Giving Back: The Warrior Wedding Project
For the last two and a half months, I have been working with an amazing director on an incredible commercial campaign. I have not been able to tweet or blog about this incredible experience because I have been under NDA. The director’s name is Gil Cope.
Director Gil Cope and DP Shane Hurlbut, ASC
I worked with him in the early nineties, when I was starting out as a gaffer. It was so great working alongside and collaborating with Gil after all these years.
The Warrior Wedding Project
The spots are all about innovation, exploration, community service, and supporting veterans. We chose a very unique way to capture this. Each tool had its place in the storytelling process. We chose the Arri Alexa as our A camera, shooting with the Codex M recorder on Arri Raw, which was done for all of the intensive visual EFX work we had.
Arri Alexa with Codex M recorder unit for Arri Raw (Photo by Jose M. De Los Angeles)
Our B camera was the Canon C500 capturing this on the new Codex S recorder in full Canon RAW.
Canon C500 with Codex S recorder unit for 4K Canon Raw
Our C camera was the new Canon 1DC 4K DSLR, which was used to get in very tight places and deliver unique angles.
Canon 1DC with Panavision Mount
All of the media was downloaded, conformed, and transcoded by Light Iron Digital.
What a journey this has been, traveling all over the Northwest scouting, prepping, and then shooting these spots.
Director Gil Cope (Photo courtesy of Patrick Posta)
It was a wonderful opportunity to reconnect with Gil, and listen to his passion for his craft, his family, and his unique abilities as an amazing photographer, which is where he started. Talking on the many four-hour bus rides, we really came to understand each other’s interests as well as each of our commitments to giving back.
Making An Impact
On one bus ride, Gil read a letter to me that a Marine had sent him after he shot his wedding. I was like, “WHAT, you do weddings?” He laughed and said that it was this amazing foundation that he and his wife Andrea had founded. It was a way of giving back to the many warriors in the military service who give their lives to protect us so that we can have many of the freedoms that we love and cherish.
The letter from this soldier was so touching. It expressed how much it meant to him, his bride and his family to have had Gil photograph his wedding. Gil shared some of the photos, and they just blew my mind. Gil is not only a master at photography; he is also a PhotoShop magician. The way he treats his digital negative is incredible.
The Warrior Wedding Project
Browse Gil Cope’s work
It inspired me, and I feel that it will do the same for all of you.
We are all on a mission to create, tell the best stories and become talented filmmakers, but giving back is also part of the creative process. At Hurlbut Visuals, my wife Lydia and I created this blog to inspire one filmmaker at a time, giving of our time and experience. We also regularly donate equipment and resources to projects like In True Fashion, a competition-based entrepreneurial program that builds self-esteem and work ethic in low-income students through hands-on participation. I served as an in-class mentor, and we donated camera gear.
The Hurlbut Visuals team has also supported documentaries like Waiting for Lightning, Secrets of the Sweat, Marley’s Pit Stop Rescue, An Unbroken Chain, and The Bottle School Project. We’ve recently provided camera packages for the Right to Play PSA, a promo shoot for the Branson Cares telethon, and the Paddle To Live Project with Lance Armstrong.
I encourage you all to make a difference like Gil has — support a cause, give of your time, change a life, and shape a person. I think this process expands your vision and makes us better human beings.
Schedule 1-on-1 Video Call with Shane Hurlbut, ASC
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.
Hi Shane, why use the C500 as a B cam instead of another Alexa? Was it mainly for low-light performance?
Paper_bag, because I wanted to test it out.
Great stuff as always Shane! Would love to get your thoughts on the Canon C500 and how it performs!
Daniel McCullum, I am still trying to figure this baby out. Not a big fan of monitoring and lighting with it. ALexa and its Rec 709 color space was much easier to light with.
wonderful story. Thanks for sharing
craigc, you are so welcome. It is our pleasure to talk about being a good human being other than just Tech!!!!!
Wow, Gil’s photos on his site are really amazing. And thanks so much to you for giving back to the community through hurlblog, a lot of young shooters and filmmakers really appreciate your advice!
Pablo Gustafson, it is our pleasure and thank you for your wonderful words and all of your support. I thought you would dig on his photography.
Hi Shane, this might sound trivial but I feel it’s important. The special way you write your blog posts hooks a reader and brings him/her closer into your world. Thanks for putting lots of thoughts into making your posts interesting as well as technical.
Baron, that is not trivial at all, this means so much to me, because truly I don’t need to do this. I love giving back and educating. All my parents were educators and I love following in their footsteps. Thanks for all of your kind words and support.
One more thing, this WWP sounds a lot like the CSR programs that corporations do every year. I haven’t really thought of giving back in those terms but we’re going to start with your example by doing workshops. Thanks for the idea.
Baron, that sounds great. Love to hear that. I think Gil and Andrea have something intimate and special.
I’m a aspiring film maker who has never finished film school and I could say that I will never need to. Because I have learn so much from you. Thank you Shane!
Cmos Le. Thanks for the kind words and support. I’m always happy to help educate and inspire fellow filmmakers.
Wow. Gil Copes Photography is really inspiring. Thank you for the Hurlblog . Thank you for sharing your knowledge and giving us an insight into your amazing cinematography.
I would really appreciate a future blog post about your thoughts on the new C500 as a storytelling tool, compared to the Alexa or 1D C.
Does ist look a little bit like HD-Video, such as the c300, or is the image more creamier like the Alexa?
Also, am i seeing it right, that the 1D C you are using here has a PL-Mount which enables you to mount known cinelenses? Sorry for my probably bad english, i am from Germany.
Fabio Seyding, Guten Tag. Your english is excellent. The C500 and 1DC is the perfect combo for shooting a feature. The Canon’s roll off is not as creamy as the Alexa, that is for sure. The RAW file out of the C500 is absolutely amazing though, that goes for the Canon 1DC. Even though it is 8 BIT I feel it delivers amazing depth. That was a Panavision mount on there not a PL. Yes it is for the use of Cinema glass
Thank you very much for answering my Questions.
WOW! A ,,panavized” 1D C with real PV-Cinema Glass. This is going to be awesome combo.
Here in Germany, the mother country of ARRI, Panavision Cameras and Lenses are not very common. ;-)
Do this Panavision Lenses cover the whole APS-H Sensor area which is used for 4K recording on the 1D C, or do they vignette? I thought common Cine Lenses only cover a 35mm sensor /35mm Film?
By the way:
Your german greeting was also excellent ;-)
Hey Shane, as a vet… super appreciative of what you’re doing. /hats off.
Duane Shrode, thank you so much for your kind words and support
Hi Shane,
This looks like a really nice and rewarding project. I have a few quick questions for you if you don’t mind.
1. Does the Canon 1DC make any audible noise or produce considerable heat while filming in 4k?
2. I noticed that you taped off a 2.40 aspect ratio on your LCD for The “Ticket.” Have you made a request to Canon for native 2.40 aspect ratio instead of/or in addition to the standard 16×9 aspect ratio? Cropping from 16×9 to 2.40 in post loses some resolution and it would be great if the 1DC had the ability to natively frame 2.40 using that massive sensor.
Thank you for your time and blog posts.
neon_film, thank you so much, it was fun to collaborate with Po Chan again. The 1DC produces no noise, yes the 4K capture does heat up the camera. In extreme conditions I would not keep it on for over 30 minutes without letting it cool down. I have voiced that but the crop for 4K is just a little larger than super 35.
HI Shane,
I’ve noticed that the motion of your Canon 1DC footage is the most filmic i’ve ever seen of a digital camera. Is this purely due to your camera settings or is it in the way the camera records the images? If it is purely due to settings, what settings would you recommend to make another camera e.g. THE BLACKMAGIC CINEMA CAMERA to have a more filmic motion?
Innocent, may I offer that it’s the craftsman, not the tool, that creates the result?
Oli Kember, always
Innocent, the 1DC is the most filmic looking digital capture device I have seen other than the Arri Alexa. It is many things, an experienced cinematographer behind the camera, camera settings that I use from my 5D and then the camera itself.
Cde., to each his own, that is why I love film. Many ways to skin the cat. Many tools to tell your stories
Giving back is so important. This blog, like Gil’s Warrior project, makes a real difference. Thanks.
Oli Kember, I am glad you notice this fact. This is a labor of love for my wife and I. Time consuming without much money to run it. Thanks for believing.
Shane, you and your team have been and continue to be such a huge blessing. Thanks so much, and God bless you all.
Theophilus Emmanuel, Thank you and I will send your kind words to my elite team. Much appreciated.
Shane –
THANK YOU so much for your time and energy you put into this blog. I just stumbled onto it a few hours ago and can’t pry myself away. Such tremendous info. Coming from the 5DMII, I have been thoroughly researching between the FS700, C100, C300, and the 1DC. Your efforts, detailed analysis, and ultimately the transparent candor in your responses in the comments sections regarding the 1DC have finally answered my question as to which camera should be my next purchase. I can’t wait. THANKS SO MUCH!
Kevin, you are so very welcome. Thank you for these wonderful words and support. I am glad you are enjoying the blog. I think there is nothing like it out there. The 1DC rocks
Shane,
MayI ask what is the HDMI lock you were using on the 1DC letus cage?
Stan. Its a viewfactor Hdmi clamp.