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Born in Los Angeles, CA.
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Tag Archive for: Need for Speed
Greetings, film fanatics and gearheads! Shane Hurlbut, ASC, here. Buckle up, because I’m taking you behind the wheel of one of the most exhilarating car stunts I’ve ever captured on film. We’re diving deep into the world of high-octane action in Scott Waugh’s adrenaline-pumping film, Need for Speed. Remember that heart-stopping sequence where Little Pete […]
Creating and baking in a unique LOOK with 3D LUTs. Why, how to use in DaVinci Resolve, and how to install and use LUTs on set.
Creating and baking in a unique LOOK with 3D LUTs. Why, how to use in DaVinci Resolve, and how to install and use LUTs on set.
How Color Archetypes can affect your work as a filmmaker. Understanding color archetypes takes time, but it’s manageable when applied with common sense.
The Matthews Infinity Arm has the ability to be a tool that has some serious versatility. My favorite feature of this arm is that it can hold up to 32lbs in an angled position (it can hold about 15 lbs when it is horizontal). It will cost you a bit more, but this is the type of product you buy once.
How I go about understanding the exposure of a digital sensor, specifically with the Canon Cinema EOS Platform – finding its soul, its breaking point, as well as its deep and dark secrets that you cannot find in a Canon manual.
It is incredible how just one light that is not direct, but bouncing off something, changes the mood and tone of your image. It doesn’t have to be from a bounce card; it can be a wall, a floor or a ceiling. Indirect light is one of my favorite lights to use. I feel it mimics what your eyes see because it is natural, soft, forgiving and beautiful.
When I first started out as a colorist assistant, I thought the colorist’s job was primarily to set unique and interesting “looks” for music videos, commercials and feature films. Yes, that is certainly a major component, but once I began to sit in the colorist’s chair, I quickly realized there was so much more to it than that!
More camera tests between the Blackmagic Cinema Camera, Arri Alexa and Sony F5
Lighting car interiors at night. How I light, what choices I make with specific units, and why one lighting tool is selected over another.
This post give you insight into how we pulled everything off. Need for Speed was shot on four different camera sensors.
We tested the GoPro Hero 3 and figured out what it would do best, which was immerse an audience like never before.
The Need for Speed camera test comparisons continue, with the Canon C500 vs. 35mm Kodak film stock.
Thanks so much to everyone who gave it a shot and entered our Where’s the GoPro in the Need for Speed Trailer? contest. It wasn’t easy, but eight of you correctly answered all of the trivia questions and uploaded the two correct screenshots
Need for Speed photography was done practically without the existence of CGI cars, planes, helicopters or virtual worlds and done with an elite group of professional drivers and extreme risk takers that put you in the driver seat at 180mph.
The approach to selecting cameras for Need for Speed. It’s about each camera’s unique abilities and how to use those abilities to your advantage.
As I embark on a long creative, exciting journey on Need for Speed with DreamWorks, I wanted to share some of my most recent findings from a five day camera test that pushed every camera to its breaking point.