We spoke with ASC cinematographer and DSLR early adopter Shane Hurlbut, who was the first DP to use a DSLR (Canon’s 5D Mark II) for a major motion picture (Act of Valor), about the hack:
Shane is a rare breed of an ASC cinematography, constantly sharing lots of in-depth knowledge and experience on his blog, the Hurlblog. We talked about their reasons to be so open online, and how he came to actually embrace sharing knowledge this much. Turned out that his wife Lydia was the one to get this all started.
Thanks to his aggressive, you-are-there camerawork on Act of Valor and Need for Speed — as well as his frequent posts on the educational Hurlblog — Shane Hurlbut, ASC, has quickly become known as a pioneer in innovative digital cinematography.
Director of Photography Shane Hurlbut, ASC was at it again sharing his amazing shooting knowledge at the Canon booth at the NAB Show in Las Vegas, NV.
On Act of Valor, cinematographer Shane Hurlbut, ASC pushed the small-camera envelope, shooting the feature almost entirely with Canon EOS 5D Mark II HDSLRs (AC Feb. ’12). For his latest project, the video-game adaptation Need for Speed, Hurlbut combined the latest in small-camera technology with a few established digital favorites to create a visceral action experience, putting viewers in the driver’s seat in cars traveling over 180 mph.
In this interview, Colin Smith asks Shane Hurlbut about the use of small DSLR cameras in shooting the movie, Act Of Valor. Shane then goes on to talk about what’s important for successful filmmaking.
With the Canon EOS C500, cinematographer Shane Hurlbut, ASC, delivers an immersive behind-the-wheel experience for Need for Speed
“Scottie wanted the film to be a throwback to the 60s and 70s style of the old race car movies back in the day of say Bullitt and Road Warrior,” DOP Shane Hurlbut told fxguide. “There was a sense of raw energy that just comes across so nicely with those older films.
Between Waugh’s direction, Hurlbut’s Oscar-worthy cinematography and Gilbert’s stunt coordination and design – not to mention the work of every stunt legend and legendary stunt family working today (Picerni, Baxley, Kingi, Epper Gilbert, just to name a few), plus a solid story and powerful emotional and engaging performances all around, all I can say is NEED FOR SPEED is mind boggling exhilaration!!!!
The film’s cinematographer, Shane Hurlbut, ASC (Act of Valor, Terminator Salvation), says perhaps the most spectacular aspect of the film is that there’s very little CG work in it, apart from wire removal. When you see those million-dollar cars flip, spin, tumble and smash, it’s all real steel and glass with some pretty gutsy stunt drivers inside.
Even after getting a formal film education, I think what I lacked was a lot of theory. When I was going to Emerson, it was all about getting your hands on everything. You know, getting out there, shooting film, developing it, doing the whole process. Looking back, I think I would have really enjoyed a lot of theory mixed in with the hands-on.
Today we speak with Shane Hurlbut, A.S.C, the world-renowned cinematographer for 18 feature films including Terminator: Salvation, Drumline, Act of Valor and the upcoming Need For Speed. Shane shares his experiences shooting everything from multi-million dollar blockbusters to music videos and commercials, plus, we learn how his hugely successful, HurlBlog got its start. You may be surprised.
Cinematographer Shane Hurlbut, ASC (Act of Valor) recently tested both camera models alongside the ALEXA on DreamWorks’ Need for Speed, an action drama about car racing starring Aaron Paul (page 39).
Shane Hurlbut, ASC is a legendary cinematographer who’s worked on such blockbusters as Into the Blue (2005), Terminator Salvation (2009), and Act of Valor (2012). After putting this much time into the business, he knows a thing or two about creativity, community, and collaboration.
Cinematographer Shane Hurlbut (Terminator Salvation, Act of Valor) is using eight of the lightweight Codex OnBoard 5 recorders to support the more than 35 cameras that are being used to shoot the film—often under the most extreme conditions.
Director of Photography Shane Hurlbut described what the cast and crew accomplished during their first day in Rome. “We were flying aerials today; the farm equipment and tractors and things like that in the foreground as we go with our actors.”
Director of Photography Shane Hurlbut, ASC, returns to doddleTALKS Tech to discuss how he approached selecting cameras for his new film Need for Speed, and by testing those cameras, how he found that they had their own unique digital emulsion.
An A-list cinematographer and moviemaking trailblazer, Hurlbut infused the design of the MCS with practical innovations borne from his 20+ years of industry experience – especially from his recent DSLR shooting excursions on projects such as the 2012 feature, Act of Valor.
Shane Hurlbut, ASC joined the NeedCreative Podcast for “Hurlbut Returns.” We talked about the art and science of cinematography and then did a mini-workshop with story scenarios and how Shane would light and lens them.
To select a camera for Scott Waugh’s street racing film “Need For Speed,” cinematographer Shane Hurlbut pitted nine cameras against one another in dozens of tests simulating every possible shooting condition. Then, Hurlbut had each camera’s footage color graded and presented with a 4K projector on a 42 foot screen.