Shane Hurlbut at CineGear 2011

by planetMitch4 Comments

We weren’t able to attend CineGear 2011 (darn family vacation haha), but our friend Tony Reale from NextWaveDV was able to interview Shane Hurlbut and is letting us borrow the discussion. Tony talks with Shane about their newly announced rentals (see also “Shane Hurlbut, ASC is proud to announce the debut of Hurlbut Visuals DSLR Cinema Rentals“) as well as other cameras besides the HDSLRs and post processing.

Redrock Micro

The interview

For feedburner daily email readers: watch the video (note: feedburner and other email systems disable the javascript embed tags so the videos won't display.)

Dark Energy

I was interested in what Shane said about using Cinnafilm's Dark Energy (starting at 6:30 with the question) so I looked it up.

Starting with the building blocks created by the powerful Pixel Strings™ video processing engine, Dark Energy® rebuilds every frame to the exact specification directed by the user. Whether the desire is to de-noise, standards convert, frame rate convert, simulate film, or retime video, Dark Energy provides an unequaled level of precision and speed in software designed for conversion/optimization. Created with video engineers and cinematographers in mind, Dark Energy is equal parts scientific and creative; having the ability to visualize needs/vision immediately without rendering.

You can find more about them here

(cover photo credit: snap from the video)

Zeiss Cinema Lenses


  1. First of all, Shane is my DSLR hero…so this isn’t a knock against him. But right at the beginning of the video he says not to shoot in a pseudo raw profile (flat) and then try to manipulate a look in post. He says to get it close in camera because of the limitation of the 8 bit codec. Then he says that he uses the flattest profile you could possible use…the Technicolor Cinestyle. Tha makes absolutely no sense to me. Mitch this would be a great question to ask him if you get the opportunity.

  2. Hello Richard;
    can’t remember where Shane mentioned this, but I think he means that it’s really difficult to shoot with superflat because it’s hard to judge exposure on superflat. I think one of the ways he works around that is to have both flat/technicolor and a “normal”/custom profile. Judge exposure with the normal/custom profile, and then switch to flat/technicolor to shoot.
    If someone has a more accurate description or the exact link please link it/correct me.

  3. Derp, he mentions that in the video above, ha. Judge exposure with picture style closest to your envisioned end product (or neutral), then shoot with cinestyle/technicolor.

  4. I understand his process of using a LUT (picture style representing the end result look) for exposure and lighting, then switching to a flatter profile for shooting…it’s what I do as well. But he says “you have to get it close in camera” and “it can’t be a RAW picture style and then push in post” because of the codec. That tells me that he doesn’t use a superflat setting for RECORDING because he knows the limitation of the 8bit color. That thinking is NOT congruent to using Technicolor…which is bigtime flat. 😉

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