I hope you’ve had a chance to go see Deadfall in the theater or download it on iTunes. American Cinematographer recently produced a podcast about shooting the film — “going inside the visual landscape of a suspense-filled winter wonderland.”
In the interview, Jim Hemphill talks with me about how I select the best equipment for each film, the choice of mixing film capture with DSLR cameras, and how this affects workflow.
When we were shooting in Montreal, the production was known as “Kin” and stars Eric Bana and Olivia Wilde. You may enjoy these previous blog posts and the video about spinning a Lincoln Town Car on a BBQ rotisserie rig.
- Final Days of Deadfall: Giving the Stag Horn Saloon Life, Texture, and Color: KINO FLO
- Prepping Deadfall
- The Importance of Being Mobile
Looking for mentorship in the film industry? Schedule a 1-on-1 meeting with Shane Hurlbut, ASC today! This is where you can get expert advice from an industry professional on your career or a particular project.
About Filmmakers Academy Cinematographer Mentor Shane Hurlbut, ASC
Director of photography Shane Hurlbut, ASC works at the forefront of cinema. He’s a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. He is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.
Hurlbut frequently joins forces with great directors: McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor; and Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters. His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.