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Act of Valor: Reinventing the Action Genre

When Scotty Waugh and Mike “Mouse” McCoy, the incredible directing team at Bandito Brothers, asked me to shoot Act of Valor, I was excited, especially after listening to their unique vision for the making of this movie. I was ALL IN. The idea of reinventing the action genre was our mantra. To be able to immerse an audience in a 3D experience that was shot 2D; to capture POVs that felt like you were in an intense first person shooter video game; to move a 2.5 lb camera in ways that you have never seen before. These were the ideas that started to swirl in my head after our initial meeting.

Filming through the eyes of a Navy Seal

Filming through the eyes of a Navy Seal

We viewed the tools that were available to assist us to tell this story. I had just completed a web series for Terminator Salvation, where I used the Canon 5D as a helmet cam. The members of the Resistance were getting blown up and carrying the camera around broadcasting back to base in hope of help. None arrived. What I learned from the web series was the versatility of this little still camera and the unique ways it could move. I immediately started to push the ISO, create picture styles and test the resiliency of the camera. It held up and with the right care and glass, a 60’ screen was headed the 5D way.

Screen grab from T4 web series

Screen grab from T4 web series

What is so inspiring about Scotty and Mouse is that they’re fearless; they go for it and believe someone will be there to catch us. This fearless quality was what brought out the highest level of creativity. Scotty’s role is to remain true to the story, and we worked on a shooting style and a visual landscape that would last and hold the audience’s attention. When the SEALs were hanging with their families, shooting the breeze, or getting briefed, we shot 35mm motion picture film. When the bad guys were planning and conniving, it was also film. When the SEALs went into operational mode, we were all 5D, no matter whether it was a wide shot or a close-up. Aerials were going to be a huge part of the scope of this film. Together, we chose what would be best for the story, and that was the Sony F950 with Cineflex housing. It would give us hours of shooting time without having to reload every 10 minutes and provide the ability to showcase the Navy’s impressive assets.

We had unprecedented access, which made the movie extraordinary.  Mouse was all about the back-stories, what got the characters to this point.  He was very conceptual, and I truly believe helped get the best performances out of the active duty SEALs.  He is also an incredible action shooter. He is a DP is his own right, and we divided up to take on the huge work load in Stennis, MS as well as El Centro, CA.  Mouse and Scotty just inherently know where to put the camera when shooting action.  We collaborated together in this unique hybrid of action storytellers, and I think the film’s beauty is just that, STORY.  Without this, our action would just be a lot of M4 fire.

Directors Scott Waugh and Mouse McCoy in the streets of Cambodia

Directors Scott Waugh and Mouse McCoy in the streets of Cambodia

With the visual style for the film set, now we had to figure out how to do this with a very limited budget and crew. Coming off of Terminator Salvation, where I had probably 190 lighting, grip, and camera crew members working alongside me to bring that film to life, we had maybe 80 total in all departments. Most of the time it was an Elite group of 5-10 people making the movie. We coined the term “Elite Team” because each filmmaker was so versatile and talented; they learned to do five jobs, three below their pay grade and two above. Coming up with a small footprint, while keeping a BIG vision was paramount. I cannot think of any other camera platform than the Canon DSLRs at that time in 2009 that could deliver it all.  We moved out like a SEAL platoon, and this was our recipe for success.

The scope of this project was twelve states, five countries and four continents. Greg Haggart was our amazing producer. He could find ways to get money from a stone and quickly adjusted to our unique shooting style, which effected the budget on every line, in a good way.  When we would head overseas, he would arrange for a liaison in whatever country we were going to.  I would take at least two of my Elite Team members with me.  This was absolutely crucial because when we would land and then go to the camera prep and open up our cases, the crews from foreign lands would look at our 5D package like an alien spaceship had just landed.

Greg Haggart line producer

Greg Haggart line producer

Traveling with our 8-15 camera DSLR package in our overhead bin space was impressive. Panavision Primo primes, Canon L series, Zeiss ZF, and Leica R glass were used in every aspect of filming.  We landed in Cambodia and walked right through customs with our cases.  Immediately off to the rental car where Mouse would drive and be on the lookout for our location list.  Greg Haggart would be navigator, set up casting, book hotels, and buy craft service, etc., while Scotty and I would discuss story details, view casting tapes, submit camera, lighting and grip orders, as well as book our rocking cuisine for the evening. This movie was so different in every way.  If a location worked better than what had been written in the script once we got boots on the ground, then we would change it.  The story was constantly in development.

Fleet of Canon DSLRS

Fleet of Canon DSLRS

I would say that Cambodia was one of our favorite locations that we visited. It was doubling for the Philippines. It was too hot politically over there when we were filming, so we opted for Phnom Penh. Wow, what a location! The people, culture, and the food were terrific. Moving from there to Kiev, we were pleasantly surprised to find one of the best production crews and gear pool I have ever worked with.  Thank you Radioaktive Productions in Kiev for delivering in a huge way for us.

Cambodia

Cambodia

Shooting in Kiev, Ukraine

Kiev, Ukraine

Remember this film was shot in the spring of 2009. All 30fps, a beta test of manual and not much help from anyone that really understood the Canon 5D and its potential. My team of assistants were fearless as well and took this camera that was not made for image capture and quickly turned it into a movie making machine. Darin Necessary was McGyver; there was nothing that he could not fabricate back in his shop to make these cameras function better in the field. Mike Svitak was the menu brains and a very talented operator. He started as a second assistant and ended up operating on some of the most memorable shots in the film. Marc Margulies gave his incredible experience of 20 plus years as a focus puller. With hawk eye accuracy, he took the Canon 5D large sensor and conquered it with sharp images at a 2.8 in an action sequence, not talking heads at a table.

Rudy Harbon was my B camera operator as well as 2nd unit DP. He was essential in keeping the aesthetics of the film and exposures consistent as well as adding an intensity to the South Side Slayers, their handle on the walkie, in El Centro, CA .  Bodie Orman rounded out our crew as the only loader on the project. While we shot film on three units, he ran between them.  In Stennis, Bodie was running a magazine to the Pursuit car/crane, and he stepped in a massive fire ant hill.  Within seconds they were stinging the crap out of him.  Mouse turned to him in a very direct voice, “You are going to have to lose the pants.”  When Bodie got to our 40 mike missile set up, he asked where the film was for him to load, I just looked down and said, “Where are your pants?”

Darin Necessary

Darin Necessary

Mike Svitak

Mike Svitak

Marc Margulies

Marc Margulies

Rudy Harbon

Rudy Harbon

Bodie Orman

Bodie Orman

Every day the rigs would evolve; the crew would never settle for good enough. They wanted excellence. Imagine working on 30 commercials, and every day you came to work and you had never used this camera system before.  I describe it like being punched in the face, hit in the head with a shovel and buried alive every day. That was what it was like making AOV with this still camera.

The film took almost two years to complete, but only 48 days of principal photography. We would prep for a week in LA, then fly to our location, scout for a week and then shoot for a week. When we went to Stennis, Mississippi in August of 2009, I thought, “Why Stennis?” They said that it would double for the Costa Rican jungle, and it was a live fire range. “What, LIVE FIRE, what was that?” This was Scotty and Mouse’s concept from the beginning. They wanted to be real and authentic. This is how the Navy SEALs trained, and there would be no substitute.

This live fire brought about an intensity and focus, not only when viewing the film as an audience member, but for our shooting style as well. You had to be on your game, no room for mistakes. It was awesome seeing those SWCC boats round the corner at 30 knots and then start unloading mini guns at 2300 rounds a minute into the bad guys’ vehicles. Swiss Cheese was all that came to mind as we walked up to the trucks after the malay. While all this LIVE FIRE was going on, we were all in helmets and flack jackets. But the hero of this whole live fire exercise was my trusted underwater assistant, Andy Fisher, armed with only a swimsuit, a water noodle and a 5D AquaTech shallow water housing. He captured some of the most immersive angles while bullets literally flew over his head and hot shells rained down.  BRAVO!!!

Andrew Fisher

Andrew Fisher

I wanted to thank all of the vendors that believed in us to deliver this groundbreaking film.  Richard Schleuning at Zeiss was there at the infancy of production, supplying us with three sets of ZF primes that we then adapted the Nikon mounts to Canon.  These sets were essential in our ability to put cameras in harm’s way again and again – mini gunfire, explosions, submerges, etc.  Brian Valente with Red Rock Micro was crucial in giving us the necessary bits and pieces to build our unique rigs for the movie.  Dan Donavan at Panavision/Hollywood, along with his amazing team of lens experts and fabricators, gave us the film cameras and their wonderful Primo Primes to take the Canon 5D to new heights in quality.  Evan Green and Tony Blue at Paskal Lighting supplied lighting and grip gear so that I could create this unique palette.  Tim Smith and Jung Ahn at Canon supplied us with a beta version of manual as well as 2 cameras for production, and Scotty Howell at Cinemoves supplied all of our 30’ and 50’ technocranes, always with the attitude of how can we make this better.

I also wanted to thank all of Jon Guerra’s electric crew and Dave Knudson’s grip crew for going the extra mile every day. As Dave said, “This trail blazing shit is exhausting.”  My amazing camera department that never said die, as well as the technicians across the world that made this possible – you were an intricate part of making this movie shine bright.  Thank you.  All of this awareness of this film would never have been possible without the amazing marketing engine that is Relativity Media; they knocked this out of the park.

I think the power of the Bandito Brothers did not stop at production. Jacob Rosenberg was the brains behind the post production process, which evolved with us. His visionary quote sums it up perfectly, “We use the best tool to tell the story, no matter what it is. If an iphone puts you there, then that will be our choice.” We were like a united 12 cylinder engine. Mike McCarthy and Lance Holte were essential to the media managing, creating a workflow etiquette that would become the benchmark for all 5D footage captured to date. Using the unique abilities of Adobe’s CS5 to unlock more information in the highly compressed h264 codec was one of the most liberating things for me as a cinematographer. Once I saw what Jacob and his amazing team could do with our footage, we took even more risks with exposing the Canon 5D footage.

After we completed our color correction process at Laser Pacific with Dave Cole, we then put the finishing touches on the film. We brought in Cinnafilm and their Dark Energy Tower to do something that no other plug in or de-noise software could perform. Ernie and Lance supplied us with the hardware and software to take this movie to another level. Because we had shot so much mixed media from shot to shot, I needed consistency, a look that would be delivered on the DCP (Digital Cinema Print) as well as the Fuji film prints, and this was the Cinnafilm de-noise and texture management system.  Imagine being able to strip all 5D compression off of the image, then add film grain to every inch of DSLR footage that matched the film grain in the movie.  If I shot 5201, I would mimic that grain structure on the day exteriors.  For night exteriors, I shot 5219, and Cinnafilm was right there with the exact grain texture.

This film was an experience of a lifetime. It changed the way I shoot. It expanded my creativity to view things differently, through another lens, a very lightweight, portable, nimble tool that became one of the most powerful arrows in my quiver.

I wanted to end with an intimate inside look at the crew, gear, SEALs, and a style of production that I believe will change how movies are made. As Mouse said, “The chains have been moved forward,” and as an artist, my eyes have been opened. 

Author: Shane

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79 Comments

  1. This is awe inspiring, sir. I am very excited to see the final results on screen this Friday.

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    • Just saw the movie last night–incredible! Congratulations for all those years of hard work and perserverance–you seem to have found your element in this environment. Thank God you’re not working with any CBs yet even in his craziest of moments couldn’t help but say, “you’re a nice guy” (:

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      • maureen ganley, thank you so much for all the kind words. I am so glad you liked it.

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  2. And not an EVF in sight. Hats off to you for nailing the focus.

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  3. Been waiting and waiting. I’m really looking forward to finally seeing on Friday. Thanks for all the great BTS action over the past couple years. Looking forward to more BTS here and perhaps some nice Blu-ray bonus features down the line…

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  4. Cannot wait to see your film here in Australia! It looks amazing Shane

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  5. Congrats again Shane. Look forward to seeing the movie on the big screen. BTW, Howard Stern, not too long ago, gave a quick, good plug about Act of Valor on his radio show. Cheers.

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  6. Shane, I was honored to attend a special screening of Act of Valor this evening with a prestigious group here in Dallas. The event was spearheaded by a video we shot for carrytheload.org, which the event was created for to help America get on its feet about Memorial Day and what it means. This films was nothing short of intense and your work to bring us the “3d immersion in 2d” was awe inspiring. Thank you for helping pioneer the new way films are made. You are inspiration squared my friend!

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  7. Because of people like Shane, the next time a client asks ‘Since when can a DSLR’ make feature films, much less shoot my corporate documentary?’ I have a really really good comeback line!
    Thanks again for championing the HDSLR in film making, Shane

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  8. Your work excels so much every-time, thank you for sharing your brilliant knowledge of this new wave of world wide film-making.

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  9. Hey Shane,this is great,great!
    I enjoyed reviewing pictures from the set!
    Thanks for sharing this!

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  10. Really looking forward to seeing this film…I’m currently editing 2 episodes of the hunting show Grateful Nation which will feature 2 SEALS that were wounded in combat – Mike Day who was shot 27 times and Dan Cnossen who lost both his legs to an IED – very inspirational guys.

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  11. Shane…Kudos for the excellent talk you gave yesterday in DC, plus mega congratulations on the film! It was a blast to watch some ‘REAL’ American Heroes get some screen time…also that you show what they do without being “Hollywood” and you put us right into the action. It was super meeting and talking with you. Thanks for the insights on using these great little cameras and telling great stories!!!

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  12. I cant imagine how someone could pull the focus with 5D during the action scenes :-) What follow focus did you use?

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    • We used a Bartech and Preston wireless follow focus, but an experienced 1st Ac with zen focus keeps the shots sharp.

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      • I really liked the movie, but I think our theater got the focus wrong on the projector. We thought the majority of the movie was out of focus. I want to see it again somewhere else.

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        • Photog, that is unfortunate, yes check it out again if possible.

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  13. Great work — thanks for screening the film with us in DC, and the terrific insight into your adventures; your energy is infectious!

    You made some mighty pretty images, and it seems you’re well on your way to redefining the action genre. Kudos to you and all at Bandito.

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  14. Just a note.
    MI is Michigan not Mississippi.

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    • Thanks for pointing out the typo. Got it fixed.

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    • So I saw the film, I did not know what I was expecting but I was very impressed with the action photography, outstanding! After looking at the production stills, I still can’t believe how many shots were done with the Canon cameras. Inter-cutting with 35mm film was seamless; great job done by your crew.

      Cheers,

      Malcolm

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      • Malcolm Matusky, thank you so much for your wonderful words and I love that you noticed that quality. This is my hybrid process of seamless cutting with multiple formats

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  15. Great article. While all the reviews of the movie are poor it seems like a lot of work went into it. CNN just reviewed the movie and hated it but maybe they missed something?

    http://tiny.cc/2wzjt

    All the reviews on imdb are bad as well.

    http://www.imdb.com/title/tt1591479/criticreviews

    I will see the movie anyway because of how helpful and inspiring your blog has been.

    Thanks for everything!

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    • I read a lot of the reviews this morning. It’s obvious these people just don’t get it. I think they’re just too conditioned to overly dramatic, catch phrase laden, Hollywood cliches. And I won’t even get into the painfully overt anti-military bias the majority of these critics start their reviews with. I saw the film on Friday. I loved how realistic it was and thought the SEALs did an amazing job. The movie ended in applause and almost everyone stayed through the credits – how often does that happen?

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  16. Shane,
    Just saw “Act of Valor!” What an incredible film and touching tribute to our nation’s warriors! Fantastic photography. The visual aesthetic of the DSLRs was both groundbreaking and awe-inspiring. As a fellow DSLR filmmaker, I am both excited and inspired by what you’ve done here. Your work motivates me to push my technique to the limit. Thank you, sir!

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  17. Just saw the film with my soldier son. Amazing! So is this story behind the story. I heard an industry publicist say “production is the new promotion”. It’s true. We fans love to know how the movies we love get made.
    Great work all around. We viewers appreciate it – even if we don’t understand all the tech talk.
    Thanks for faithfully bringing this story to life!

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    • Collier Ward, Thank you so much for your kind words of support. Screw the tech talk, if this film transported you and put you in the eyes of the Seal’s then I have done my job. Story is everything. I shoot with whatever tool will tell the story best.

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  18. Shane, saw the film tonight in Atlanta at AMC’s flagship theatre in GA, on their biggest screen. It was stunning. Nearly full house, and not a dry eye at the end. The film was applauded as the names of the fallen soldiers rolled.

    As an Atlanta DP who makes a living w/ my 7D your work inspires me. You guys revolutionized filmmaking tonight.

    Lastly, I have to say thanks to the SEALs and those like them. This is an honor long overdue. God bless them and their families. And thank you to your team for telling their story.

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    • Andy Waddell, thank you for those wonderful words. This means so much to me. I try to push the limit in everything I do, challenge myself as an artist. The SEALS are the heros, real hero’s, not the ones made up in films. Warriors, family men, great human beings that protect us.

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  19. Shane,
    Just saw the film and I have to say, what an incredible film and a touching tribute to our nation’s warriors. The visual aesthetic of the DSLRs was both groundbreaking and awe-inspiring. As a fellow DSLR filmmaker, I was both inspired and motivated to take my cinematography to the next level and to push my Canon to the limits in order to tell the story. Excellent job! Thank you for all you do to reach all of us around the world in order to share your knowledge and experience!

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    • Jonathan Iler, bravo, another comment that inspires me to continue to answer all of your comments and questions. Thank yo for the kind words and I will pass the cudos onto my Elite Team

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  20. I finally saw Act of Valor tonight…and it was everything I dreamed of and then some! I loved the ending…extremely powerful! Congrats on the fine achievement of creating a great film. I am truly inspired by the story, visual techniques, and high production value from The Bandito Brothers and every one else that helped make Act of Valor. I have only one complaint and it has nothing to do with the film…I truly wish the average person would take the extra 5 minutes to sit through the credits to appreciate the hard work…and the people it took to make such entertaining art. Needless to say, I sat till the very last frame and want to thank everyone that had a part in the making of Act of Valor! Shane, amazing work! Every time I pick up my camera and shoot I pretend that you are looking over my shoulder criticizing my work…forcing myself to take the extra second to think to myself…is this Shane Hurlbut worthy? Anyway, thank you for sharing your knowledge to future filmmakers like me and hope to cross path with you someday soon!!!

    Rob W. Scribner

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    • Rob W. Scribner, this comment is the exact reason I take the time to personally answer every question and or comment. Thank you for inspiring me, thank you for supporting us and I will continue to kick some serious ass.

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  21. I saw Act of Valor in a mostly full theater tonight in Nogales, Arizona. There are usually no more than 20 people in each theater. I stopped counting at 60. I went because I recently bought a 5d and wanted to see how it held up. I quickly forgot about the 5d and became immersed in the story.
    This is a great movie! Extremely well done! Bravo!
    The crowd applauded at the end. It would consider that to be a fairly rare occurrence. Congratulations to all who must have worked so hard to make it.

    Len Johnson
    Rio Rico, AZ

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    • Len Johnson, that is so great to hear. I love that. Thank you for your kind words and I feel confident that blazing the trail was the right way. My Elite team rocks

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  22. Great event at L.A. Live last night! Wish we could have heard more from you about the filming. I didn’t get to ask my question last night so thought I’d ask here…. How did the lighting techniques you used for this movie differ from that on your standard feature film? Also, how many 5Ds lost there lives in the making of this movie?

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    • Bill Schleicher, Thanks so much for coming and supporting the film. The lighting techniques didn’t differ the level of light changed. 6 5D lost their lives.

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  23. Congrats – #1 at the Box office (opening weekend 2/24).

    I caught it on Saturday Morning here in Phoenix. You guys made a hell of film on a shoestring. Innovation reinvents the form.

    Congrats!

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    • Kevin Bales, thank you so much for your kind words and support. Trying to stay on top of the wave, first one in

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  24. Congratulations on the box office winning opening weekend! My dad used to say “Cream rises to the top”. Looks like good films do the same

    Hal Smith
    Edmond, OK

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    • Hal Smith, thank you for the kind words and support.

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  25. I was impressed with the images. Enjoyed the film a great deal. Thanks for sharing this information.

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    • N.K.Osborne, you are very welcome, thank you for the support

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  26. I will like to see it on big screen. Actually I’m going to the State very soon and it’ll be a good time to see it.

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  27. “To be able to immerse an audience in a 3D experience that was shot 2D; to capture POVs that felt like you were in an intense first person shooter video game; to move a 2.5 lb camera in ways that you have never seen before.” What you said is the priciple of cinema. I agree.

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    • nancy m wu, exactly, it doesn’t matter what the tool is as long as it help transport the audience, evoke emotions.

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  28. Finally went to Act of Valor and saw it in the UltraAVX theater. Well done.
    Anyone hesitating to go and see the movie shouldn’t. Go see it. BTW, my wife liked the movie very much too!

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  29. Saw it opening weekend and was blown away. Amazing work by you and your crew. But there was someone that you left out in all the patting on the back above. I saw several still images of your sound mixer/recordist. You didn’t mention him or the boom op. Who was it and what did he record to. The only shot of the sound bag I saw was a limited angle. Maybe a Sound Devices 788T with 4 Lectrosonics SR units and a boom.
    What, no love for your soundies?

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    • Chas Gordon, Thank you so much for your kind words. Never leave out Gene the Machine sound mixer. Love him. If I was the Director I would never leave that part of the team out. But as a DP, the sound guy is part of the director’s team. Love sound and what it brings, without it we are making silent films baby

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  30. Beautiful the 5D is leading the way my Marine Corps Combat Camera team shoots strictly 5D this Film is one of the many reasons why we shoot with the DSLR.

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    • SSgt Robert Brown, thank you so much for your kind words. The platform rocks for this type of shooting.

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  31. Nice work Shane! Saw the film on Sunday afternoon and the theater was about 3/4 full. Hope it continues to kick butt!

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    • Mike Maslow, thank you so much for your kind words.

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  32. Congratulations Shane. I can’t wait to see the film.

    Oli.

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  33. I’m not gunna lie…you have completed the ultimate job.

    I went in trying to see if I could notice any of the filmmaking techniques that I knew were used to make this film. But the story was so good…I got wrap into the film and forgot.

    A+ script, story, and A+ to the other pointless jargon that we tend to pay attention to a little to much :-)

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    • Sean Vergara, thank you so much for those wonderful words. Telling the story the best way possible is my first concern. Tools to tell it, low on the todem pole.

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  34. You have completed the ultimate job!

    I set out to watch this film and see if I could catch any of the techiques that I knew took place in order to film it. But what ended up happening was, I became so enwrapped in the story I completely forgot to do that.

    So great job paying attention to what really counts. The story… and also A+ to making everything look so good. This does prove that all filmmakers need to pay attention to the story and use the tools they know… Not the other way around.

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  35. After atending your highly informative and entertaining DSLR video seminar at the Snader Tech Expo, I knew I had to see your complete film. Tonight, I just had one terrific cinematic experience! Because of your creative and innovative POV use of the Canon, I felt like I was part of the action. Amazing that I felt the effect of realism without 3D passive glasses or post production CG visuals. Great work !!!!
    BTW: clever product ID (CU) shot during the African desert scene.

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    • Bob Lee, Hi BOB, it was great meeting you in San Fran and I am so glad you liked the film. Thank you so much for those wonderful words.

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  36. Thanks so much for such an Epic movie!
    The movie rocked. The “actors” are beyond words. And your vision and technic are incredible.
    I’ve been waiting for this movie to come out since you guys posted the challenge to see who could recognize what camera was used. I even called Bandito to see when the heck the movie was coming out and when a year or so ago.
    It finally is out.
    Thanks again for such a great movie experience and mayor respect to you Shane and your crew.

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    • Kabir, you are so welcome and thank you for the kind words. It has been a long journey. I started on AOV in the spring of 2009.

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      • Thank you Shane.
        The wait was well worth it!
        And thanks for bringing us along for the ride.
        And what an awesome ride it is. Not only for your movie but also for this new technology.
        Thanks again.

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        • Kabir, you are so welcome and thank you for the kind words of support. I am enjoying the ride.

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  37. Shane, I enjoyed your stories of shooting this film at the Adobe event in Washington DC. I hope you got the chance to visit the Pentagon Memorial that night.

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    • Michael Joy, Thank you so much for coming and support ing us. No I unfortunately did not. Other work calls came in from the West Coast. I will make it my mission next time.

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  38. Shane – been waiting for this film since the bootcamp and saw it last week in Honolulu. Went to Pearl Harbor during the day and saw AOV at night. No doubt a great film but it also made me damn proud to be an American.

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  39. Shane! I got the pleasure of watching this last night in this very quaint theatre in central London’s regents street. We’re seeing less and less showings now as its been out for a month or so here. Can’t believe I nearly missed it as I have been following this project for quite a while.

    I have to say it was inspiring to watch having known what had went into it and the photography was amazing, great use of POV, whip pan transitions and the pace of the film was spot on! Oh and “water, water, water…BOAT!” bam! That was one of the best sequences I have seen in film!!!!

    Keep up the great work Shane, your dedication to trying out new things is inspiring!

    Regards

    Anthony Brown

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    • Anthony Brown, thank you so much for your kind words. I am so glad you got a chance to see it before its run was done. Thank you for supporting our blog.

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  40. good afternoon
    First of all excellent all information shared is helpful.

    My question is curious, wanted to know who has indentificar use the optical or tape cameras with color?, At a specific site, as in “mode dial” that helps?

    thanks
    Greetings from Venezuela

    Post a Reply
    • Leonardo Fernández, that was my elite team member Marc Margulies who came up with that idea, and we loaded it into our camera etiquette. Now you can get a locking dial for 150 bucks.

      Post a Reply

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  4. Act of Valor : Spooool - [...] actors and soldiers, with the real star of the show the director of photography Shane Hurlbut. The technical challenges …
  5. Wheels Within Wheels « Neil Oseman - [...] hassle. Stop/Eject is not the sort of film where we’ll being doing a lot of this (unlike Act of …
  6. MotionLife Media Blog - [...] them all beat with its infamous $1 million budget.  I was surprised to learn that Act of Valor, shot …
  7. EOS 5D Mark II + Adobe 就可拍出好萊塢電影? | Hot News 超級熱門新聞焦點 正妹美女圖! - [...] – Act of Valor (2012)Canon U.S.A. : About Canon : Press ReleasesAct of Valor: Reinventing the Action Genre | …
  8. 巨匠電腦屏東分校 佈告欄 » EOS 5D Mark II + Adobe 就可拍出好萊塢電影? - [...] Act of Valor: Reinventing the Action Genre | Hurlbut Visuals [...]
  9. Act of Valor: Reinventing the Action Genre « Color Passion - [...] on www.hurlbutvisuals.com Today, 11:12 am No Comments Short [...]

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