Hurlbut, ASC, visited Sydney in August to give a presentation for Canon on using Canon DSLRs and the EOS C500 on recent feature film projects. He took time to talk to Digital Media World about cameras and what he has learned from his experiences shooting and lighting for feature films, working both on film and digitally.
Shane Hurlbut, ASC Cinematographer on Need for Speed, mounts GoPro cameras on set.
Modern action movies are generally packed with computer-generated imagery (CGI), resulting in production budgets that have soared into the stratosphere. But when director Scott Waugh enlisted Shane Hurlbut as Director of Photography on the movie spin-off from the ‘Need For Speed’ game franchise he wanted to buck the trend and shoot the action as close to live as possible, which called for a special camera.