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Shane Hurlbut’s HDSLR Revolution

When I called Shane Hurlbut, he was just returning from a shoot with the US Marine Corps in North Carolina. Shane is one of the most visible and vocal proponents of using the HDSLR for cinematic applications. From the first time Shane held the 5D Mark II, he instinctively knew the technology would not only change the film industry, but the world as well.

Born and raised on a farm in Aurora, New York, Shane moved to Boston to attend Emerson College where he studied film production. Shortly after, Shane and his, now wife Lydia, packed up their Ford Ranger and a U-Haul and headed West to Los Angeles to begin his career in the entertainment industry. Once there, Shane paid his dues working for Key Light Rental House, but it would be a little horror film with a huge cult following that would change his life. During our conversation, Shane shares how he got into the business, and why he decided to shoot motion pictures using an HD enabled still camera.

Everything I Looked At Was Light

PVC: When did you know you wanted to be a cinematographer?

SH:The producer of Phantasm II Roberto Quezada came by Key Light to negotiate a lighting package. They met with me and really liked my energy and wanted to know if I would leave Key Light to work on Phantasm II. So I did. One day on the set while I was running a flag into the crematorium set, the best boy was walking up the stairs when he stopped and asked me this question, “Would this set scare you if you watched it in the theater?” I thought about it and said no. There was no shadow- every nook and cranny was lit. At that moment, although I didn’t have aspirations of being a DP, it was like, BANG! And from that moment on, everything I looked at was light.

Processing Super 8 in a Bathtub

Shortly after wrapping on Phantasm II, Shane went on to shoot several music videos. His first video became one of the anthems of generation X.  Smashing Pumpkins’ Cherub Rock, featured dirty, gritty imagery and went on to epitomize grundge music for entire generation.

SH:Kevin Kerslake directed this music video and we shot it all on Super 8. We processed all of the Super 8 footage in Kevin’s bathtub and didn’t clean it so there was dirt on it. Just the old school of crazy, experimental film making.

After producing several other music videos, Shane worked with the late photographer Herb Ritz, and then he shot his first narrative feature, The Rat Pack, where he was nominated by the American Society of Cinematographers for Best Cinematography. Since then, Shane has continued his success and gone on to serve as director of photography for several other films including Drum Line, Crazy/Beautiful, We Are Marshall, Semi-Pro, Swing Vote and Terminator: Salvation. 

Fate and the 5D

PVC: At what point did you decide to shoot motion picture films with what, until now, was a traditional still camera?

SH: I’ve only shot HD Video for commercials here and there, never really been a big fan of it. I think it looks plastic. I don’t like the whole way you go about capturing HD. I don’t like black tint. I don’t like the distance from the actors and the set. I like to be one with the camera. But, in 2008, I went to a little wine and cheese social sponsored by the ASC at Samy’s Camera where they had the Canon 5D Mark II. When I put this thing in my hand, I just started to look at the depth of field and the quality of the image. I realized at that point it would change everything.  It seems like God had a path for me because every job from that point on seemed to want this camera.

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Sorry, but when did Mr. Hurlbutt turn into a legend?

The first time I read his name was that strange incident with Christian Bale…

Posted by .(JavaScript must be enabled to view this email address)  on  08/29  at  12:53 AM

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sorry, I misread the title!!

Posted by .(JavaScript must be enabled to view this email address)  on  08/29  at  12:53 AM

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