How to Plan Plot and Shot List a Commercial: Trane Pt 2

INCLUDED IN THIS LESSON:  8:15 Minutes of Instructional Video, Detailed Written Breakdown and Lighting Schematics    –Supplied w/English Subtitles

IN THIS LESSON YOU WILL LEARN:  This lesson is Part 2 of a 2 Part Series on Commercial Cinematography.  The Trane Commercials are considered to be some of the more electrifying spots created in the last decade. With digital capturing technology advancing and becoming smaller in size, it was easy to see that the Canon 5D MKII & MKIII were the right cameras to capture the high-octane stunts performed for the final product.

In this Lesson Shane Hurlbut ASC and his team take you through the process of setting up the right shots for your story and Shane takes you through his thought process behind picking the right camera for the job. You will learn how important it is to improvise and not be afraid to take some risks!

  • How to choose the right camera for the job
  • Setting up shots intensifying speed
  • What mobile platforms did we use
  • Covering your bases for possible shot scenarios
  • Communication to you team
  • Workflow and Camera settings
  • Where to rig your crash cams
  • About the magic of CGI and reality of stunts


<<<Elisha R>>>Outstanding info!
<<<Chris>>>Great lesson as always!
<<< Mike: Great breakdown!
We are directing all comments and questions to our New Forum, please find the related course in the forum’s categories to submit. 16 days ago

What is the budget for a commercial like this?

David Verwey 4 days ago

Hwo does the Alexa’s Cyan/Green Bias help with skintones? I’ve never worked with one, but its always held as the perfect camera for skintones where I would think the Canon C- series would have an edge?

    • Shane Hurlbut, ASC    1 days ago

      @David Verwey Film delivers more cyan tones than blue, I always liked films skin tones, because they were more Red/Yellow. Having that cyan/green bias helps you get there easier.

David Verwey 4 days ago

HI Shane, what a cool commercial. Love that shot of the bus hitting the ground! Do the production pay for the cameras that get destroyed in this process? Also, just for info, the BTS footage looks super low res and compressed, not sure if that was maybe an encoding error or just Vimeo? The shots of you look great in HD though. Thought I’d just let you know. not that it makes the lesson any less fantastic!

    • Shane Hurlbut, ASC    1 days ago

      @David Verwey Hi David, Yes production paid for the cameras but we did not destroy one of them in our cool pelican case crash boxes. HA HA. Yes some of the BTS was low res, but that is all we had and I think just like you said, better to see it and not have it. Helps the lesson