Press

Filmmaker Magazine – Cinematographer Shane Hurlbut on Camera Tests and the Joy of Older Lenses

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.

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Digital Convergence Podcast – Shane Hurlbut and the Illumination Experience Cinematography Tour

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.

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StillMotion Blog – 5 Life Lessons That Took Him from Farmboy to Hollywood DP

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.

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Digital Media World – Shane Hurlbut ASC Captures Movie Action, Light and Looks

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.

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Canon Professional Network – How the EOS C500 satisfied DoP Shane Hurlbut’s ‘Need For Speed’

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.

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