“I’ve met many Marty Mausers over the centuries. Some of them crossed me, some of them weren’t straight. They weren’t honest. And those are the ones that are still here. You go out and win that game, you’re gonna be here forever, too. And you’ll never be happy. You will never be happy.” –Milton Rockwell

The American Dream promises that anyone — regardless of creed, ethnicity, or origin — can rise to the top through enough hard work and a little tenacity. But there is a dark underbelly to that promise. What happens when the drive to win metastasizes into an obsession? What happens when a man refuses to stop, even if it means sprinting into the abyss, consumed by the terrifying need to secure his legacy at any cost? 

Josh Safdie has built his career on these high-wire acts. He specializes in character-driven narratives that trap the audience in the headspace of protagonists consumed by hubris and shortsightedness. These characters live violently in the present, blind to a future they are mortgaging for a momentary win. It is a cinema of anxiety, where we become accessories to every harebrained scheme and desperate gamble, feeling the walls close in alongside the anti-hero.

(SPOILERS AHEAD!)

Marty Supreme introduces the next evolution of this Icarus archetype — a man willing to leap from a tower on man-made wings, convinced he can soar to the heavens before the wax melts. Above all, Marty Mauser (Timothée Chalamet) seeks dominion over a sport the world largely dismisses: table tennis. Marty wants to be an ambassador, an icon, a legend. He has the charisma. The talent. The determination. But he lacks the fortune — so he decides to create his own, regardless of the collateral damage.    

So, what happens when the world refuses to respect your dream? Do you fold, or do you burn the house down to prove you were right?

This is the visual language of obsession; this is the aesthetic of a man willing to go to hell and back to achieve greatness.

This is The Look of Marty Supreme.

⍟ MARTY SUPREME TECH SPECS ⍟

• Runtime: 2 hour 29 minutes (149 minutes)
• Color: 
  • Color 
  • Black and White (newsreel scenes)

• Aspect Ratio: 
  • 2.39 : 1

• Camera: 
  • Arricam LT, Panavision B-, C-, E-Series and PVintage Lenses
  • Arricam ST, Panavision B-, C-, E-Series and PVintage Lenses
  • Arriflex 416, Panavision Primo Lenses (some shots)

• Negative Format: 
  • 16mm (Kodak, some shots)
  • 35mm (Kodak Vision3 500T 5219)

• Cinematographic Process: 
  • Digital Intermediate(4K, master format)
  • Panavision(anamorphic, source format)
  • Super 16(source format, some shots)
  • Super 35(source format)

• Printed Film Format: 
  • 35 mm(Kodak)
  • 70 mm(blow-up)
  • DCP Digital Cinema Package

🏓 THE WORLD OF MARTY SUPREME 🏓

The Safdie brothers have always excelled at entrenching their audience in the granular details of the American Jewish experience. Much like Uncut Gems, Marty Supreme is deeply rooted in its rich culture, particularly in Brooklyn. 

The specter of the war looms large over the film’s 1950s setting. The memory of the Holocaust is fresh, anti-Semitism simmers beneath the surface, and the geopolitical trauma is personified by characters like Milton Rockwell (Kevin O’Leary), who blames the Jewish people for the loss of his son in the war. This tension culminates in the film’s climax: a politically charged table tennis matchup between an American Jew and a Japanese champion.

THE REAL MARTY AND THE UNDERGROUND HUSTLE

While Timothée Chalamet’s Marty Mauser is a fictional creation, his DNA is directly extracted from the real-life legend Marty Reisman. Known as “The Needle” for his slender frame and sharp wit, Reisman was the undisputed king of the table tennis underground. Safdie was drawn to Reisman’s autobiography, The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler, seeing in it a dark, twisted metaphor for the American Dream. Like Mauser, the real Reisman was a flamboyantly dressed hustler who viewed the sport not just as a game, but as a vehicle for survival and self-mythology.

This ambition played out in a specific, gritty ecosystem that the film painstakingly recreates: the underground ping-pong parlors of 1950s New York. Far from the suburban rec rooms of popular imagination, places like Lawrence’s Broadway Table Tennis Club were smoke-filled dens of iniquity located in the heart of Times Square. This was a true counterculture, a sanctuary for a motley crew of New York’s “misfits, weirdos, and grifters.” In this subterranean world, the lines between sport and survival blurred, where gangsters, artists, and hustlers rubbed shoulders over high-stakes matches played under the harsh glow of tungsten lights.

CLASS, AMBITION, AND THE WORLD OF BROOKLYN

While the 1950s are often remembered as an era of affluent, white-picket-fence America, the Safdies present a working class Brooklyn defined by stark class divides. We see a clear line between the struggling working class and overwhelming, inaccessible wealth. For Marty, money is a desperate need that fuels his ambition to become the face of table tennis.

This desperation drives the narrative from the very beginning, kicking off with Marty taking money from his uncle’s shoe store vault — money he claims is “owed” to him — to fund his trip to the table tennis competition in London. His relationship with that capital is also performative and careless. For example, he upgrades his hotel suite at the Ritz and pays for Milton Rockwell’s dinner just to project confidence and brag about prize money he hasn’t yet won. 

Marty Supreme | A24

He leverages this hubris into a hustle, pitching Rockwell on a sponsorship deal and suggesting that table tennis is the perfect vehicle to market Rockwell’s ink business. But when he loses, the reality of his financial precarity hits hard. The champion-to-be is forced to recoup costs in a humiliating fashion: playing table tennis as a novelty sideshow during the halftime of Harlem Globetrotters games.

ANCHORS AND OBSTACLES

Back in Brooklyn, Marty feels suffocated by the life he is trying to escape. His uncle threatens police intervention over the stolen money to coerce him back into the family shoe business. He avoids his overbearing mother (Fran Drescher) like the plague, viewing her as an anchor dragging down his ambitions. To complicate matters further, he has impregnated a married neighbor, Rachel Mizler (Odessa A’zion), whose love for him serves as yet another barrier between Marty and his dream of freedom. 

Marty Supreme | A24

This domestic claustrophobia stands in sharp contrast to the opulent world of Milton Rockwell and his movie-star wife, Kay Stone (Gwyneth Paltrow). They possess everything Marty craves — wealth, status, freedom — yet they despise one another and barely register his existence as he desperately shoehorns himself into their lives. Even starting a chaotic tryst with Kay. 

THE FINAL GAMBLE

The film’s tension explodes in the final act when Marty strikes a devil’s bargain with Rockwell, agreeing to travel to Japan for a table tennis exhibition where he must throw the game against the Japanese champion, Koto Endo (Koto Kawaguchi). The stakes of this match are massive for everyone involved. For Japan, Endo represents a beacon of hope for a defeated population living in the shadow of the war. For Rockwell, the match is a Trojan horse designed to open a new frontier for selling American ink. And for Marty, it is simply his ticket to the big leagues.

But in true Safdie fashion, Marty’s ego refuses to be contained. In the final moments, he reveals to the crowd that the fix is in and goads Endo into playing a game “for real,” only to defeat him. In doing so, Marty crushes the hope of a recovering nation and torpedoes Rockwell’s business deal, proving that his need to win in the moment outweighs any future consequence.

⍟ MARTY SUPREME PRODUCTION DESIGN ⍟

The production design of Marty Supreme is a sprawling, meticulous recreation of 1950s New York, Japan, and Europe, led by the legendary three-time Oscar nominee Jack Fisk. Known for his long-standing collaborations with auteurs like Terrence Malick and Paul Thomas Anderson, Fisk’s partnership with Josh Safdie represents a collision of old-school period prestige and high-energy, contemporary filmmaking. In Safdie, Fisk found a collaborator who reminded him of the directors he started with 50 years ago, possessing a “whole being” dedicated to filmmaking that results in a shared “tunnel vision” on set.

THE FISK-SAFDIE PHILOSOPHY: “DOCUMENTARY” REALISM

Jack Fisk’s approach to Marty Supreme was defined by a commitment to absolute focus. He noted that finding directors who inspire him is the primary factor in choosing his projects, and Safdie’s passion mirrored the excitement Fisk felt at the beginning of his career in the 1970s. Fisk treats his sets not just as backdrops, but as a form of “Method building” or a lived-in documentary. He believes that if a set is closer to authenticity, it helps the actors understand their characters more deeply.

Paramount/Courtesy Everett Collection

This philosophy extends to creating details that might never be captured on camera. Fisk believes that even designs that don’t make it onscreen seep into the DNA of the movie and inform the performances, allowing actors to “get lost in the moment easier.” This collaborative spirit meant that the scope of the film was constantly expanding. If Fisk suggested ten ping-pong tables for a set, Safdie would push for twenty, always wanting things bigger than what had previously been done. 

RECONSTRUCTING LAWRENCE’S BROADWAY TABLE TENNIS CLUB

One of the film’s most central locations is Lawrence’s Broadway Table Tennis Club, a legendary spot that Fisk had to recreate level-by-level because the original building had been torn down. To achieve this, Fisk utilized city tax photos and original blueprints sourced by executive producer Sara Rossein. Fisk was particularly interested in the building’s history, noting it was an industrial space that had housed a car-parts business and an acting school on different floors. 

Marty Supreme | A24

Research revealed a fascinating layer of the club’s history: before it was a ping-pong parlor, the space housed an indoor miniature golf course. Fisk’s team recreated the hand-painted landscape murals — featuring trees, fog, and bushes — that were original to that golf course, even though they are barely visible in the final cut. The art department even discovered a 16mm film of people playing at the original club, which allowed Fisk to see the actual colors of the space and ensured the reconstruction was as authentic as possible.

THE LOWER EAST SIDE: MODULAR NEIGHBORHOODS

Recreating the Lower East Side of the 1950s presented a massive logistical challenge, as modern storefronts, glass, and graffiti have significantly altered the landscape. Fisk remarked that the neighborhood doesn’t look anything like it did seventy-five years ago because almost every storefront has been modernized. To solve this, Fisk and his team developed a modular system of tenement fronts that could be placed in front of contemporary buildings in record time.

On Orchard Street — a location chosen because it was historically the only place open on Sundays due to blue-law exceptions — the team hung period signs and awnings over modern buildings to hide contemporary glass. Set decorator Adam Willis then added layers of street vendors and tables to create a sense of density and “wrinkled” realism. The crew also studied Ken Jacobs’ 1950s short film Orchard Street as a primary piece of research for streetscapes and crowds, which Fisk described as the key piece of research that brought the whole crew together.

“AVOIDING WHITE LIKE THE PLAGUE”

Fisk’s color palette for Marty Supreme was strictly informed by 1950s period color charts and the technical requirements of shooting on celluloid. He famously avoids using white on his sets, noting that it seems more contemporary and can “burn a hole” in the film. Because white on a piece of celluloid effectively leaves the negative clear with no detail, Fisk finds it visually distracting and prefers “rich colors.” 

Marty Supreme | A24 | Matt Heister

In his research of old buildings, Fisk often peels away paint or moves light switches to discover the original colors underneath. Cinematographer Darius Khondji noted that this approach helped create a dingy, downbeat ambience. Everything was “dirtied-up” to look real and wrinkled, which Khondji felt complemented the texture of the film stock on the actors’ faces. 

PRACTICAL GRANDEUR: THE WOOLWORTH MANSION

To contrast Marty’s grimey Brooklyn roots, the production needed a location that represented overwhelming wealth. They eventually secured the Woolworth mansion on East 80th Street to serve as the home of Kay Stone and Milton Rockwell. Because the mansion was a $38 million historical property, the art department had to build independent structures to hold lighting rigs, allowing them to light the interior without ever touching the original walls or ceilings.

Marty Supreme | A24

Fisk and Willis used the top three floors of the mansion, which were exquisitely decorated. Fisk noted that the production could never have afforded to create that level of opulence from scratch, and it served as a vital over-the-top contrast to Marty’s working-class background. This visual divide was essential to the story of a character desperately trying to shoehorn himself into a higher social class.

GLOBAL SCALE: BOWLING ALLEYS TO TOKYO

The scope of the production design extended far beyond New York, requiring Fisk to pivot between vastly different environments on a tight schedule. For a scene shot in an upstate bowling alley, the team had to strip away fifty years of accumulated modern items to restore the 1954 vintage look, which included ensuring the original machinery still worked.

For the climactic match in Japan, Fisk collaborated with a Japanese art department for a month before traveling to Tokyo. They found a concert shell in a park that was “perfect” for the period and built bamboo towers covered in Japanese graphics. These designs were based on photographs from actual world tournaments held just a year or two after the film’s setting. Fisk was particularly impressed by the efficiency of the Japanese crew, noting that a period-accurate Japanese ping-pong table was produced almost immediately after he sent a reference photograph.

🏓 MARTY SUPREME CINEMATOGRAPHY 🏓

The cinematography of Marty Supreme represents a sophisticated fusion of 1950s period aesthetics and contemporary kinetic energy, reuniting cinematographer Darius Khondji, ASC, AFC, with director Josh Safdie following their collaboration on Uncut Gems. Khondji describes the visual approach as an “anthropological study” of a man living in 1952 New York City, capturing the protagonist’s obsessive drive through a lens of “brash beauty.” While the film is a period piece, Khondji and Safdie avoided a purely nostalgic look, instead marrying vintage photographic textures with a modern emotional pulse influenced by a soundtrack featuring 1980s music. This stylistic juxtaposition creates a timeless atmosphere that Khondji feels gives the film a unique “strength” and “modernity.” 

The core philosophy of the film’s imagery is rooted in the human face. Khondji emphasizes that “the story is told by faces,” and he approached the cinematography as if he were using a magnifier to search the characters’ eyes for their underlying souls. This required a departure from standard coverage. The team often utilized extremely long lenses to capture medium and tight shots, creating a sense of “magnified realism” that keeps the audience intimately entrenched in the characters’ headspace.

THE LENS LANGUAGE: MAGNIFICATION AND THE 360MM “JEWEL”

A defining technical aspect of Marty Supreme is the aggressive use of long anamorphic lenses, a preference of Safdie’s that Khondji fully endorsed. While typical anamorphic wide shots might utilize 40mm or 50mm lenses, this production frequently used 65mm, 75mm, and 100mm glass even for wider compositions. This choice minimizes depth of field and forces a subjective point of view, which Safdie believes mimics how the human eye focuses on specific interactions while blurring out the periphery.

Marty Supreme | A24

One of the most notable pieces of glass used on set was a vintage 360mm anamorphic CinemaScope lens that Khondji found in the cupboards at Panavision after researching the work of Italian cinematographer Gianni Di Venanzo. Safdie and Khondji treated this rare lens like a “jewel,” using it to achieve extreme compression in the image. In one instance, during a close-up of Gwyneth Paltrow in a stadium, the camera was positioned on the opposite side of the arena, creating an image that felt “almost like a dream” due to the intense spatial compression.

THE CHOICE OF 35MM FILM AND TEXTURAL REALISM

Although Khondji has mastered both digital and analog formats, Marty Supreme was primarily originated on 4-perf 35mm film using Arricam LT and ST cameras. Khondji notes that the film stock — specifically Kodak Vision3 500T 5219 — provides a “painterly look” and a physical texture that digital sensors cannot replicate. He describes the film negative as having a “crust” or “skin” like a painting, which becomes particularly evocative when capturing the pockmarks and acne added to Timothée Chalamet’s skin to enhance the film’s “realness.” 

Marty Supreme | A24

To further enhance this texture, Khondji often pushed the negative during processing. This technique increased the grain and provided a specific “analog feeling” that he found essential for the 1950s setting. While a small portion of the film was shot digitally for logistical reasons, Khondji worked closely with colorist Yvan Lucas at Company 3 to ensure a seamless match, though he maintains that the “incredible pleasure” of shooting film remains his preference for character-driven stories. 

LIGHTING PHILOSOPHY: “POOR-LIGHT” REALISM

The lighting in Marty Supreme was guided by a concept Khondji calls “poor-light” realism. This approach stems from the historical reality that 1952 New York was not as brightly lit as modern cities. Light was a necessity found in specific “pools” rather than a ubiquitous presence. Khondji aimed for a naturalistic warmth by turning lights off to create shadows and using single-direction sources that felt “murky” and “dirty” rather than traditionally “pretty.”

Marty Supreme | A24

For the table-tennis sequences, Khondji and gaffer Ian Kincaid tested various modern fixtures but ultimately settled on vintage “mushroom” lights. Khondji felt these provided the most beautiful top-down illumination for the actors’ faces, drawing inspiration from the boxing ring paintings of George Bellows. In the shoe store where Marty works, the team placed bulbs in soft little pools of light, using pushed film to capture the rich color separations and the “painterly look” of the hallway and boxes.

CAMERA MOVEMENT AND KINETIC GRACE

The film’s movement is described as a “wild ride” with nonstop energy, often following Chalamet as he runs through the streets of New York. To capture these frenetic sequences on location, the crew utilized a sophisticated camera car setup equipped with a small crane that was hand-operated by grips Richie Guinness Jr. and Joe Belschner. This allowed the camera to maintain a “kinetic grace” while navigating the tight angles of Orchard Street, which production designer Jack Fisk had modularly transformed to look like the 1950s. 

Despite the high-speed movement, Khondji remained conscientious about the “rhythm” of the camera. He believes that camera movement, lighting, and color are deeply connected to music, a sentiment echoed by Safdie’s use of sound to drive the film’s pacing. This rhythmic approach is best seen in the table-tennis matches, which were shot live with three cameras. Khondji avoided “gimmicky” or commercial-style angles, instead positioning the cameras at the height of the characters to capture the “dance” of the sport in a classical, dignified manner.

ANECDOTES FROM THE FIELD: FROM TOKYO TO THE ENDING

The production’s logistical challenges often led to unique creative solutions. When the team could not find a suitable location near New York for the climactic Japanese championship, they opted to fly a minimal crew to Tokyo to shoot outdoors in a park concert shell. Khondji found the Japanese crew to be exceptionally talented, noting that the change in environment created a different visual energy that felt more “intimate” due to the specific daylight and lenses used on location.

Marty Supreme | A24

One of the most emotionally charged moments for the crew was the filming of the movie’s ending. To capture the final scene in a hospital, the crew treated the shoot like a documentary, using a long lens to observe Marty from a distance. Khondji recalls that the crew attempted to “erase” themselves physically, staying silent and remote so as not to invade the actors’ space during the deeply moving moment. This quiet, observational technique resulted in a powerful final shot that Khondji says left many of the crew and friends of the production in tears during screenings.

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⍟ MARTY SUPREME COSTUME DESIGN ⍟

The costume design for Marty Supreme complements a character defined by relentless self-invention and the “fake it till you make it” spirit of the American dream. Led by costume designer Miyako Bellizzi in her third collaboration with director Josh Safdie, the wardrobe was tasked with a massive scale of world-building, involving over 5,000 costumes and 150 speaking roles. 

Bellizzi and Safdie approached the 1952 setting as a “lived-in” reality where clothes reflect the internal state of the characters. Bellizzi describes the wardrobe as a manifestation of Marty’s aspirations. She notes that the gray suit he carries in a dry-cleaning bag early in the film represents the man he wants to be, rather than who he currently is. 

THE SILHOUETTE OF AMBITION: DRESSING MARTY MAUSER

To capture the essence of Marty Mauser, Bellizzi looked toward the “wise guys” and hustlers of the Lower East Side for inspiration. She placed Chalamet in boxy, oversized suits that drew heavily from the 1940s Zoot suit silhouette to telegraph his status as an outsider who felt he was greater than his job at a shoe store. A key technical adjustment involved the addition of shoulder pads to Chalamet’s suits. This change was intended to prevent the actor from looking “collegiate” and fundamentally altered his physical presence and gait. This “gangster” swagger was purposefully juxtaposed with his eyeglasses, which Safdie felt reflected a sense of youthful vulnerability and an “upward-striving” element of his character.

Marty Supreme | A24

In pursuit of extreme authenticity, Bellizzi obsessively searched for specific vintage items, such as the exact shape of a 1950s tank top that Marty wears under his shirts. She notes that the shape of a vintage tee is distinct from modern versions, and finding the right one felt like “winning the lottery.” One of the most iconic additions to Marty’s wardrobe — a pair of red leather gloves — came about organically during a fitting when Chalamet simply threw them on while eating a hot dog. This spontaneous moment of creativity led to the custom fabrication of the gloves, which became a favorite detail of the design team.

Marty Supreme | A24

THE “BIBLE” OF THE LOWER EAST SIDE VS. UPPER EAST SIDE HAUTE COUTURE

The visual world of Marty Supreme is divided by a sharp class contrast between the Lower East Side and Upper East Side. As previously noted, the primary reference for the downtown world was a 1955 Ken Jacobs documentary shot on Orchard Street. The filmmakers treated this as their “Bible” for the film. In the Lower East Side, Bellizzi used silhouettes from the 1940s to suggest that people were wearing clothes they had owned for a decade, creating a sense of history and immigrant struggle. She even sourced women’s tights from a Hasidic Jewish Center in Williamsburg to ensure every layer was historically accurate.

This contrasts with the world inhabited by the former movie star, Kay Stone (Paltrow). For Kay’s wardrobe, Bellizzi looked toward the “New Look” of emerging fashion houses like Dior and Balenciaga. Kay’s character arc is told through a subtle color story: she begins the film in a “grayscale world” of black and white to reflect her emotional stagnation, but her palette eventually softens into pale blues, creams, and butter yellows as she meets Marty. Her red dress in Central Park marks a pivotal emotional awakening, signifying a moment when she feels truly alive again.

GLOBAL SCOPE AND PERSONAL HISTORY IN JAPAN

The production’s scope extended far beyond New York, requiring Bellizzi to design table-tennis uniforms for 16 national teams, including Brazil, India, and Germany. Each team required distinct polo silhouettes, warm-ups, and custom chest patches that Bellizzi either researched or invented from scratch. The film also required 10 custom-made warmup uniforms for the Harlem Globetrotters, as authentic vintage versions from the 1950s were impossible to source in necessary quantities.

Marty Supreme | A24 | Matt Heister

Marty Supreme | A24

The Japan sequences held deep personal significance for Bellizzi, who utilized her own family archives to research the postwar era. Her family had been in American internment camps during the war before relocating to New York, and she used photos of her great uncle in uniform to inform the looks of the “everyday people” in the Tokyo scenes. She aimed for an intimacy in the Japanese wardrobe that felt grounded in real family history rather than generic period tropes.

LIVED-IN REALISM AND CUSTOM CONSTRUCTION

A hallmark of the Safdie-Bellizzi collaboration is the lived-in quality of the costumes. Because Safdie believes that captured life should look like it wasn’t created for the camera, Bellizzi’s team would often weather the clothes they built to make them look authentic. This included distressing fabrics and aging garments so they appeared to have been worn for years. This philosophy extended to supporting characters like Marty’s mother (Drescher), and his girlfriend Rachel (A’zion). Rachel’s wardrobe included 1950s-accurate maternity wear, such as pencil skirts with cutouts for her belly, built specifically to handle the action-packed nature of the script.

Odessa A’zion as Rachel Mizler | jimagraphy via Instagram

Working with icons like Isaac Mizrahi and Sandra Bernhard also provided unique collaborative opportunities. Mizrahi, a designer himself, acted as a creative partner in his own fittings, discussing bias cuts and tailoring with Bellizzi. For the character of Wally, played by Tyler the Creator, Bellizzi had to actively “tone down” the artist’s natural flair for bright colors to ensure his character remained distinct from his public persona, opting instead for baggy shirts and braces that fit the period’s “outsider” vibe. 

Marty Supreme | A24

In the end, the true measure of success wasn’t just period accuracy, but iconography. Safdie hoped the looks would inspire Halloween costumes. To him, this would serve as the ultimate proof that the wardrobe had distilled the character’s ‘essence’ into an instantly recognizable visual shorthand.

🏓 WATCH MARTY SUPREME 🏓

Transcending the boundaries of the traditional sports drama, Marty Supreme is a psychological symphony of period-accurate details that mirror the obsession of its protagonist. 

For filmmakers, the film showcases how production design, cinematography, and costume design can coalesce to form a unified narrative voice. Whether it is the grain of the 35mm stock or the specific silhouette of a boxy 1950s suit, every choice on screen is an intentional reflection of Marty Mauser’s internal world.

Marty Supreme is currently in theaters and will be made available to watch on major streaming services and for digital purchase in the coming months. 

Don’t miss the opportunity to witness Safdie’s “cinema of anxiety” on the largest screen possible to fully appreciate the “brash beauty” of Khondji’s photography.

MASTER THE CRAFT WITH FILMMAKERS ACADEMY

The level of detail found in Marty Supreme is the result of decades of experience — knowledge that is meant to be shared. At Filmmakers Academy, we provide the resources to help you bridge the gap between creative inspiration and professional technical execution.

JOIN PREMIUM MEMBERSHIP TO LEARN FROM INDUSTRY PROFESSIONALS! 

The post The Look of Marty Supreme appeared first on Filmmakers Academy.

George Eastman | Bettmann Archive

Without this flexible medium that could be wound through a camera, advanced frame by frame, and projected in rapid succession, the moving image would have remained an impossible dream. This single breakthrough opened the door to an entirely new art form. And it was one that would reshape human storytelling forever.

Before diving into the technical craft, it’s essential to understand why this education is so vital and why Filmmakers Academy is dedicated to bringing it to a modern audience.

WATCH THE INTRO LESSON:

THE ENDURING LEGACY OF CELLULOID:

For over a century, motion picture film has been the backbone of cinema. It has shaped how movies are made and how we see and understand the world itself. The masters who defined the art form — filmmakers like Stanley Kubrick, Vilmos Zsigmond, Agnès Varda, and Martin Scorsese — all crafted their visions through the unique artistry of celluloid.

Agnès Varda | Courtesy Academy Museum of Motion Pictures

Today, that tradition burns brighter than ever. Contemporary auteurs like Paul Thomas Anderson, Lynne Ramsay, Christopher Nolan, and Quentin Tarantino don’t just prefer film; they’ve made it their cornerstone, often refusing to work with anything else. 

Lynne Ramsay | Photo Credit: Kimberley French

A new generation of filmmakers is discovering this medium daily, yet quality, practical education about it remains frustratingly out of reach for most.

HOW FILM TRANSFORMS THE CREATIVE PROCESS:

For Brendan Sweeney, CEO of Filmmakers Academy, working with motion picture film was a transformative experience. It’s a completely different creative process from digital. It forces a filmmaker to be more intentional and more collaborative on set. It also connects the creator to something tangible.

Brendan Sweeney | Photo Credit: Steven Napolitano

All in all, celluloid creates analog, adrenaline-fueled moments when the camera rolls. The filmmaker knows that everything must be perfect because there’s no “delete” button. This process demands a level of discipline, preparation, and trust in your team that digital capture, for all its conveniences, simply does not.

THIS IS THE DNA OF FILMMAKING:

In this course, Brendan Sweeney guides filmmakers through cinema’s most enduring tradition, showing them how to understand film and make it accessible for their own work.

Here’s the most important takeaway: whether a filmmaker is shooting film today, next year, or remains devoted to digital, understanding this medium will make them a better filmmaker.

When a filmmaker understands how film sees light, how it renders color, and how an emulsion captures a “real” image, they gain a foundational knowledge of light, exposure, and texture. 

This knowledge translates directly to their digital work. It allows them to make better, more intentional choices on any camera, in any format, for the rest of their career.

Understanding Film’s DNA: The Chemical Magic of Celluloid

In an age of digital pixels and AI-driven imagery, motion picture film remains a marvel of chemical engineering. This lesson peels back the layers of celluloid to reveal why it still serves as the gold standard for cinematic storytelling.

You will learn that film is a “chemical canvas” comprised of a stable plastic base and a light-sensitive emulsion. Suspended within this emulsion are millions of silver halide crystals — the true architects of the film look.

Click the button below to get the first lesson for FREE!

Whether you are an analog purist or a digital shooter looking to understand the roots of your craft, this lesson provides the essential theory behind the “film look” that digital cameras have spent decades trying to emulate.

Exposing Motion Picture Film Masterclass

The post Motion Picture Film For Beginners appeared first on Filmmakers Academy.

Steve Yedlin, ASC (Knives Out, Star Wars: The Last Jedi, Looper) rejects this notion entirely.

A cinematographer who is equal parts artist and scientist, Yedlin has spent his career dismantling the superstitions of the industry. He doesn’t just light sets; he writes code. He doesn’t just pick LUTs; he builds mathematical pipelines to render images exactly how he envisions them. 

In a recent conversation with Finding the Frame, Yedlin opened up about his 30-year collaboration with director Rian Johnson, his controversial stance on the “Film vs. Digital” debate, and the custom technology he built for the upcoming Knives Out mystery, Wake Up Dead Man.

This episode is proudly sponsored by Nanlux-Nanlite Lights, B&H and Hollyland.

Watch the Full Episode

THE MYTH OF THE “MAGIC” SENSOR:

Perhaps the most defining aspect of Yedlin’s philosophy is his rejection of brand allegiance. In his view, a camera is a data-gathering device, not a paintbrush. The art comes from how you process that data.

When asked the age-old question—”If you want the film look, why not just shoot film?” — Yedlin offers a perspective that shifts the paradigm from shopping for a look to authoring one.

“The word ‘just’ is doing a lot of heavy lifting there,” Yedlin explains. “There is a confusion between a developer and a user. It’s like saying to the person who designs the iPhone, ‘Why don’t you just use Android?'”

Yedlin argues that shooting on film relies on the R&D of thousands of engineers from the past century. When you shoot film, you are largely accepting a look that was engineered by Kodak or Fuji. When Yedlin shoots digital, he isn’t accepting the default look of the camera manufacturer; he is using his own proprietary algorithms to transform that data into a specific aesthetic.

Star Wars: The Last Jedi | Disney

This approach was put to the ultimate test on Star Wars: The Last Jedi, where Yedlin shot roughly half the movie on 35mm film and half on digital. Through his rigorous color pipeline, he matched them so seamlessly that audiences couldn’t tell the difference.

“I’m advocating for people to be authors instead of shoppers,” Yedlin says.

By understanding the math behind the image, cinematographers can stop relying on the “superstition” of camera brands and start taking control of their own visual fingerprint.

A 30-YEAR SHORTHAND: COLLABORATING WITH RIAN JOHNSON

Yedlin’s career is inextricably linked to director Rian Johnson. The two met when Yedlin was a high school senior and Johnson was a freshman at USC. They bonded over student films and weekend shoots, developing a language that has spanned from the indie grit of Brick to the polished whodunnits of Benoit Blanc.

“Working with Rian always feels like the comfort of family,” Yedlin shares.

Steve Yedlin, ASC with Rian Johnson Behind the Scenes of “Wake Up Dead Man” | Courtesy of Steve Yedlin, ASC

Their dynamic is built on a clear division of labor and immense trust. Johnson is a master of shot design. He knows exactly what he wants the camera to do and how the blocking should work. However, he does not micromanage the lighting or the technical execution.

“He knows what he wants up to his part… and then he trusts me to make that a reality,” Yedlin says.

This allows Yedlin to use his prep time effectively. Instead of spending weeks trying to figure out what the movie is, he spends that time engineering exactly how to achieve the specific, ambitious visuals Johnson envisions.

WAKE UP DEAD MAN: A GOTHIC EVOLUTION

For the third installment of the Knives Out franchise, Wake Up Dead Man, the duo is taking a sharp visual turn. If Knives Out was an autumnal New England mystery and Glass Onion was a sun-soaked Mediterranean romp, the new film is pure Gothic atmosphere.

“It’s a totally different story,” Yedlin notes. “This is a much more Gothic story that even has horror-type elements.”

Wake Up Dead Man: A Knives Out Mystery | Netflix

One of the centerpieces of the film is a massive church set designed by Rick Heinrichs. To tackle the complex lighting requirements — which included shifting from sunny days to overcast gloom to dusk within the same location — Yedlin utilized a blend of old-school stagecraft and cutting-edge tech.

Instead of using a digital LED volume for the views outside the church windows, the production used massive painted backdrops.

“It was amazing to see the artistry of the scenic painter, Steve Mitchell,” Yedlin says.

Rian Johnson and Steve Yedlin, ASC Behind the Scenes of “Wake Up Dead Man” | Courtesy of Steve Yedlin, ASC

By lighting the painted backdrop separately from the set, Yedlin could control the time of day physically. He could silhouette the trees against a deep blue for night, or blast the sky with light to create a blown-out day look. It was a tactile, theatrical approach that fit the film’s heightened reality.

INVENTING THE TOOLS:

Yedlin’s “author, not shopper” mentality extends to his on-set tools. For Wake Up Dead Man, he utilized custom software (currently a “Frankenstein prototype” he is developing) to gain unprecedented control over lighting.

Wake Up Dead Man: A Knives Out Mystery | Netflix

Making Dumb Lights Smart 

On a massive set like the church, renting hundreds of high-end, color-controllable movie lights would have broken the budget. Instead, they used cheap LED ribbons to build softboxes. 

However, cheap LEDs usually have terrible color controls. Yedlin’s system allowed him to treat these “dumb” strips like high-end fixtures, using data sets to force them to output precise chromaticities.

Controlling the Practicals 

In modern movies, screens are everywhere. Phones and tablets usually blow out or look too blue on camera. Yedlin integrated the on-set phones into his lighting system. 

“I can change the brightness and color remotely from my station,” he explains.

If a phone screen looked too magenta, he could dial it out instantly without stopping the take to dive into the phone’s settings menu.

The “Fire in the Eyes” Trick 

Yedlin also revealed a brilliant hack for creating realistic reflections. In scenes featuring fire, rather than waving a flag in front of a light, he fed footage of fire (shot at 200fps for a slow, roiling look) into monitors placed off-camera.

“We use the luminance from the photography… and then we set the color on set,” he says. This allowed him to create the perfect, dancing reflection of fire in an actor’s glasses or eyes, with total control over the shape and intensity.

THE BOTTOM LINE:

In an age of streaming content and AI generation — which Yedlin dismisses as a “fuzzy search engine” and a “mash-up machine” — his advice to upcoming cinematographers is simple: Don’t try to fit in.

“If you’re trying to have a job that is creative and unique, there needs to be something specific about you that’s not an interchangeable cog,” Yedlin advises.

Steve Yedlin’s career is proof of that concept. By refusing to accept the default settings of the industry, he has carved out a visual niche that is entirely his own. He doesn’t just capture the image; he engineers it.

FINDING THE FRAME PODCAST AND FILMMAKERS ACADEMY: 

This article is based on an interview with Steve Yedlin, ASC on the Finding the Frame Podcast, a valuable resource for filmmakers seeking insights from industry professionals. The podcast, hosted by Chris Haigh, provides a platform for in-depth conversations with cinematographers, directors, production designers, and other key figures in the film industry.

Filmmakers Academy offers a comprehensive online learning platform for aspiring and established filmmakers. Filmmakers Academy provides the knowledge and skills needed to succeed in the industry with courses covering all aspects of filmmaking, from cinematography and lighting to editing and color correction.

JOIN FILMMAKERS ACADEMY AND SAVE $50!

Ready to take your filmmaking skills to the next level? Join the Filmmakers Academy community and gain access to exclusive content, expert mentorship, and a network of passionate filmmakers. Use code FABL0G50 to save $50 on your annual membership! 

The post The Cinematography of Wake Up Dead Man appeared first on Filmmakers Academy.

Film is making a comeback. From the IMAX spectacle of Oppenheimer to the gritty texture of indie darlings, directors are returning to the medium. But shooting on film is a discipline. It demands that you stop relying on a monitor and start trusting your eye, your tools, and your knowledge.

That is why I partnered with KODAK to create the Exposing Motion Picture Film Masterclass. Drawing from my experience lensing over 23 feature films on 35mm, 16mm, and Super 8 since 1986, this course demystifies the process of exposing film.

Below is an in-depth look at the foundational principles covered in the first chapter of the masterclass. We are going to strip away the digital safety net and look at the science of film stocks, the difference between negative and reversal, and the glass filters required to paint with light.

PART 1: UNDERSTANDING YOUR CANVAS (FILM STOCKS)

Before you can expose a single frame, you must understand the physical medium you are loading into the camera. Unlike a digital sensor, which has a fixed native sensitivity, film allows you to change your “sensor” every time you change a roll.

1. DECODING THE NUMBERS: 35MM VS. 16MM

Kodak organizes their film stocks using a specific numbering system. Understanding this code is the first step in professional film logistics.

2. COLOR NEGATIVE FILM: THE INDUSTRY STANDARD

The vast majority of modern motion pictures are shot on Color Negative film. This film produces an image with inverted colors and tones. When printed or scanned, these colors are reversed to create the final positive image. Color negative is processed using the ECN-2 chemical process.

3. COLOR REVERSAL FILM (VNF): THE “NEWS” AESTHETIC

Before video cameras took over, news broadcasters used Reversal Film, often called Video News Film (VNF). Unlike negative film, reversal film produces a positive image directly on the strip — like a slide projector image.

The Aesthetic Trade-off: Reversal film has significantly less dynamic range (latitude) than negative film. If you miss your exposure, the film is unforgiving. However, this limitation creates a unique, “cranked” aesthetic.

PART 2: ANALOG WHITE BALANCE (THE ART OF GLASS)

On a digital camera, if you walk from a tungsten-lit room (3200K) out into the sun (5600K), you simply dial a knob to change your white balance. In analog filmmaking, your white balance is chemically baked into the film stock. To change it, you must be a craftsman.

THE PROBLEM: SHOOTING TUNGSTEN FILM IN DAYLIGHT

If you load a roll of 500T (Tungsten) because you love the grain structure or need the speed, but you shoot outside in daylight without modification, your image will be overwhelmingly blue. The film expects orange light, but you are feeding it blue daylight.

THE SOLUTION: THE 85 FILTER

To correct this “in-camera,” you must place an 85 Filter in front of the lens.

This is the essence of analog filmmaking: solving problems with physics and glass, not software. 

STOP CHASING THE “LOOK.” MASTER THE SOURCE. 

What we’ve covered here—identifying stocks, understanding ECN-2 vs. Reversal, and filtration — is just the first six minutes of a deep, comprehensive education.

Shooting on film requires you to be both a scientist and an artist. You cannot rely on a waveform monitor or a false-color overlay to save you. You must understand lighting ratios, you must know how to use an incident meter and a spot meter, and you must understand how to manipulate the chemical process (Push and Pull processing) to achieve your vision.

READY TO MASTER THE CRAFT THAT ENDURES?

In the full Exposing Motion Picture Film Masterclass, I take you on location to master high-contrast backlit scenes, harsh side lighting, and the precise techniques for extending “magic hour.” We dive deep into filter factors, the philosophy of the “thick negative,” and how to control contrast using graduated NDs and attenuators.

Forget “fast.” Choose timeless. Master the process.

This masterclass was produced in collaboration with Kodak. 

The post Exposing Film Stocks: 16mm Film & 35mm Film appeared first on Filmmakers Academy.

Why? In 2025, when digital cameras are more accessible and capable than ever, why go back to a technology that is over a century old? 

The answer isn’t just nostalgia. It’s about a fundamental difference in process, philosophy, and ultimately, the emotional resonance of the image. Shooting on film changes how you see, how you work, and how your audience feels.

Behind the scenes of Kiss Me Goodbye | Courtesy of Brendan Sweeney

In this spotlight, we explore the enduring relevance of celluloid through the lens of filmmaker Brendan Sweeney. His journey — from the digital revolution to a deep commitment to 16mm — illustrates why film remains the gold standard for storytelling.

THE DIGITAL REVOLUTION AND THE FEAR OF LOSS:

To understand the resurgence of film, we have to look back at the moment it almost disappeared. Brendan Sweeney’s journey began right as the industry was undergoing a seismic shift.

“I knew I wanted to be a filmmaker after I saw The Fellowship of the Ring,” Brendan recalls. “I loved the way movies made me feel… the manipulative feeling of filmmaking.” 

But as he entered film school, the landscape was changing. The “Digital Revolution,” spearheaded by cameras like the Canon 5D and the RED One, was in full swing.

The Lord of the Rings: The Fellowship of the Ring | New Line Cinema

For a young filmmaker, this created a sense of urgency.

“I remember thinking… if I want to be a director like all of my heroes — Kubrick, Cimino — something inside me told me that I need to be able to learn how to shoot on film before it’s gone.”

“Harriett” the Arriflex SR2 Film Camera | Courtesy of Brendan Sweeney

Brendan had realized that the masters of cinema had all been forged in the discipline of celluloid. To truly understand the craft, one had to understand its original medium. So, while universities were liquidating their film equipment, Brendan went against the grain. He bought an Arriflex SR2 camera for $1,100 — a steal for a piece of cinema history — and committed to learning the “dead” language of film.

THE BRENDAN SWEENEY PHILOSOPHY OF FILM:

The most profound difference between film and digital isn’t resolution or dynamic range; it’s the process.

On a digital set, the monitor is king. We shoot, we check playback, we tweak, we shoot again. We can “fix it in post.” 

Film strips away that safety net.

“With a film test, or just shooting film in general, it’s your mind,” Brendan explains. “It’s using your mind to craft something.” 

Brendan filming in the desert | Courtesy of Brendan Sweeney

Without a high-definition monitor to rely on, the filmmaker must trust their knowledge of exposure, lighting ratios, and lenses. You have to visualize the image in your head before you capture it. This forces a level of intentionality that digital rarely demands. 

“The film matters, the f-stop matters… you have to think through every detail.” 

This heightened state of focus trickles down to the entire crew. When the camera rolls, everyone knows that money is physically running through the gate. The stakes are higher, the focus is sharper, and the resulting energy on set is palpable. It creates “analog, adrenaline-fueled moments” where the entire team is synchronized in pursuit of a perfect take.

WHY FILM FEELS DIFFERENT:

Technically, digital sensors have come a long way in emulating film. But there is an aesthetic quality to celluloid — a “soul” — that is incredibly difficult to replicate with 1s and 0s.

In his short film Kiss Me Goodbye, Brendan chose to shoot on Orwo N74 Plus, a black and white stock, to evoke a timeless, Twilight Zone-esque atmosphere. 

Behind the scenes of Kiss Me Goodbye | Courtesy of Brendan Sweeney

“There’s really something about shooting a movie in black and white versus color,” he notes. 

The grain structure, the way it highlights bloom rather than clip, and the organic texture of the image create a separation from reality that feels more dreamlike and cinematic.

Even in color, film has a distinct signature. The video below is Brendan’s first-ever film test, using Kodak VISION3 500T 7219 & 250D 7207. While yes, the light is certainly hot, you can see the glowy, velvety nature of 16mm film. 

In a test shot in the California desert using Kodak Vision3 250D and ORWO N74 Plus, the results were immediate.

“It just looks like 16mm beauty,” Brendan says. “The shadows are definitely cool, but the environment’s warm, which is a cool duality.”

Digital images can often feel clinical or hyper-real, adding a whole other technical obstacle to counteract. Film, with its chemical imperfections and organic grain, often feels more human. It softens the edges of reality, allowing the audience to project themselves into the story more easily. 

It is, as Brendan puts it, “a medium that takes precision, but it’s also a medium that’s extremely forgiving.”

THE “STORE 242” EXPERIMENT: MIXING MEDIA

The true test of a film’s relevance is how it stands up against modern digital workflows. For a fashion commercial for the boutique Store 242, Brendan and cinematographer Shane Hurlbut, ASC devised a concept that used both formats to tell a story.

The concept was a dress “birthing out into the world.” For the gritty, industrial interiors, they shot on 16mm Kodak 250D with Zeiss Super Speed lenses. The grain and texture of the film captured the raw, confined energy of the space. 

“The sheer level of detail here… was really awesome,” Brendan notes.

As the character escapes into the open desert, the production switched to a RED Weapon Dragon 6K digital camera. The contrast was intentional: the “pristine, crystal clear” digital image represented the open, modern world, while the film represented the textured, organic origin.

Brendan behind the scenes with Shane Hurlbut, ASC | Courtesy of Brenday Sweeney

This project highlighted how film could be used for more than just a “look”. It’s a storytelling tool. It also proved that even veteran DPs like Shane Hurlbut, who had championed the digital revolution, still found immense value and joy in returning to the discipline of film.

THE FUTURE IS ANALOG (AND DIGITAL):

So, is film better than digital? It’s the wrong question. They are different brushes for different paintings.

“There’s places where digital is better than film, and vice versa,” Brendan acknowledges. “There’s things that digital can do that film could never do.” 

DP Stefano Ceccarelli behind the scenes of Kiss Me Goodbye | Courtesy of Brendan Sweeney

High frame rates, low-light sensitivity, and immediate workflows are undeniable advantages of digital cinema.

However, for narrative storytelling — for capturing the human condition — film remains the “preferred” medium for many. 

“If it’s a grounded and modern-day piece, I still think film brings a certain level of quality and craftsmanship to it that maybe is not found in some other places,” Brendan says.

HOW TO START SHOOTING FILM TODAY:

If you are an indie filmmaker inspired to shoot film, the barrier to entry is lower than you think. You don’t need to buy an Arriflex SR2.

Stefano Ceccarelli shooting stills photography | Courtesy of Brendan Sweeney

THE BOTTOM LINE:

Shooting on film in the digital era is a choice to prioritize craft over convenience. It’s a commitment to a process that demands more from you but gives back something intangible and beautiful in return. 

Whether you are shooting a student short or a feature film, choosing celluloid is a powerful declaration that the way you make a film matters just as much as the story you tell.

As Brendan concludes, “Now that I move into other projects, film is just something that I want to continue to shoot, because when you look at the results… it’s just incredible.”

STOP IMITATING THE LOOK, MASTER THE SOURCE. 

In an age of digital “fixes,” the true craft of exposing celluloid has become a rare skill. To bridge this gap, Filmmakers Academy has partnered with KODAK to launch the definitive Exposing Motion Picture Film Masterclass.

Taught by Shane Hurlbut, ASC, this course offers a comprehensive, “brick-and-mortar” education that demystifies the entire analog process. Drawing from his experience shooting over 23 feature films on 35mm and 16mm, Shane teaches you to stop relying on a monitor and start trusting your eye, transforming you from a digital operator into a true artisan of light and chemistry.

This masterclass covers everything from the unique personalities of Kodak’s Vision3 stocks to the precise science of using light meters and glass filters. You’ll learn to control contrast in-camera, master filter factors, and handle complex lighting scenarios without a digital safety net.

The post Why We Still Shoot Film in the Digital Age appeared first on Filmmakers Academy.

Nevertheless, Filmmakers are no longer choosing film simply for nostalgia. They are seeking the “film look” — that indefinable magic of grain, color depth, and highlight roll-off that digital still struggles to emulate. From massive summer blockbusters to intimate indie dramas, directors are returning to the chemical process to give their stories a heartbeat.

LIGHT. METER. EXPOSE. FILM.

Before we dive into the films that defined this analog renaissance, there’s one question every filmmaker asks: 

How do I actually do it? 

Shooting film is a discipline. One that requires moving beyond the monitor and trusting your craft. Learn the process with this masterclass in collaboration with Kodak. 

THE FILMS THAT DEFINED 2025’S ANALOG LOOK

From VistaVision epics to 16mm horror, here are the standout films of 2025 that proved celluloid is back and better than ever.

ONE BATTLE AFTER ANOTHER

Paul Thomas Anderson continues to be a champion of large-format filmmaking. For his adaptation of Vineland, he didn’t just shoot on film; he revived the legendary VistaVision format. 

By running 35mm film horizontally through the camera, Anderson and DP Michael Bauman achieved a negative size double that of standard 35mm. The result is an image with breathtaking resolution and clarity that still retains the organic grain structure of film, perfectly suiting the film’s epic, sprawling narrative.

• Go behind the scenes in The Look of One Battle After Another!

SINNERS

Ryan Coogler returned to his roots while simultaneously pushing the envelope. Sinners utilizes a fascinating hybrid approach. To capture the gritty, period-specific texture of the 1930s South, huge portions of the film were shot on IMAX 65mm for unparalleled scope and immersion. 

However, for flashbacks and moments of raw intimacy, the team utilized 16mm, creating a stark visual contrast that highlights the versatility of the analog medium.

BUGONIA 

Known for his bold visual experiments, Yorgos Lanthimos teamed up again with Robbie Ryan to create a unique look for Bugonia. They utilized VistaVision cameras to capture a distinct, high-resolution image that feels both modern and timeless. 

The choice of film stock emphasizes the film’s surreal atmosphere, with the rich color reproduction of celluloid grounding the absurdity in a tangible reality.

DIE MY LOVE

Lynne Ramsay’s psychological drama required a visual language that mirrored its protagonist’s fractured mind. To achieve this “hyper-real” look, the team shot day exteriors on Kodak Ektachrome 100D, a color reversal stock known for its intense saturation and high contrast. 

For night scenes and darker interiors, they switched to Vision3 negative stocks, creating a disorienting but beautiful clash of textures that digital simply could not replicate.

• Go behind the scenes in The Look of Die My Love.

JURASSIC WORLD REBIRTH

In a surprising and welcome move for a VFX-heavy blockbuster, director Gareth Edwards chose to shoot the latest Jurassic World installment on 35mm film. Working with veteran DP John Mathieson, the choice was made to give the dinosaur epic a gritty, grounded reality reminiscent of the original 1993 classic. 

The film grain helps integrate the CGI creatures into the live-action plates, creating a more cohesive and believable world.

JIMMY & STIGGS

Indie horror maverick Joe Begos proves you don’t need a blockbuster budget to shoot film. Jimmy & Stiggs was shot entirely on 16mm, embracing the format’s grain and “imperfections” to create a raw, grindhouse aesthetic. 

The handheld camerawork and vibrant lighting choices play into the strengths of 16mm, giving the film a punk-rock energy that feels dangerous and alive.

THE SMASHING MACHINE

For this biographical drama about MMA fighter Mark Kerr, Benny Safdie utilized 35mm film to capture the raw physicality and sweat-drenched intensity of the sport. 

The texture of the film stock adds a layer of period authenticity to the late 90s/early 2000s setting, avoiding the overly polished look of modern digital sports movies.

MATERIALISTS

Following the success of Past Lives, Celine Song continues her commitment to the analog image with Materialists. Shot on 35mm, the film uses the medium’s natural color response to capture the nuances of romantic tension and the vibrant energy of New York City. The softness and warmth of film perfectly complement Song’s character-driven storytelling.

THE PHOENICIAN SCHEME

Wes Anderson is perhaps modern cinema’s most staunch defender of film. For his latest project, he partnered with Bruno Delbonnel to capture his signature symmetrical compositions and pastel color palettes on 35mm. The result is a film that feels like a moving storybook, with the film grain adding a tactile quality to the meticulously designed sets and costumes.

ROOFMAN

Derek Cianfrance has always been a filmmaker deeply invested in emotional realism, from Blue Valentine to The Place Beyond the Pines. For Roofman, a crime drama based on the true story of Jeffrey Manchester—an eccentric robber who lived secretly inside a Toys “R” Us—Cianfrance reunited with DP Andrij Parekh to capture the story on 35mm film. 

The choice of celluloid grounds the sometimes absurd, larger-than-life elements of the plot in a tangible, gritty reality. It lends a texture to the mundane spaces of retail stores and fast-food restaurants, transforming them into a cinematic stage for a character study that balances crime, comedy, and pathos.

SENTIMENTAL VALUE

Joachim Trier returns with Sentimental Value, a film that explores memory, family, and the power of art to reconcile the past. Shot on 35mm by Kasper Tuxen, the film uses the medium’s inherent warmth and organic quality to underscore its themes. 

The story follows a filmmaker (Stellan Skarsgård) attempting to reconnect with his estranged daughters by casting one in his autobiographical film. The use of film stock acts as a visual bridge between the past and present, blurring the lines between reality and the fiction being created within the story. It creates a “memory palace” aesthetic where every frame feels weighted with history and emotion.

SPLITSVILLE

Michael Angelo Covino’s sophomore feature, Splitsville, is a raucous comedy about open marriages and friendship gone wrong. To capture the chaotic, improvisational energy of the ensemble cast (which includes Dakota Johnson and Adria Arjona), Covino and DP Adam Newport-Berra chose to shoot on 16mm. 

This format perfectly complements the film’s “unromantic comedy” tone, recalling the texture of 70s screwball classics. The grain and agility of 16mm allow the camera to be a participant in the messy, hilarious, and often physical interactions, giving the film a raw, immediate vitality that a polished digital image would have smoothed over.

THE THEFT OF THE CARAVAGGIO

For his debut feature, Joshua Cassar Gaspar took on the mystery of a real-life 1984 art heist in Malta. The Theft of the Caravaggio is a fictionalized thriller shot entirely on location and exclusively on 35mm film. Gaspar and cinematographer Daniel Cawthorne aimed to capture a “poetic quality of motion” that they felt digital could not replicate, citing early 2000s classics like A Beautiful Mind as inspiration. The use of celluloid provides a rich, textured aesthetic that elevates the film’s noir-ish atmosphere, using natural light and deep shadows to create a visual world where reality and illusion constantly blur.

STOP IMITATING THE LOOK, MASTER THE SOURCE. 

In an age of digital “fixes,” the true craft of exposing celluloid has become a rare skill. To bridge this gap, Filmmakers Academy has partnered with KODAK to launch the definitive Exposing Motion Picture Film Masterclass. 

Taught by Shane Hurlbut, ASC, this course offers a comprehensive, “brick-and-mortar” education that demystifies the entire analog process. Drawing from his experience shooting over 23 feature films on 35mm and 16mm, Shane teaches you to stop relying on a monitor and start trusting your eye, transforming you from a digital operator into a true artisan of light and chemistry.

This masterclass covers everything from the unique personalities of Kodak’s Vision3 stocks to the precise science of using light meters and glass filters. You’ll learn to control contrast in-camera, master filter factors, and handle complex lighting scenarios without a digital safety net. 

THE BOTTOM LINE: 

2025 has made one thing clear: film is not a relic of the past; it is a vital, living medium for the future. Whether it’s the immersive scale of IMAX or the gritty intimacy of 16mm, film makers are rediscovering that the “soul” of cinema often lies in the silver halide crystals of a physical strip of film. 

As we move forward, the choice between digital and film is no longer about “old vs. new,” but about choosing the right canvas for the art.

This video is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland. 

The post 2025’s Standout Movies Shot on Film appeared first on Filmmakers Academy.

You’re on set, trying to light a large interior. The director wants to see the bright, beautiful exterior through the windows, but the room itself is falling into shadow. You know you need a massive amount of power to balance that interior exposure with the sun.

You call for the big guns: two, maybe three 18K HMIs, and blast them through the windows.

You’ve solved the exposure problem, but you’ve created a new one — a director’s nightmare. Your talent now has three distinct, ugly nose shadows. The gaffer is pulling their hair out. The illusion of a single, natural source (the sun) is completely shattered.

So, how do you get the power of three 18Ks but the quality of one?

In his Cinematic Light Quality Masterclass, cinematographer Shane Hurlbut, ASC, breaks down a simple but ingenious solution he uses on set.

“What if I have 3 18Ks, and I need to be able to make it feel like it’s one source?” he asks. “This gives me the ability to create one shadow with three lights.”

The secret isn’t just diffusion. It’s directional diffusion.

More Lessons on Cinematic Light Quality:

• Cinematic Light Quality: Batten Lights
• Light Quality Lab: DMG Maxi & Depron Dome for Soft Light
• Cinematic Lighting with Shane Hurlbut, ASC: Xenon Light
• Silver Bounce: Cinematic Light Quality

THE “MAGIC GEL”: ROSCO OPTI-SCULPT

Shane introduces a very unique tool he uses to join massive lights: the Rosco Opti-Sculpt.

At first glance, it might look like other diffusion, but it has a “secret.” Like brush silk, the Opti-Sculpt has visible “strands” embedded within it. 

These strands are designed to catch and reshape the light beam in a very specific, controllable way.

And here’s the trick: the direction of the strands is inverse to the direction of the light beam.

This ability to change the shape of the light is the key to solving the 3-shadow problem.

THE TECHNIQUE: TURNING THREE HEADS INTO ONE BAND

In the masterclass, Shane demonstrates this concept in real-time.

First, his team fires up just one light behind the Opti-Sculpt.

This is the “aha!” moment. Now, they fire up all three 18Ks, side-by-side.

With the gel oriented to create a vertical beam, the result is terrible. 

“You can really see the three individual lights,” Shane notes, pointing to the distinct, separated sources.

Then, the magic.

His team rotates the Opti-Sculpt 90 degrees, making the strands vertical. The light from all three 18Ks instantly stretches horizontally, merging together to bridge the physical gaps between the lamps.

“It’s taken all three of those heads and turned them into a perfect band of light,” Shane explains. “It now becomes one line of light and one source.”

Looking at the talent, the three nose shadows have vanished, replaced by a single, soft, and believable shadow. They have successfully sculpted the output of three massive, separate lights into one cohesive source.

THE BOTTOM LINE:

This technique is a fundamental lesson in problem-solving and the physics of light. It’s the difference between just making a scene bright and crafting a believable image.

When you’re on set, you’re fighting for realism as well as exposure. A-list cinematographers know that the quality of light — its shape, softness, and, most importantly, its singularity — is what sells the shot.

Thanks to tools like Opti-Sculpt and techniques from masters like Shane Hurlbut, filmmakers can now get the best of both worlds: the colossal power needed for modern digital sensors and the nuanced, natural quality that makes an image feel real. 

GET THE FULL MASTERCLASS!

This exploration of silver bounce and foam lighting is just a small part of the Cinematic Light Quality Masterclass. To unlock the full power of cinematic lighting and learn from detailed, on-set demonstrations, purchase the complete masterclass today! 

You’ll gain the knowledge and skills to transform your lighting from ordinary to extraordinary and to tell stories with light in a way you never thought possible.

More Lessons on Cinematic Light Quality:

• Cinematic Light Quality: Batten Lights
• Light Quality Lab: DMG Maxi & Depron Dome for Soft Light
• Cinematic Lighting with Shane Hurlbut, ASC: Xenon Light

DOWNLOAD FILMMAKERS ACADEMY APP

For the best experience, download the Filmmakers Academy app from your favorite platform!

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The post The Rosco Opti-Sculpt Technique: Cinematic Light Quality appeared first on Filmmakers Academy.

“I’m stuck between wanting to do something and not wanting to do anything at all.” 

What if the only thing more terrifying than a monster in the dark is the crushing, hollow weight of a life you’re supposed to want? This is the paralyzing, intimate territory of director Lynne Ramsay. More than any of her previous work, this film dives deep into the psychological trauma of its characters, where the horror starts in the interior and inevitably splashes out into the physical world. Adapted from the novel by Ariana Harwicz, Die My Love is a raw examination of depression, modern anxiety, and the desperate, carnal desire for anything beyond the profound isolation of marriage and motherhood. 

We are introduced to Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) in a rush of youthful, all-consuming sexual desire. This passion is the entire basis of their relationship. But when they move from New York to an abandoned house in the vast emptiness of Montana to have a baby, the reality of responsibility lands with a thud. 

(SPOILERS AHEAD!)

Beware: This is not a traditional narrative. It is a series of visceral, sensory experiences. We watch Grace descend, and we, like the other characters, are led to assume it’s postpartum depression. But Ramsay hints at deeper, older cracks. Is this madness the result of a childhood she can’t remember, orphaned by a plane crash at ten? Or is it the simpler, more horrifying realization that she and Jackson, outside of their physical connection, have nothing in common? 

Carnel Desires & The Bottomless Hole

As Grace struggles to find any purpose, she retreats into the only thing that ever felt real: her carnal desires. These manifest in haunting, surreal visions. A mysterious black horse appears, an animal they later crash into. A mysterious motorcyclist begins to visit her for nightly trysts — a figure who may be a real lover, or a complete phantom of her imagination. 

The horror is compounded by Jackson’s ineffectual attempts to help. He is clueless. Just like when he brings home a chaotic, untrained dog that Grace refuses even to acknowledge. He leaves their child alone in his crib to take her on a drive. Even after Grace is committed and returns from a mental hospital, he furnishes the house to feel more like a “home,” but it’s a hollow gesture. It’s a devastating realization that no amount of new furniture can fill an irreconcilable internal void.

What culminates from this profound isolation? When the loud music of youth finally stops, what happens when you are forced to be alone with your thoughts — and what if there are no real thoughts to contend with? What if the only thing to face is an enormous, bottomless hole, an abyss that can feel the entire world but can never, ever be satiated?

This is the great horror of life…

This is The Look of Die My Love.

DIE MY LOVE TECH SPECS

THE WORLD OF DIE MY LOVE

THE ISOLATING WONDER OF THE FRONTIER

Where the novel was set in rural France, Lynne Ramsay’s adaptation intentionally changes the location to the vast, empty countryside of Montana. This crucial move places the characters into the heart of an American frontier that feels both whimsically beautiful and profoundly isolating. The protagonists are immediately framed as outsiders, a youthful couple completely out of place in this rural wonderland and dangerously unprepared for their new circumstances as parents. 

Die My Love | Black Label Media

Ramsay establishes this voyeuristic and unsettling tone from the opening. The camera lingers in a static wide shot down a hallway, forcing us to observe the characters as they examine their new home. It feels like watching a play. By refusing to give us close-ups, Ramsay denies us access to their micro-expressions or any clear signs of uncertainty. Instead, they appear, at first glance, like any newly married couple (though we later learn they are not) choosing their first home. 

The house itself is a character, a tomb they’ve inherited. It belonged to Jackson’s deceased uncle, who committed suicide within its walls. It’s a chilling detail that immediately foreshadows the tragedy to come. Even after the young couple moves in, they do little to fix the place up. The house remains in a state of disrepair, a stark visual metaphor for their own unwillingness, or inability, to build a stable home or relationship.

A SICKNESS IN THE BLOODLINE

This exploration of madness is not limited to Grace. The film suggests a deeper, perhaps inherited, fragility in Jackson’s family. His elderly father, Harry (Nick Nolte), appears to be suffering from dementia. During what should be a happy housewarming party, he sits apart from everyone, confused and disconnected. His confusion soon turns to aggression as he causes a scene, yelling for everyone to leave his brother’s house.

Die My Love | Black Label Media

This culminates in one of the film’s first truly surreal moments. Later that night, the old man wanders outside, and the pregnant Grace follows him. There, in the cold Montana air, an unspoken understanding seems to pass between them. They end up dancing, a strange, silent, and deeply human moment of connection that acts as a prelude to his death in the very next scene. It’s a touching, haunting sequence that links Grace’s psychological state not just to her own desires, but to the generational sorrow of the very family she has married into.

Die My Love | Black Label Media

THE SOBRIETY OF DAY, THE DESIRE OF NIGHT

The film’s visual language is built on a stark divide. Throughout the story, the carnal, primal side of Grace unleashes itself almost exclusively under the veil of night. The use of film stock (a bold choice by Ramsay and DP Seamus McGarvey) supplants the texture of this veil, creating a velvet, grainy, and fantastical impression that perfectly supports the surreal tone. 

While her isolation and anxieties are exposed under the harsh, analytical light of day, the nighttime sets her free. She is alone, unbound, and able to pursue the black horse that appears to her, a phantom representing her wild, uncertain, and dangerous desires. These surrealistic nighttime sequences are set in the wilderness — on lonely roads or just outside the flimsy security of a home. It is only in the dark that she truly partakes in the acts she craves. 

THE SPELL OF NIGHT

Grace is not the only one haunted by the darkness. After Harry’s passing, her mother-in-law, Pam (Sissy Spacek), is caught under the spell of her own loss and mourning. She, too, becomes a nocturnal figure, sleepwalking down a lonely street and clutching a shotgun for a protection she can’t articulate. 

The shotgun becomes a terrifying plot point. When Grace checks on Pam during the day, a startled Pam nearly blows her head off, thinking she’s an intruder. This intense encounter, however, gives way to a moment of attempted connection. Pam asks Grace how she’s doing. In response, Grace completely shuts down, a reaction that becomes a painful, recurring part of the narrative. She is triggered anytime anyone brings up her role as a mother. 

Consequently, Grace’s own suppressed violence finally erupts. After the family gets into a car accident by striking the mysterious black horse, their new dog is badly injured. That night, as the dog whines ceaselessly, Grace’s sanity frays. She demands that Jackson put the dog down. He refuses, saying he’ll go to the vet in the morning. Unable to bear the sound any longer, Grace walks to Pam’s, retrieves the shotgun from her sleeping mother-in-law’s grip, walks back home, and shoots the dog. 

Die My Love | Black Label Media

THE BLUR BETWEEN FANTASY AND REALITY

Grace’s nightly desires blur the line between fantasy and a sordid reality. The mysterious motorcyclist who visits her for carnal trysts seems like another phantom. But later, Grace spots him with his family at a grocery store. When he sees her, a spark of a shared secret in his eyes confirms their connection is real.

His wife, sensing the intrusion, brushes Grace off. This only deepens Grace’s obsession. Later, she wanders to his family’s home, waits for him to come out, and they sneak into a nearby toolshed. This desperate, tangible act confirms her desires are not just in her head, cementing her choice to retreat from her domestic prison into a world of pure, carnal impulse.

ISOLATION VS THE PUBLIC

Ramsay forces Grace and Jackson into public settings only a few times, and these moments are intentionally jarring. In these bright, loud, “normal” places, Jackson tries to acquiesce to social norms, while Grace’s isolation becomes even more pronounced. She is utterly incapable of connecting with anyone. 

At a children’s party, surrounded by happy families, she is combative and detached. This culminates in a shocking scene where she makes a spectacle of herself, stripping down to her underwear and hopping into a pool full of kids.

This destructive public behavior climaxes at their own wedding reception. At first, the event is filled with fun, drinking, and laughter. But as Grace becomes increasingly drunk, her carnal side takes over. She is seen walking on all fours, like an animal, on the dance floor. 

When she is finally left alone in the honeymoon suite, she pops a bottle of champagne and convinces the man at the front desk to come up to her room. In a final act of self-destruction, she places her baby into a stroller and walks in a trance down the road. 

DIE MY LOVE PRODUCTION DESIGN

The production design of Die My Love, led by Tim Grimes, is central to the film’s suffocating, psychological horror. It joins a long tradition of “haunted house” movies where the horror isn’t from ghosts, but from the trauma and madness of its occupants. As Samantha Bergeson of ELLE Decor notes, the aging house is a direct “reflection of the frustrations” of the characters who live “alongside their own personal ghosts.”

FINDING A “PLAYGROUND” FOR MADNESS

While the Ariana Harwicz novel was set in rural France, Lynne Ramsay relocated the action to the “middle-of-nowhere Montana” (per ABC Arts), specifically shooting in Calgary. 

Production designer Tim Grimes “fell in love” with a dilapidated farmhouse during the location scout. Although it was in disrepair and had to be rebuilt from the ground up, Grimes knew it was the perfect “playground” for Ramsay to explore the story’s themes.

Die My Love | Black Label Media

Grimes’s goal was to “make it a little bit surreal and a little bit of a storybook quality” without being overt. 

“You don’t want the audience to notice what you’ve done either,” he told ELLE Decor, “You don’t want to be screaming out, ‘We decorated this house!’” 

This approach extended to the house’s narrative DNA. The home was inherited from Jackson’s uncle, who had committed suicide there, immediately layering the space with a history of death and grief before Grace and Jackson even arrive.

CONTRAST: THE NONCONFORMIST HOME VS. THE “BORING” WORLD

Grimes overtly emphasized the stark contrast between the fly-ridden, eclectically decorated farmhouse and the “absolutely boring” and “cookie-cutter” spec houses of the neighboring suburban world. This choice fueled the farmhouse’s design, making it as nonconformist and individualized as its inhabitants.

Die My Love | Black Label Media

This contrast makes the film’s ending all the more tragic. After Grace’s stay in a mental hospital, Jackson attempts to “fix” their lives by redecorating the house in the same generic, IKEA-esque mold they once stood against. As ELLE Decor points out, this “exorcism” of their past trauma doesn’t work, proving that the house is only as haunted as its occupants.

THE WALLPAPER OF CONFINEMENT

A key element of this “surreal” design is the now-viral bathroom wallpaper. In one of the film’s most intense clips, Grace claws away at the walls, a physical attempt “to shed the confinement of being a housewife and mother.” This fern palm-patterned wallpaper, sourced from Astek in Los Angeles, was a specific and contested choice. 

Die My Love | Black Label Media

“Everyone was like, ‘That’s not a country house wallpaper,’ and I was like, ‘I disagree,’” Grimes stated. 

His artistic instinct was validated in an art-mirroring-life moment when the team found a similar wallpaper “under layers of wallpaper in that house” during the rebuild.

Die My Love | Black Label Media

DIE MY LOVE CINEMATOGRAPHY

The visual language of Die My Love is a masterful and unsettling “pictorial depiction of a breakdown,” as cinematographer Seamus McGarvey, ASC, BSC describes it. Reuniting with director Lynne Ramsay after their collaboration on We Need to Talk About Kevin, McGarvey knew the camera would be central to the narrative. 

“When you embark on a film with Lynne… you know that the camera is going to be central,” he shares.

Courtesy of Seamus McGarvey

The goal was to craft a film that stepped away from simple realism and embraced the emotional, often skewed, perception of its protagonist, Grace. The result is a haunting, poetic, and technically daring visual experience.

THE RETURN TO 35MM EKTACHROME

To capture this “skewed perspective of the truth,” McGarvey and Ramsay made the bold choice to shoot on film. McGarvey’s initial suggestion was to use Kodak Ektachrome 100D, a color reversal film stock that Ramsay had previously used on Morvern Callar. 

“We didn’t want it to feel like a realist film,” McGarvey explains, and Ektachrome, with its “unique photographic signature,” was the perfect tool to embody Grace’s inner world.

colorpalette.cinema

This choice presented significant technical challenges. With a low exposure index of 100D, the day interiors were a constant battle.

“We needed to pump a lot of light into the sets,” McGarvey acknowledges. However, this limitation became a creative benefit, as the “decisiveness of the impact of strong sources gave it a particular look.”

Shooting on film also brought a sense of risk and commitment that Ramsay, a frugal director who knows exactly what she wants, thrives on. 

Photo by Seamus McGarvey

“There is a mystery to film,” McGarvey muses. “You don’t know that it’s definitely there. There’s something really special about that because you’ve taken a step into the dark, literally.”

THE SURREALITY OF DAY-FOR-NIGHT

The low sensitivity of Ektachrome reversal stock made it impossible to use for the film’s many night scenes. This led to another key stylistic decision: shooting all night exteriors as day-for-night.

colorpalette.cinema

McGarvey explains that this choice “gave a sense of surreality to the night work because it doesn’t look real… There’s an absolutely avowed sense of artifice.” 

For these scenes, the team switched to Kodak Vision3 negative film stocks (200T or 500T) to get a proper exposure in the shady forest environments. 

“We exposed it normally but printed down in the timing,” he says. The result was a lower-contrast, dream-like, and “twilight unreal” image that perfectly suited the film’s psychological state.

FRAMING CLAUSTROPHOBIA: THE ACADEMY ASPECT RATIO

One of the most defining visual choices was the film’s 1.33:1 Academy aspect ratio. Ramsay and McGarvey felt the location itself dictated this “boxy” format.

“When we saw the location, I wanted to see the whole door rather than cut it off,” Ramsay recalls. “It’s quite a portrait film anyhow, and so it felt like the location dictated the Academy frame.”

Die My Love | Black Label Media

This choice proved essential for the film’s themes.

“This film was about portraits, and it was about claustrophobia, and it was about people in a little boxy house,” McGarvey says. 

The 1.33:1 aspect ratio perfectly “fitted the house” and created a sense of confinement. It also allowed for powerful compositions, “putting people in the bottom or the edges of frame” to visually enhance their isolation.

LENSES FOR A FRACTURED MINDSTATE

To further enhance the skewed perspective, McGarvey turned to specific, character-driven lenses, supplied by Panavision in Calgary. The primary set was the PVintage primes — modern-mechanic updates of legacy Super Speeds and Ultra Speeds — which McGarvey describes as “really beautiful.”

Die My Love | Black Label Media

For Grace’s most intense psychological “moments in her head,” he employed two Petzval lenses (a 58mm and an 85mm). These specialty lenses are known for their unique, “swirly bokeh around the edges.” 

This optical distortion created a visible, signature effect that mirrored Grace’s mental unraveling, especially in scenes with dappled backgrounds like trees.

THE CAMERA AS A COMMUNING FORCE

The camera in Die My Love is rarely a passive observer.

“There’s a lot of silence in the film,” McGarvey notes, “and I think that cinematography is uniquely served to depict those kinds of ideas.”

Courtesy of Chris Chow

To achieve this, the team relied heavily on the “second to none” handheld and Steadicam work of operator Chris Chow. This mobility was essential for working with actors of the caliber of Jennifer Lawrence and Robert Pattinson. 

“You’ve got to give them some leeway because they always offer up surprises and beautiful moments of happenstance,” McGarvey says.

This nimble approach proved critical for Ramsay, who famously follows her instincts.

“If she’s not feeling the spirit of the shot, she’ll abandon it immediately,” McGarvey shares. “That is why her films kind of have this peculiar ring to them, because they’re unequivocally filtered through her director’s mind and heart.” 

This combination of instinctive direction and responsive camerawork created a final film that McGarvey describes as “defiantly a piece of poetic cinema.”

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DIE MY LOVE COSTUME DESIGN

The costume design of Die My Love, led by Catherine George, was an element that director Lynne Ramsay was “across every inch” of, working closely with her team to build the film’s specific visual world (ABC Arts). 

The approach was less about creating standout “costumes” and more about finding a precise visual palette that could track the characters’ emotional states. 

As Ramsay explained to ABC Arts, “We were looking at color palettes for different moods.”

colorpalette.cinema

Grace’s main costume in the film is a perfect encapsulation of this philosophy. At her wedding, she wears a “powder-blue dress… with its slightly 50s feel” (ABC Arts). This choice is highly symbolic. Ramsay notes that this look represents Grace “at the beginning,” when she is “bright and hopeful.”

This initial, distinct identity then deliberately erodes as the film’s suffocating world closes in. As Grace’s psychological state fractures and she becomes lost in the isolation of motherhood and her unraveling marriage, her wardrobe reflects this internal collapse. 

Ramsay notes that Grace eventually “starts dressing like everyone else,” a visual cue showing she has shed her bright, hopeful individuality and is conforming to a suffocating world.

This subtle but powerful transformation in her clothing is a key part of the film’s visual language, tracing her journey from a “punk rocker” who is “setting the world on fire” to a woman who feels “eradicated from her own space” (ABC Arts, The Film Stage).

WATCH DIE MY LOVE

Die My Love is a visceral, poetic, and uncompromising cinematic experience. It showcases a team of artists — Lynne Ramsay, Seamus McGarvey, Tim Grimes, and Catherine George, along with a fearless cast — working at the absolute peak of their craft. 

From its claustrophobic Academy-ratio framing and surreal day-for-night sequences to its psychologically-charged production design, this film demands that audiences see, feel, and study it.

Now that you’ve explored the incredible detail and artistry that went into every frame, it’s time to witness the final, haunting result.

Die My Love is currently playing in theaters and will soon arrive on major streaming services and for digital purchase.

Feeling inspired by the incredible level of artistry in Lynne Ramsay’s film? The techniques used to create such powerful, psychologically-driven masterpieces are at the very core of what we teach at Filmmakers Academy. 

If you’re ready to move beyond the technical and start mastering the skills of visual storytelling, cinematography, and directing, our All Access membership is your next step.

JOIN OUR ALL ACCESS MEMBERSHIP TO LEARN FROM INDUSTRY PROFESSIONALS!

WORKS CITED: 

Bergeson, Samantha. “Two New Movies, Die My Love and Sentimental Value, Redefine the Haunted House Genre.” Yahoo! Entertainment, 8 Nov. 2025, www.yahoo.com/entertainment/movies/articles/two-movies-die-love-sentimental-150000659.html.

Bradshaw, Peter. “Die My Love review – Jennifer Lawrence excels in intensely sensual study of a woman in meltdown.” The Guardian, 17 May 2025, www.theguardian.com/film/2025/may/17/die-my-love-review-jennifer-lawrence-excels-in-intensely-sensual-study-of-a-woman-in-meltdown.

Feldberg, Isaac. “‘You’re Living Intrusive Thoughts’: Jennifer Lawrence and Lynne Ramsay on “Die My Love”.” RogerEbert.com, 2025, www.rogerebert.com/interviews/die-my-love-jennifer-lawrence-lynne-ramsay-interview.

Hammond, Caleb. ““Let the Location Speak to You”: Lynne Ramsay on Die My Love, Shooting Academy Ratio, and Adapting Impossible Novels.” The Film Stage, 10 Nov. 2025, thefilmstage.com/let-the-location-speak-to-you-lynne-ramsay-on-die-my-love-shooting-academy-ratio-and-adapting-impossible-novels/.

Newland, Christina. “‘She’s a beast’: Jennifer Lawrence’s extreme new role is a radical portrayal of a woman on the edge.” BBC Culture, 4 Nov. 2025, www.bbc.com/culture/article/20251104-the-power-of-jennifer-lawrences-extreme-new-role.

Panavision. “Seamus McGarvey ASC BSC on the cinematography of Die My Love.” Panavision, www.panavision.com/highlights/highlights-detail/seamus-mcgarvey-asc-bsc-on-the-cinematography-of-die-my-love.

Russell, Stephen A. “Die My Love filmmaker Lynne Ramsay on realising a punk rock adaptation of Ariana Harwicz’s novel.” ABC Arts, 8 Nov. 2025, www.abc.net.au/news/2025-11-09/die-my-love-movie-jennifer-lawrence-martin-scorsese-lynne-ramsay/105948060.

The Making Of. “Seamus McGarvey ASC BSC on the cinematography of Die My Love.” The Making Of, themakingof.substack.com/p/die-my-love-cinematographer-seamus.

The post The Look of Die My Love appeared first on Filmmakers Academy.

For millennia, this was the color of emperors and kings. As discussed in the magenta installment, its pigment, famously derived from the rare Tyrian snail, was so exorbitantly expensive that it became the ultimate symbol of royalty, power, and immense wealth. In cinema, purple retains this aura of exclusivity, but its unique position — a blend of fiery, passionate red and calm, stable blue — gives it a powerful psychological duality. It is the color of magic, the supernatural, the unknown, and even a touch of madness or corruption.

In this article, we delve into the complex psychology and diverse symbolism of purple on screen. We’ll analyze how filmmakers wield this potent color, from the opulent robes in historical epics and the fantastical glow of a fantasy world to the unsettling, hazy light in a sci-fi thriller or the signature color of an iconic villain. Through compelling film examples, we will see how purple is used to convey power, spirituality, the surreal, and the otherworldly.

MOVIE COLOR PALETTE SERIES

This exploration of purple is the tenth chapter in our ongoing mission to dissect the visual language of film, one hue at a time. Join us as we continue to unpack the cinematic spectrum, providing insights to deepen your appreciation and enhance your own visual storytelling.

PURPLE: THE COLOR OF MAGIC, MYSTERY & MADNESS

As we explored in our MAGENTA: Movie Color Palette article, the history of purple pigments is inextricably linked to rarity, power, and royalty. It stems from the impossibly expensive Tyrian purple dye. But beyond its royal status, purple holds a unique and complex psychological space, one that filmmakers have eagerly exploited.  

A DUALITY OF SPIRIT AND PASSION

In art and psychology, purple’s power comes from its composite nature. It is a blend of fiery, passionate red and calm, spiritual blue. This inherent duality makes it a color of ambiguity and tension. It represents the meeting point of the physical and the spiritual, the body and the mind, and as such, has long been associated with mysticism, magic, and the supernatural. It’s not the raw, earthly energy of a primary color; it’s a complex, contemplative, and often “unnatural” hue.

In medieval and Renaissance art, while gold and blue often represented the purity of heaven, shades of purple and violet were frequently used for the robes of Christ during his Passion or for the Virgin Mary, symbolizing piety, mourning, and a divine connection to earthly suffering. 

Madonna and Child with Saints by Giovanni Bellini | c. 1459

It was a color of spiritual authority, bridging the gap between human red and divine blue. Later, this association with the non-tangible made it a favorite of Romantic and Symbolist painters, who used shades of violet and purple to evoke dream states, melancholy, and a sense of the otherworldly.

Le Cyclope by Odilon Redon | 1914

PURPLE AND THE DAWN OF TECHNICOLOR 

The arrival of three-strip Technicolor in the mid-1930s finally made true, rich purples possible, and early filmmakers immediately leaned into its most potent associations: royalty, fantasy, and dark magic.

SNOW WHITE AND THE SEVEN DWARFS

In Walt Disney’s Snow White and the Seven Dwarfs (1937), the choice of purple for the Evil Queen’s flowing gown is a perfect early example. 

Snow White and the Seven Dwarfs | Disney

The color instantly communicates her royal status. However, its deep, non-natural shade, particularly in stark contrast to Snow White’s primary colors, also signifies her corruption, her connection to dark magic, and the story’s “unnatural” elements.

THE WIZARD OF OZ

In The Wizard of Oz (1939), shades of purple and violet are used extensively in the fantastical, otherworldly designs of the film. It’s a color that signals to the audience that they are far from the sepia-toned reality of Kansas.

The Wizard of Oz | MGM

In these early applications, purple was a color of pure spectacle, deliberately employed to bring an immediate sense of magic, power, and fantasy to the screen. 

Ultimately, it sets the stage for its more nuanced and psychological uses in the decades to come.

PURPLE ON THE EARLY SCREEN:

As color film technology matured beyond the initial three-strip Technicolor process, filmmakers gained even greater control over their palettes. They began to explore the deeper, more complex psychological dimensions of purple. 

Moving beyond its foundational use for royalty and high magic, directors from the 1950s through the 1970s wielded purple and its related hues (violet, lavender, mauve) to signify eccentricity, psychological unrest, altered states, and a cold, elegant form of evil.

WALT DISNEY ANIMATION: THE CODIFICATION OF REGAL EVIL

While the Evil Queen in Snow White introduced the concept, it was the animated feature Sleeping Beauty (1959) that cemented purple as the definitive color of elegant, aristocratic villainy in the cinematic consciousness. 

The film’s antagonist, Maleficent, is a masterpiece of color design. Her entire being is defined by black (representing pure evil and the void) and dramatic flashes of violet and purple in her robes and the magical flames she conjures. 

Sleeping Beauty | Disney

This purple is far more than “evil.” Rather, it’s regal evil. It signifies her immense, otherworldly power, her cold pride, and her separation from the natural, earthy tones of the good fairies, solidifying a visual shorthand that countless films would follow. 

MEL STUART: THE ECCENTRIC PURPLE OF WILLY WONKA & THE CHOCOLATE FACTORY

In Mel Stuart’s Willy Wonka & the Chocolate Factory (1971), color is used to create a world of pure imagination, and no costume is more iconic than Wonka’s (Gene Wilder) signature purple velvet coat. 

Willy Wonka & the Chocolate Factory | Warner Bros.

This single piece of wardrobe does immense character work. It’s the color of royalty, and he is the undisputed king of his fantastical domain. It’s the color of magic, and he is a creative wizard. But it’s also the color of eccentricity. He is a brilliant, unpredictable, and slightly unhinged madman. 

Willy Wonka & the Chocolate Factory | Warner Bros.

The purple perfectly captures his contradictory nature: Is he a kind benefactor or a moralizing tyrant? The color holds both possibilities, making it the perfect choice for his mercurial character.

NICOLAS ROEG: THE PSYCHEDELIC PURPLE OF PERFORMANCE

Nicolas Roeg, first as co-director of Performance (1970), helped usher in a grittier, more psychological use of color. The film explores the collision of a brutal London gangster and a reclusive, decadent rock star, Turner (Mick Jagger). 

As the gangster hides in Turner’s bohemian flat, the film’s visual style becomes increasingly disorienting. The set design and lighting are steeped in rich, decadent, and sensual colors, including deep purples and magentas. 

Performance | Warner Bros.

Here, purple is the color of the psychedelic counter-culture, representing altered states of consciousness, androgyny, and the sensual, amoral blurring of identities. It’s a disorienting, intoxicating, and “unnatural” hue for a film that dissolves the very boundaries of reality. 

PURPLE IN CONTEMPORARY FILM:

As filmmaking moved into the digital age, directors and colorists gained unprecedented, precise control over their palettes. Purple, no longer constrained by the availability of specific pigments or the variability of film stock, was fully unleashed. 

Contemporary filmmakers have embraced its inherent duality to explore complex themes. It has become a go-to hue for stylish villainy, otherworldly technology, surreal dreamscapes, and a modern, spiritual form of power. 

CHRISTOPHER NOLAN: THE ANARCHIC PURPLE OF THE DARK KNIGHT

Perhaps the most iconic use of purple in modern cinema is the signature color of Heath Ledger’s Joker in The Dark Knight (2008). This is the purple of chaos. His gaudy, ill-fitting purple suit, deliberately paired with a sickly green, creates a jarring, unnatural, and unsettling visual. 

The Dark Knight | Warner Bros.

The color choices are a direct reflection of his philosophy. The purple signifies his desire for anarchy, his theatrical menace, and his complete break from societal norms. It’s the color of a bruise, of corruption, and of a grand, psychopathic performance. 

RYAN COOGLER: THE ROYAL PURPLE OF WAKANDA IN BLACK PANTHER

Ryan Coogler reclaims purple’s association with royalty and infuses it with new meaning in Black Panther (2018). In Wakanda, purple is the color of Vibranium, the nation’s lifeblood, and it represents a unique fusion of spiritual heritage and technological supremacy. 

This is most beautifully realized in the Ancestral Plane, a breathtaking landscape bathed in ethereal purple light, where T’Challa communes with his ancestors. 

Black Panther | Marvel Studios

Here, purple is not just royal; it is spiritual, cosmic, and powerful, a positive and Afrofuturist symbol of a power unlike any other on Earth. 

PANOS COSMATOS: THE PSYCHEDELIC PURPLE OF VENGEANCE IN MANDY

In Panos Cosmatos’s cult masterpiece, Mandy (2018), purple is not just a color; it’s a psychoactive state. The entire film is soaked in a thick, “cosmic” purple and violet haze that represents the story’s descent into a psychedelic, grief-fueled nightmare. 

Mandy | RLJE Films

This unnatural, hazy purple, often blended with bloody reds, creates a surreal, otherworldly atmosphere. It becomes the color of the film’s dream logic, its sinister cult, and the vengeful, almost magical, rage of its protagonist, transforming the entire landscape into a heavy metal album cover brought to life. 

ALEX GARLAND: THE UNNATURAL PURPLE OF MUTATION IN ANNIHILATION

In Alex Garland’s sci-fi horror Annihilation (2018), purple is the color of the alien and the unknowable. Inside “The Shimmer,” the very laws of nature are refracted, often manifesting as a beautiful, unnatural purple and violet sheen on the landscape and mutated creatures. 

Annihilation | Paramount Pictures

This ethereal purple represents a seductive but terrifying corruption. It’s the color of a beautiful, invasive, and non-human force that is actively rewriting life itself, creating an atmosphere that is both mesmerizing and deeply unsettling.

THE RUSSO BROTHERS: THE COSMIC PURPLE IN AVENGERS: INFINITY WAR

In the culmination of the Marvel Cinematic Universe, Avengers: Infinity War (2018), the Russo Brothers use purple as the ultimate symbol of cosmic power and menace. This is most evident in the film’s central antagonist, Thanos, a “mad titan” whose very skin is a shade of purplish-mauve, giving him an unnatural, regal, and imposing presence. 

Avengers: Infinity War | Marvel Studios

Furthermore, the first Infinity Stone he acquires, the Power Stone, is a violent, pulsating purple. This hue visually represents the uncontrollable, destructive, and otherworldly energy he commands, drawing directly from a long comic book tradition of purple as the color of supreme, universe-ending villainy.

NICOLAS WINDING REFN: THE ELECTRIC PURPLE OF VIOLENCE

In the neon-drenched underworlds of Nicolas Winding Refn’s films, purple is the color of a waking nightmare. In Only God Forgives (2013), purple and deep violet are used with hellish reds to light the interiors of the Bangkok underworld, signifying a space of impending violence, corruption, and otherworldly judgment. 

Only God Forgives | FilmDistrict

Similarly, in The Neon Demon (2016), the high-fashion world is bathed in a synthetic, saturated purple and magenta glow, representing its complete artifice, predatory nature, and a surreal, narcissistic descent where beauty and horror become one. 

The Neon Demon | Amazon Studios

BENJAMIN CLEARY: THE SERENE PURPLE OF A NEAR-FUTURE

Benjamin Cleary’s sci-fi drama Swan Song (2021) uses a clean, minimalist, and often cool palette to depict its near-future setting. Lavender and soft purple hues appear in the atmospheric lighting of the sterile, high-tech cloning facility, contrasting with the warmer tones of the outside world and human memory. 

Swan Song | Magnolia Pictures

This purple is the color of a serene, contemplative, and slightly melancholic technological limbo, reflecting the film’s themes of identity, loss, and the quiet weight of difficult choices. 

EMERALD FENNELL: THE DECADENT PURPLE OF ARISTOCRATIC ROT

Emerald Fennell’s Saltburn (2023) uses a rich, decadent color palette to depict the world of the English aristocracy, with purple and red being particularly significant. These colors represent wealth, power, desire, and corrupted luxury. The opulent interiors of the Saltburn estate are often bathed in a warm, golden light, but moments of transgression, desire, and violence are steeped in deep reds and purples. 

Saltburn | MGM Studios

The purple here is the color of a bruise, of poison, and of a royal-like decadence that has turned rotten, visually representing the seductive but ultimately corrosive nature of the world Oliver enters. 

JANE SCHOENBRUN: THE HAZY PURPLE OF NOSTALGIA AND HORROR

Jane Schoenbrun’s I Saw the TV Glow (2024) is defined by its stylized, lo-fi aesthetic, and purple is a central, atmospheric color. The film is steeped in the hazy, dreamlike glow of old CRT televisions and suburban teenage alienation. Purple, often paired with magenta, becomes the color of “The Pink Opaque”—a supernatural, liminal space that is both alluring and terrifying. 

I Saw the TV Glow | A24

It represents a reality just beyond our own. It’s a feeling of dysphoria, and the fuzzy, half-remembered quality of a haunting, nostalgic obsession.

JULIA DUCOURNAU: THE BODILY PURPLE OF TRANSFORMATION

Julia Ducournau’s Palme d’Or-winning Titane (2021) uses color in a visceral, tactile way. While known for its metallic blues and fiery oranges, purple appears in key moments of bodily transformation and trauma. It’s the unnatural color of deep, spreading bruises on skin and the strange, iridescent, oil-slick quality of the protagonist’s leaking fluids. 

Titane | Neon

It’s a corporeal, unsettling hue that highlights the film’s themes of body horror, dysmorphia, and the painful, “unnatural” merging of flesh and machine. 

EDGAR WRIGHT: THE NEON PURPLE OF A SINISTER PAST

Edgar Wright’s Last Night in Soho (2021) uses a dual-color palette to separate timelines, but purple (and magenta) acts as a bridge. While the present day is dominated by cool blues, the idealized 1960s are all alluring reds. As the dream sours into a nightmare, the film’s neon-lit world becomes a sinister, disorienting mix of reds and blues, often combining to create an intense, threatening violet/purple glow. 

Last Night in Soho | Focus Features

This purple represents the intersection of the two worlds, the bleed-through of past trauma, and the glamorous dream turning into a ghostly, neon-soaked nightmare. 

BRADY CORBET: THE SYNTHETIC PURPLE OF POP STARDOM

Brady Corbet’s Vox Lux (2018) charts the rise of a pop star born from tragedy. The film’s aesthetic becomes increasingly artificial as her fame grows, and the performance sequences are bathed in the synthetic, spectacular light of the stage. Purple and magenta are key colors here, representing the manufactured, empty, and almost alien nature of modern pop spectacle. 

Vox Lux | Neon

It’s the color of a performance that is all surface, a high-tech, emotionally detached show that masks the deep trauma at its core.

ALEJANDRO INARRITU: THE THEATRICAL PURPLE OF MAGICAL REALISM

In Birdman (2014), cinematographer Emmanuel Lubezki creates a world of contrasts. The cramped, stressful backstage reality of the theatre is often steeped in sickly greens and yellows. But in moments when Riggan (Michael Keaton) escapes into his superheroic delusions, the lighting often shifts. A deep, theatrical purple or magical blue can be seen, particularly on the stage itself or in his fantasy sequences. 

Birdman | New Regency Productions

This purple represents the “magic” of the theatre, his ego, his past power, and his flights of magical realism, a stark contrast to the gritty “truth” he is supposedly chasing.

DAVID LYNCH: THE UNSETTLING VIOLET OF THE HOLLYWOOD DREAM

David Lynch’s Mulholland Drive (2001) uses color to navigate its slippery, dreamlike logic. While reds and blues are prominent, purple and violet hues appear at key points of intersection between the dream and the nightmare. The ominous, flickering purple light of Club Silencio, for instance, is a prime example. 

Mulholland Drive | Universal Pictures

This purple is the color of a synthetic, pre-recorded, and deeply melancholic void. It signifies a space where reality has collapsed, representing the artificiality of the Hollywood dream and the tragic unreality of Diane’s existence.  

RYAN GOSLING: THE NEON-SOAKED PURPLE OF A DARK FAIRYTALE

Ryan Gosling’s directorial debut Lost River (2014) paints a dark, modern fairytale set against a decaying urban landscape. The film is defined by its intense, neon lighting, which cinematographer Benoît Debie saturates to an extreme. Along with lurid reds and greens, deep purple is used to light the film’s more surreal and menacing spaces, particularly the bizarre underground club. 

Lost River | Warner Bros.

This purple is the color of a magical, yet deeply unsettling, underworld. It’s a synthetic, dreamlike hue that highlights the film’s themes of decay and fantasy.

DAVID LOWERY: THE COSMIC PURPLE OF ETERNITY

David Lowery’s A Ghost Story (2017) uses its unique aspect ratio and desaturated palette to create a profound sense of melancholy and time. While largely defined by muted tones, the film’s climax features a stunning, cosmic light show as the ghost finally lets go. This sequence explodes with ethereal, nebulous purples, violets, and blues. 

A Ghost Story | A24

Here, purple is the color of the cosmos, of eternity, and of a spiritual transition beyond the confines of the house and time itself, offering a moment of transcendent, otherworldly release. 

MOLLY MANNING WALKER: THE HAZY PURPLE OF THE CLUB

In How to Have Sex (2023), director and DP Molly Manning Walker plunges the audience into the hazy, hedonistic, and often overwhelming sensory experience of a teen holiday. The film’s defining night scenes are set in clubs drenched in hazy purple, magenta, and blue light. 

How to Have Sex | BFI

This purple is the color of the party, a synthetic, intoxicating, and disorienting glow. It creates an atmosphere that is both exciting and predatory, visually representing the blurred lines, peer pressure, and the confusing, often dangerous, space between youthful desire and consent. 

HARMONY KORINE: THE HAZY PURPLE OF HEDONISM

Harmony Korine’s The Beach Bum (2019) is a sun-scorched, neon-hazed comedy, and purple is a key part of its otherworldly, hedonistic palette. Cinematographer Benoît Debie bathes the film’s perpetual night-life in a saturated, dreamlike glow. 

The Beach Bum | Neon

Purple and magenta light from bars and clubs create a disorienting, almost magical atmosphere. It’s the color of an altered state, a world without consequences, reflecting the carefree, poetic, and completely detached lifestyle of its protagonist, Moondog. 

STEVEN SPIELBERG: THE DIGITAL PURPLE OF THE OASIS

In Ready Player One (2018), Steven Spielberg visually differentiates the bleak, gray real world from the vibrant digital world of the OASIS. Within the OASIS, purple is a key signifier of fantasy and technology. It appears in the glow of magical items, the energy of high-tech weapons, and the digital landscapes of certain planets or zones (like the nightclub). 

Ready Player One | Warner Bros.

This purple is purely synthetic, representing the infinite, fantastical, and non-physical possibilities of the digital world where the characters truly feel alive. 

THE POWER OF VISUAL REFERENCE: SHOTDECK ILLUMINATES CINEMATIC STORYTELLING

Throughout this exploration of purple in cinema, we’ve relied on striking visual examples to illustrate the color’s diverse applications and emotional impact. From the regal, magical purples of Black Panther and the chaotic villainy of The Dark Knight, to the psychedelic haze of Mandy, these images are invaluable tools. They help us understand how color functions as a central part of the cinematic language. But where can filmmakers, film students, and passionate cinephiles find these specific shots, analyze color palettes in detail, and draw inspiration for their own work?

The answer, increasingly, is ShotDeck. ShotDeck is more than just a vast collection of film stills. It’s a revolutionary resource that’s transforming how filmmakers approach pre-production, visual research, and even film analysis itself. It’s the world’s largest searchable database of high-definition movie images, meticulously curated and tagged with an unprecedented level of detail.

Every image in this article, showcasing the masterful use of purple across a range of films and directorial styles, was sourced from ShotDeck’s extensive library. As we continue our Movie Color Palette series, exploring the vibrant world of cinematic color, resources like ShotDeck will undoubtedly play an increasingly vital role. They empower filmmakers to learn from the masters, dissect visual techniques, find inspiration for using specific hues like purple, and ultimately, shape the future of cinema.

THE BOTTOM LINE:

Our deep dive into cinematic purple reveals a color with unparalleled historical weight and psychological complexity. Born from the rarity of Tyrian dye, its association with royalty, power, and wealth was its foundation. But its true power, and the reason filmmakers are so drawn to it, lies in its duality. As a blend of passionate red and stable blue, purple is inherently mysterious, a color of the spirit, magic, and the supernatural.

This exploration of purple, our tenth installment, concludes our main journey through the Movie Color Palettes series. It proves that every hue, especially one as complex as purple, is a deliberate, potent choice. It connects us to deep-seated cultural symbols of power and the unknown, making it one of the most powerful and transformative colors a filmmaker can wield.

THE FILMMAKERS ACADEMY ADVANTAGE

Filmmaking is a collaborative art. That’s why at Filmmakers Academy, we believe in the power of connection. Beyond our comprehensive courses, we offer a thriving community where you can network with fellow filmmakers. Not only that but you can share your work and find collaborators for your next project. Our platform provides a space to connect with industry professionals, learn from experienced mentors, and build lasting relationships that can propel your career forward.

Join Filmmakers Academy today and discover a supportive network dedicated to helping you achieve your cinematic dreams.

The post PURPLE: Movie Color Palettes appeared first on Filmmakers Academy.

In our industry, it’s easy to feel overwhelmed. There’s a “sensory overload” of new gear dropping every six months and a looming anxiety about what Artificial Intelligence means for creatives. It’s easy to get stuck on what Shane Hurlbut, ASC, calls “the rat wheel” — the constant, exhausting chase for the latest and greatest tech.

But what if that’s the wrong way to think about it?

In our new Filmmakers Academy presentation at B&H BILD, The Future of Filmmaking: AI, Innovation & Fundamentals, Shane sits down with Oren Soffer, the acclaimed cinematographer behind The Creator, for a candid discussion that cuts through the noise.

They offer a grounded, practical perspective built on decades of experience. Their biggest takeaway?

Technology is a tool, but the fundamentals are the foundation.

The Fundamentals: Emotion, Story & Craft

Before they ever touched a high-end cinema camera, Shane and Oren had unconventional “sparks.”

For Shane, it wasn’t film school, it was driving a grip truck on the set of Phantasm II and having a single, mind-blowing realization about light that launched his career. For Oren, it was trying to recreate Star Wars with a MiniDV camcorder and no editing system, forcing him to learn the language of shot-reverse-shot in-camera.

Both masters agree: emotion fuels the visuals. Your job is to be a problem-solver, not just a gear collector. In the full lesson, Shane tells an incredible story from the set of Terminator Salvation where a critical light died, and he had to improvise a solution… with a piece of gum.

Innovation vs. Distraction

That doesn’t mean you should ignore new tech. The key is to separate distractions from true, craft-changing innovations. In the presentation, Shane and Oren break down the tools that actually changed how they shoot, like the gimbal and the Easy Rig.

Gimbal Op Jason Robbins | Photo by Luman Kim

They also discuss “process innovation.” How did Shane go from a 295-person department on Terminator Salvation to shooting Act of Valor with a crew of just 10? How did Oren’s crew on The Creator shrink to a handful of people on a boat, walking past a basecamp of 50 trucks?

The Creator

The answers will change how you think about your own productions.

The Truth About AI

Finally, they tackle the “four-letter word” (or as Nick from B&H calls it): AI.

Forget the doomsday scenarios. Shane and Oren reframe AI as the ultimate “efficiency engine.” They provide a practical framework for how AI will be used to expedite tedious tasks, like syncing dailies or generating reports, so you can save money and put more of your budget back on the screen.

They argue that AI will never replace the human element for two key reasons: The Audience Problem (it has no “heart”) and The Creator Problem (we don’t want to make movies that way).

Watch the Full Presentation

This article only scratches the surface. The full 1-hour presentation is an exploration into career philosophy, practical problem-solving, and a clear-eyed look at the future.

When you become a Filmmakers Academy All Access member, you don’t just get to watch the full presentation. You also get access to our comprehensive textbook breakdown, perfect for readers who want to master every concept.

Stop chasing the “rat wheel” and start investing in your craft.

Watch “The Future of Filmmaking: AI, Innovation & Fundamentals” Now

The post Is AI Coming for Your Job? Shane Hurlbut & Oren Soffer Have Answers appeared first on Filmmakers Academy.

“Some search for battle, others are born into it.” 

For years, adapting a Thomas Pynchon novel was considered a fool’s errand. That was until Paul Thomas Anderson masterfully captured the hazy, paranoid spirit of Inherent Vice. With his next splash into the Pynchonian universe, One Battle After Another not only proves his unique ability to translate the author’s complex prose but does so with a startling and urgent modern lens. The casting of Leonardo DiCaprio, following Joaquin Phoenix (as Doc Sportello), solidifies a fascinating trend of PTA pairing generational actors with Pynchon’s bewildered, soulful protagonists.

By streamlining Vineland‘s multifaceted plot, the film focuses on a more intimate, melancholic, and deeply resonant theme. The quiet apathy and lingering ghosts of a revolution gone wrong. This focus on the “aftermath” is classic PTA. The director excels at exploring the emotional spaces after the primary drama has unfolded. More specifically, where characters are left to grapple with the consequences. 

(SPOILERS AHEAD!)

What makes One Battle After Another arguably PTA’s most prescient work is its brilliant decision to ground the narrative in a modern context. The on-screen world, with its militarized police presence and public protests against anti-immigrant movements, feels ripped directly from today’s headlines. The film’s central conflict — the grassroots “French 75” movement versus the shadowy white supremacist cabal, the “Christmas Adventurers Club” — transforms Pynchon’s text into a powerful and uncomfortable mirror to our current political landscape.

This approach marks a significant return to the kind of explicit, politically charged filmmaking that defined the great American cinema of the 1970s. In an era where such directness is often avoided by major studios in a meaningful way, PTA is clearly making a bold statement. He’s championing the idea of activism and resistance in the face of creeping fascism. The film leverages Pynchon’s core truth: that reality is often far more absurd and terrifying than fiction.

CINEMA THAT IS MORE THAN FICTION…

A film like One Battle After Another doesn’t feel like a movie so much as a vital, anxious pulse beat for our current moment. PTA takes the soul from the source material, and like a used needle he dug up on Venice Beach, he mainlines its paranoia directly into the present, creating a world where the line between absurdist fiction and our own fractured reality has completely dissolved. In an age where decades of change feel crammed into a single year, this is cinema as a warning shot. It’s a declaration that the battle for a nation’s soul is far from over, and a powerful confirmation that… the revolution has only just begun.

This is The Look of One Battle After Another.

☭ ONE BATTLE AFTER ANOTHER TECH SPECS ☭

☭ THE WORLD OF

ONE BATTLE AFTER ANOTHER ☭

The Agents of Change vs. The Agents of the State

The world is a-changing, whether you like it or not. In the universe of One Battle After Another, the agents of this change begin with the youth. The film opens on the sexy and audacious Perfidia Beverly Hills (Teyana Taylor), a key member of the revolutionary group, “The French 75.” As she walks down a highway overpass at dusk, the camera leads her over a makeshift immigrant detention center. This facility is guarded by a score of U.S. soldiers led by Col. Steven J. Lockjaw (Sean Penn).

‘One Battle After Another’ Warner Bros.

Lockjaw is the very embodiment of American grit twisted into perversity. He is a lapdog to power, representing those individuals willing to do anything to be accepted by the ruling class. In other words, people like Lockjaw are unable to see anything outside the narrow confines of their own ambition. This opening image immediately establishes a clear paradigm. The stark opposition between those who strive to correct the injustices of the world, like Perfidia, and those who are willing participants in enacting that injustice, like Lockjaw.

The film then expands this paradigm even further. Beyond the immediate conflict on the street, we have the innocent victims — the immigrants being persecuted — and the ultimate victimizers, ‘The Christmas Adventurers.’ This fascist cabal, a shadowy collective of old-wealth elites, titans of industry, politicians, and select military officers, is the mastermind behind the anti-immigration rhetoric and policy sweeping over the nation.

A Revolution Born of Passion and Betrayal

Perfidia is dating a fellow French 75 member, Bob Ferguson (DiCaprio), a skilled bombmaker. It soon becomes clear, however, that his love for revolution does not exceed his love for Perfidia. On some level, his inspiration for radical action seems directly connected to his desire for her. 

‘One Battle After Another’ Warner Bros.

This dynamic is put to the test in the film’s explosive opening sequence, where the French 75 liberates the detention center under Lockjaw’s command. During the chaos, Perfidia uses her sex appeal as a weapon. She subdues Lockjaw in a move that unexpectedly awakens in him a kink for being dominated by her, sparking an immediate and intense infatuation.

‘One Battle After Another’ Warner Bros.

This daring liberation becomes a storied exploit. It grants the group notoriety and makes them heroes of the resistance. For Lockjaw, however, it becomes a personal mission to track Perfidia down. A mission driven by both duty and desire. He eventually corners her as she is planting a bomb in an office building. 

‘One Battle After Another’ Warner Bros.

He offers her an ultimatum: meet him that night at a motel, and he will keep her secret. She complies, satisfying his kink, and nine months later, gives birth to a daughter, Willa, whom Bob believes is his own.

‘One Battle After Another’ Warner Bros.

After this moment, a shift occurs…

Perfidia, perhaps driven by guilt or a renewed sense of purpose, becomes even more resolute in her revolutionary mission, but also more reckless. In contrast, Bob retreats into domestic life. He stays home with their baby, his revolutionary spirit seemingly quelled by the satisfaction of fatherhood. 

The balance is broken, and during a bank robbery, Perfidia kills a security guard. The entire group is forced to flee, leading to an intense getaway sequence. Perfidia is captured, and the surviving members of the French 75 are scattered into hiding or systematically killed. Bob is given a new identity and escapes with the baby.

‘One Battle After Another’ Warner Bros.

The Absurdity of Power and the Christmas Adventurers’ Club

One of the more absurdist, and thus Pynchon-esque, threads of the story is Lockjaw’s desperate pursuit of acceptance into the Christmas Adventurers’ Club. This racist, super-secret society is an old boys’ club that seems to be a cross between the Safari Club, Masonic Lodge, and Skull and Bones, all wrapped into one — holding a fascist grip on the levers of power. They occasionally allow certain military figures to join, but only if they meet the strict criteria: being white and having never been part of an interracial relationship, among them.

Lockjaw, haunted by his past with Perfidia, lies about his history to gain entry. To cover his tracks, he abuses his military power to search for Willa and eventually conduct a DNA test, confirming his deepest fear and hope: that she is, in fact, his daughter. This reckless pursuit is what places the aging, scattered members of the French 75 back in mortal danger and set the main action of the story in motion.

‘One Battle After Another’ Warner Bros.

In a chilling scene, the severity of the club’s ideology is laid bare. An assassin, appearing as a clean-cut, pasty Lacoste-wearing, country club-frequenting “good boy,” is guided through a labyrinth of secret hallways beneath a mansion. He enters a large masonic-like room with a small committee of wealthy men (as white as mayonnaise) who have discovered Lockjaw’s secret. They give the order to “clean up the situation,” meaning to kill not only Lockjaw for his transgression but also his potential child. This moment shows their unwavering and lethal ideology, revealing their power and stranglehold on society. This is exactly what the revolution is up against. 

☭ ONE BATTLE AFTER ANOTHER PRODUCTION DESIGN ☭

One Battle After Another achieves an epic scope that feels both fantastical and tangibly real. The story races from the redwood forests of Northern California to the sun-baked hills of the Anza-Borrego desert and the stark reality of the Tijuana border. Creating this sprawling, yet intimate, world was the monumental task of production designer Florencia Martin, who previously collaborated with Anderson on the meticulously recreated 1970s San Fernando Valley of Licorice Pizza.

For One Battle After Another, Martin had to craft a unique vision: a sort of present-day reality that exists in a world all its own. The goal was to go “beyond the matte paintings” and create an immersive space that the audience could step into. Drawing from insights with Martin, let’s delve into how the production design team built the unforgettable world of the film, piece by practical piece.

Behind the Scenes of One Battle After Another | Warner Bros.

A Tapestry of Unseen California

As previously mentioned, the film is loosely based on Thomas Pynchon’s novel Vineland, with the story’s origins in the redwood country of Humboldt County. This set the tone for the entire scouting process. 

“We’d go to all these inland neighborhoods like Sacramento, Stockton, Fresno,” Martin explains. “It really is like a tapestry of California to me — a California that we don’t really know.”

Sacramento (L) | Stockton (R)

The production filmed across at least nine California counties and in El Paso, Texas, deliberately avoiding typical coastal sights. The Sacramento rail yards, the undulating “river of hills” near the Texas Dip in Borrego Springs, and the Otay Mesa border crossing give the film a visual identity completely distinct from other California-set movies. This adherence to exclusively finding unique, authentic locations was foundational for the film’s grounded feel.

Anza Borrego (L) | El Paso Texas (R) 

Building the Worlds Within the World

Bob and Willa’s Redwood Hideout

To create the secluded home where Bob has raised his daughter, Willa, for 16 years, the team found a single-bedroom house engulfed by redwoods. The design philosophy was one of accumulation. 

“It’s that sense of someone who found a little sanctuary… and got really settled in,” says Martin. 

‘One Battle After Another’ Warner Bros.

The space was dressed with years of history, using artwork from Anderson’s own children and baby photos from Chase Infiniti herself to create an authentic sense of a lived-in family home. In a touch of Pynchon-esque whimsy, a nearby property filled with tiny, moss-covered cars became the location for the redwood outhouse, built right amongst them as if it were another of Bob’s eccentric hobbies.

Sensei’s ‘Underground Railroad’ Apartment

For the sprawling safe house run by Sensei Sergio St. Carlos (Benicio Del Toro), the production moved to El Paso, Texas. A location scout found the Genesis Perfumeria, a shop with an “incredible fluorescent green interior” and a staircase leading to an empty second floor. This discovery sparked the entire sequence. 

‘One Battle After Another’ Warner Bros.

“That’s how his story started to grow,” Martin notes. 

Her team then built Sensei’s apartment and the entire warren of interconnected living spaces for refugees practically on that empty second floor. 

“That is one of my favorite sets I’ve ever been a part of,” Martin says, explaining how they gave a unique story and design to each family’s space.

The Sisters of the Brave Beaver Compound

Inspired by the real-life “weed nuns” of California’s Sisters of the Valley, the film features a secluded convent. The challenge was finding a location that felt authentic and not overly restored. After visiting numerous missions, the team chose La Purisima Mission in Lompoc. 

Behind the Scenes of One Battle After Another | Warner Bros.

“La Purisima was the most stripped away, the closest to being a believable space that these women would have found… and taken it over,” Martin recalls. 

Paul Thomas Anderson Behind the Scenes of One Battle After Another | Warner Bros.

It provided the perfect backdrop for the perverse paternity test scene, set within the mission’s chapel.

The Border Detention Camp

To create the chilling detention camps, authenticity and respect were paramount. Martin consulted contemporary and historic photos and worked with a military advisor. The team found an incredible location that allowed them to build their temporary camp right next to the actual border wall at Otay Mesa. 

‘One Battle After Another’ Warner Bros.

The experience was profoundly impactful, as Martin notes, “We would have Border Patrol and immigrants crossing in as we were shooting.” The design was based on the stark reality of how these centers are run and laid out, avoiding a fictionalized interpretation.

Designing the Details: From Secret Societies to Sci-Fi Tech

Beyond the major locations, the design team crafted the film’s more fantastical elements with a grounded approach. The nefarious Christmas Adventurer’s Club found its headquarters in Sacramento’s historic Reagan Mansion, its fittingly formal architecture providing the perfect backdrop for the shadowy cabal. 

For the revolutionaries’ tech, like their unique scanner devices, the team looked at a mix of real-world communication methods. 

“It was just looking at 3G networks and ham radios and satellite… and also a little bit of fantasy too,” Martin explains, resulting in technology that feels functional and, as she puts it, “already old.”

The Power of the Practical

The immersive, tangible quality of One Battle After Another is a direct result of a core filmmaking philosophy championed by Anderson and Martin: prioritize real, built environments over digital ones. 

“CGI can distance the audience, but architecture really holds you,” Martin states. 

Behind the Scenes of One Battle After Another | Photography by Thomas Anderson

From the practical build of Sensei’s apartment to the real desert hills of the car chase, every location feels authentic and lived-in. This dedication to craftsmanship grounds the film’s epic story and complex characters, making its world not just a spectacle to be watched but a reality to be experienced.

☭ ONE BATTLE AFTER ANOTHER CINEMATOGRAPHY ☭

Paul Thomas Anderson’s films are defined by their unforgettable visual language, and One Battle After Another is no exception. Reuniting with his recent collaborator, cinematographer Michael Bauman, Anderson has crafted a film that feels both timeless and urgently contemporary. The movie’s look is a chaotic, sun-baked, and often surprisingly beautiful mosaic, shot on film and presented in a variety of large formats, including the resurrected VistaVision, 70mm, and IMAX. This vision for analog capture and ambitious presentation is a bold statement in the digital age, creating a tangible, textured world for this modern revolutionary tale.

Behind the Scenes of One Battle After Another | Warner Bros.

The cinematography masterfully walks a tightrope, balancing the kinetic energy of a genre film with the intimate, character-focused portraiture that is Anderson’s signature. Let’s break down the key cinematic choices that define the look of this epic.

Embracing the Analog: VistaVision and the Power of Film

In an era of digital precision, Anderson and Bauman made the deliberate choice to shoot One Battle After Another on celluloid, primarily using the rare VistaVision format. This high-resolution format, which runs 35mm film horizontally through the camera, captures a larger, more detailed negative, resulting in a stunningly sharp yet organic image. As Leonardo DiCaprio notes, the film feels “tactile,” a direct result of shooting in “real cars, real environments and situations.”

Behind the Scenes of One Battle After Another | Warner Bros.

The choice of film also creates a distinctive visual texture. The inherent grain structure of the film stock adds a layer of authenticity and nostalgia, separating the film’s aesthetic from the often sterile look of modern digital cinematography. The color reproduction on film, especially in the direct VistaVision prints, is described as breathtaking, with a range and depth that feels both vibrant and true to life. This analog approach grounds the film’s sometimes absurd or fantastical events in a believable, textured reality.

Behind the Scenes of One Battle After Another | Photo by Robert Pitts

Letting Darkness Be Dark: A Philosophy of Night Cinematography

One of the most striking aspects of the film’s cinematography is its approach to night scenes. In an era where many films are criticized for being overly dark or murky, Bauman’s work here is praised for its clarity and deliberate use of darkness. The philosophy is simple but effective: let darkness be dark. Rather than trying to artificially light every corner of the frame for visibility, the team embraced deep shadows and allowed light to be motivated by practical sources.

‘One Battle After Another’ Warner Bros.

This technique has a powerful effect. Night scenes look richer and more saturated, and the contrast between the pools of light and the surrounding darkness creates a sense of depth, mystery, and suspense. 

‘One Battle After Another’ Warner Bros.

As film critic Patrick Tomasso notes, “Our eyes can’t see everything at night in real life, so why should cameras?” This approach makes the darkness an active element in the composition, a space where threats can hide and characters can find temporary refuge.

Choices That Serve the Story: Embracing “Imperfection”

The cinematography in One Battle After Another isn’t afraid to be “imperfect.” It utilizes techniques that some might consider technically wrong, but that perfectly serve the film’s chaotic and disorienting story. Borderline overexposed daylight scenes convey the oppressive heat of the California desert, while unsettling, shaky handheld camera work plunges the audience directly into the frenetic energy of a chase or the paranoia of a character.

‘One Battle After Another’ Warner Bros.

As DiCaprio describes, the action sequences are “done in a Paul Thomas Anderson fashion that is very unexpected.” Anderson and Bauman eschew slick, CGI-heavy set pieces in favor of a more bare-bones, visceral approach.

Behind the Scenes of One Battle After Another | Warner Bros.

The camera is often right in the middle of the action, capturing real cars on real roads, with a “meta-jitteriness” that feels more authentic and thrilling than a perfectly smooth drone shot. These choices are deliberate decisions to prioritize the emotional and visceral experience over sterile technical perfection.

Behind the Scenes of One Battle After Another | Merrick Morton Photography

The Human Landscape: A Focus on Faces

For all its epic scale and visual pyrotechnics, One Battle After Another remains a deeply human story, and the cinematography reflects this. Anderson is a master at chronicling the human face, and this film is filled with stunning portraits that capture the complex inner lives of its characters.

Behind the Scenes of One Battle After Another | Warner Bros.

The use of large formats, such as VistaVision and IMAX 70mm, with their immense height and detail, draws the viewer incredibly close to the actors. Every nuance of a performance — a hint of doubt in Regina Hall’s eyes, a flash of fear on Chase Infiniti’s face, the weary lines on Leonardo DiCaprio’s — is captured with devastating clarity. 

Regina Hall in One Battle After Another

As critic Jim Hemphill observed, this format makes the film a “meditation on faces and the histories they illustrate.” Even amidst the chaos of a shootout or a car chase, the camera consistently finds its way back to the human element, reminding the audience of the emotional stakes at the heart of the story. 

The VistaVision Presentation

For the first time in over 60 years, Anderson has championed the projection of a new feature film from true VistaVision prints, reviving a dormant but legendary format. This provides a viewing experience for audiences that is as close as possible to the original camera negative.

Created by Paramount Pictures in 1954 as a response to the rise of television, VistaVision is a high-resolution widescreen format. Unlike standard 35mm film, which runs vertically through the camera, VistaVision orients the film horizontally. This creates a negative frame that is twice the size (8 perforations wide, hence “8-perf”), resulting in a finer-grained, higher-quality, and more detailed image. Alfred Hitchcock was a notable champion of the format, using it for classics like Vertigo and North by Northwest.

A 60-Year Hiatus and a Triumphant Return 

After its heyday in the 1950s, VistaVision’s use for principal photography waned, with Marlon Brando’s One-Eyed Jacks being the last major American film shot and released this way. For decades, the format was kept alive almost exclusively for special effects work on blockbusters like the original Star Wars and Jurassic Park, where its high resolution was ideal for compositing.

Behind the Scenes of One Battle After Another | Merrick Morton Photography

With One Battle After Another, Anderson has not only revived VistaVision for capture but has also worked with Warner Bros. to retrofit four select theaters worldwide — in Los Angeles, New York, Boston, and London — with the rare, specialized projectors required to screen true VistaVision prints. This is a significant undertaking, as these projectors must also run the film horizontally and are exceedingly rare. This allows audiences in those locations to see a print struck directly from the original cut negative, offering a viewing experience of unparalleled color and clarity.

The VistaVision Difference 

According to those who have seen the VistaVision presentation, there is a subtle but undeniable difference. The color reproduction is described as stunning, with a range and depth far greater than other formats. Cool colors appear colder, warm ones feel red-hot, and the subtle gradations across the spectrum are filled with rich detail. Anderson himself has noted that this presentation is the closest to the film’s intended look, offering a direct, unfiltered connection to the work of the cinematographer and the director. While other large formats like IMAX 70mm and standard 70mm offer their own immersive and beautiful experiences, the VistaVision print is unique in its direct photochemical lineage from the camera to the screen.

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☭ ONE BATTLE AFTER ANOTHER

COSTUME DESIGN ☭

While epic car chases and sprawling landscapes grab the eye, the film’s character-driven story is powerfully yet subtly reinforced by the masterful work of Oscar-winning costume designer Colleen Atwood. Tasked with dressing a diverse cast of revolutionaries, white supremacists, high schoolers, and a freedom-fighting Sensei, Atwood perfected the art of what she calls “unconscious-conscious dressing”—creating looks that feel deeply authentic to the characters’ lives and circumstances, rather than costumes that scream for attention.

Dressing the Revolutionaries: The Subtlety of Living Off-Grid

Atwood’s collaboration with Anderson was organic, beginning with a serendipitous run-in. Early fittings with Leonardo DiCaprio and Chase Infiniti took place at Anderson’s own home, where he would shoot camera tests on 35mm film, allowing the team to collaboratively refine the looks.

For the revolutionaries of the “French 75,” the key was to avoid romanticizing their image. 

“It’s always a possibility in that world to over-romanticize… to want everyone to look like him,” Atwood says, referencing the iconic image of Che Guevara. “They’re living off the grid, so they don’t want you to notice what they’re wearing.” 

This philosophy is embodied in the uniform-like dressing of Deandra, whose simple attire reflects what Atwood calls a “Madonna-esque purity,” suggesting a character who is more concerned with her cause than with her clothes.

Bob’s Robe: An Accidental Icon

For Bob, the revolutionary-turned-stoner-dad, the initial idea was a simple sweatshirt. However, a fluid process of collaboration led to a more memorable choice. 

“I don’t know if it’s Paul or Leo who said, ‘What if he’s just in his robe?'” Atwood recalls. 

‘One Battle After Another’ Warner Bros.

Inspired by Jeff Bridges’ “The Dude,” Bob spends a significant portion of the film in a faded, checked bathrobe. Atwood sourced a vintage rental robe as a template, then custom-made multiples from a vintage-looking cotton-wool blend fabric, which was then heavily aged. The result is an “old, cheap dad robe” that perfectly captures Bob’s state of inertia and cozy paranoia. 

Even his shoes, a pair of Altra Lone Peak trail runners, were a practical choice influenced by DiCaprio’s preference for a wide toe box, with their subtle orange soles occasionally peeking through the grime.

Willa’s Skirt: Sweetness and Action-Ready Strength

The primary costume for the teenage Willa was inspired by a student Anderson saw wearing a petticoat skirt at a real high school dance in Eureka. Atwood took this idea and adapted it for the screen. Initially considering a faded pink, she ultimately chose blue to feel more “low-key” and less vulnerable, reflecting Willa’s emotional state. 

‘One Battle After Another’ Warner Bros.

The skirt was crafted from airy silk gazar, cut with enough volume to catch air during action sequences and layered to allow light to pass through during dark exteriors. This sweet skirt was then contrasted with a tough, beaten-up leather jacket, described by Atwood as Grease-esque. 

“It felt right for her to have this beat-up jacket — that was her treasure,” she adds.

Dressing the Villains: From Awkward Aspirants to Real-Life Elites

For the white supremacist Christmas Adventurers’ Club, Atwood drew inspiration directly from real life. 

“I went to Orvis one day in Pasadena, and I saw one of the guys there who looked just like that,” she says, recalling a golf enthusiast who inspired one of the clandestine meeting costumes. “I went and bought exactly what the guy had.” 

This grounds the film’s antagonists in a recognizable, upper-class reality.

Col. Steve Lockjaw, an aspiring club member, is deliberately dressed to look out of place. His formalwear — a brand-new navy blazer, khaki pants, and tie — is what “his mother would’ve put him in for church on Easter Sunday.” The look is awkward and ill-fitting for the situations he’s in, reflecting his desperate, sad struggle for acceptance.

Sensei’s Style: A Collaborative and Authentic Look

Sensei Sergio St. Carlos was a particular highlight for Atwood, with a look that evolved through direct collaboration with the actor. The initial idea of keeping him in his gi was challenged by Del Toro himself, who questioned, “Why would I be hanging out in my gi doing my paperwork?”

‘One Battle After Another’ Warner Bros.

Instead, the final look became a fusion of influences. He keeps his gi pants, but pairs them with a custom-made indigo denim jacket (inspired by a design from Jimmy McBride) and unique cowboy boots Atwood found on a scouting trip to El Paso. 

This piecemeal, rooted-in-reality look, combining martial arts attire with Western and custom elements, perfectly reflects the character’s unique role as a protector and guide, and exemplifies what Atwood calls the “very fluid way” the film’s costumes came together.

☭ WATCH ONE BATTLE AFTER ANOTHER ☭

From the tangible, practical world built by Production Designer Florencia Martin to the stunning analog cinematography of Michael Bauman and the character-driven costumes of Colleen Atwood, One Battle After Another is a marvel of filmmaking at the highest level. It’s a film that demands to be seen, studied, and experienced. 

Now that you’ve explored the incredible detail and artistry that went into every frame, it’s time to witness the final, breathtaking result.

To get a taste of the film’s unique, action-packed, and visually stunning world, watch the official trailer below.

One Battle After Another is still in theaters, then it will be made available to watch on major streaming services and for digital purchase.

Feeling inspired by the incredible level of artistry in Paul Thomas Anderson’s film? The techniques used to create movie masterpieces like this are at the very core of what we teach at Filmmakers Academy. Are you ready to move beyond appreciation and start mastering skills like cinematography, lighting, and directing? Get the knowledge from professionals who have worked on films of this scale with our All Access membership. It’s your next step to becoming a well-rounded filmmaker.

JOIN OUR ALL ACCESS MEMBERSHIP TO LEARN FROM INDUSTRY PROFESSIONALS! 

The post The Look of One Battle After Another appeared first on Filmmakers Academy.

In this Cinematography Tip, DP Shane Hurlbut, ASC, shares his on-set methodology for “taking the edge off” a sharp sensor. We’re not talking about degrading the image. This is about using subtle filtration to add a layer of cinematic character. Using a side-by-side comparison of Cooke S7/i and DJI lenses on a DJI Ronin 4D, Shane demonstrates a practical, real-world approach to controlling sharpness and enhancing your visual storytelling in-camera.

The Challenge: Balancing Sharpness and Cinematic Character

To demonstrate this technique, Shane sets up a comparison between two very different lens sets mounted on a DJI Ronin 4D 6K camera.

First, the Cooke S7/i prime lenses. Right away, Shane notes their classic characteristics: a neutral color profile and what he calls a “beautiful, cinematic, lyrical narrative distortion.” 

This is the famous “Cooke Look,” where the background is pushed further away, making the foreground subject feel more prominent and three-dimensional. He also observes that the Cooke is a significantly sharper lens with about a third to a half-stop more detail in the shadows, showcasing its quality and latitude.

Second, the DJI lenses. In comparison, Shane sees a warmer, more red-yellow tint and a flatter image that compresses the background, bringing it closer to the subject. While a perfectly functional lens, it lacks the sharpness and dimensionality of the Cooke.

This presents a clear challenge: the Cooke lens is very sharp, and the DJI 6K sensor is also very sharp. The combination can feel too harsh. The DJI lens, while less sharp, could still benefit from a touch of softening to give it a more cinematic quality. The goal is to use filtration to bring both looks into a beautiful, organic space.

The Solution: Tiffen Soft Glow Filters

For this specific task of subtly “taking the edge off,” Shane turns to the Tiffen Soft Glow filters. These are not heavy, atmospheric filters like a Pro-Mist or Black Fog. Instead, they are designed for a more delicate touch. Their primary function is to gently lift the overall contrast of the image and bloom or “glow” the highlights, all without creating a milky or foggy haze.

Shane’s methodology is precise. Since the Cooke lens is inherently sharper, he applies a stronger Soft Glow 1 filter. The effect is immediate but subtle. 

“I love what it’s doing to the clipping practical,” he notes, pointing to a background light. “It’s just blooming it ever so slightly. It’s kind of taken the edge off of that super sharp quality… and it just makes it look more cinematic.”

For the less-sharp DJI lens, he uses a weaker Soft Glow 0.5 filter. 

This demonstrates a key principle: you must tailor your filtration to the specific characteristics of your lens. 

The goal was to balance the two looks, giving the DJI lens a similar cinematic softness without making it feel mushy or out of focus.

The Fundamental Rule: Scaling Filter Density to Focal Length

This is one of the most crucial takeaways of the lesson. Shane shares a fundamental rule of filtration that every filmmaker must know: “Wider the lens, the higher the number. Tighter the lens, the lower the number.”

What does this mean? A telephoto lens (like a 100mm) magnifies a small portion of the filter’s glass, so the diffusion effect is amplified. A weak 1/8 or 1/4 strength filter will have a very noticeable effect on a long lens. 

Conversely, a wide-angle lens (like an 18mm) sees a much broader area of the filter, so the effect is diminished. To see a similar level of diffusion on a wide lens, you would need to use a much stronger grade, like a 3, 4, or 5. Understanding this inverse relationship between focal length and filter strength is essential for maintaining a consistent look as you change lenses on set.

The Bottom Line: Controlling Sharpness with Intention

In the age of incredibly high-resolution digital sensors, sharpness is a given. The true art of modern cinematography often lies in how you control that sharpness. This lesson from Shane Hurlbut, ASC, is a powerful demonstration of how to use subtle filtration as a creative tool. 

By understanding the personality of your lenses and filters, and by applying the crucial rule of scaling density to your focal length, you can move beyond the clinical “digital edge.” You can soften contrast, bloom highlights, and add an organic, cinematic character to your images right in the camera, giving you a more beautiful and intentional image to work with in post-production. 

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Unlock the Full Masterclass Lesson!

To see Shane’s full on-set process and learn more about mastering the tools of cinematography, explore our comprehensive Camera Lenses & Filters Masterclass.

TIFFEN FILTERS:

• Tiffen Black Fog
• Tiffen Night Fog
• Tiffen Soft Glow 
• Black Pro-Mist Filter
• Tiffen Black Soft Glow
• Tiffen Golden Glow
• Tiffen Soft Glow Screw-In Camera Filter
• Tiffen Night Fog Filters Screw-In Camera Filter
• Tiffen Black Soft Filters Screw-In Camera Filter

Click here for the Complete Wishlist of gear used in this Cinematography Tip!

The post Cinematography Tip: Softening Digital Sharpness with Diffusion Filters appeared first on Filmmakers Academy.

If you’re not leveraging it effectively, you could be leaving your next gig on the table.

In a recent presentation at the B&H Build event, Filmmakers Academy CEO Brendan Sweeney and social media expert Kyra Sweeney, co-founders of Lost Objects, broke down a practical, no-nonsense approach to mastering Instagram. This guide distills their expert advice into a step-by-step plan to help you turn your profile from a passive collection of photos into an active career-building tool.

Choosing Your Platform Wisely:

While there are several valuable platforms for filmmakers (TikTok for short-form, LinkedIn for professional networking, YouTube for long-form), Instagram remains the go-to for visual artists. It’s the perfect place to start because it’s built for showcasing your work, connecting with collaborators, and building a community. The key, as Kyra emphasizes, is quality over quantity. It’s better to master one platform than to spread yourself too thin across many.

Crafting Your Digital First Impression: The Perfect Profile

Your Instagram profile is your digital business card, portfolio, and handshake all in one. It needs to work as hard as you do. Here’s how to optimize it.

Your Handle & Name

Keep your handle (username) professional and searchable. Use your real name or a recognizable variation like @shanehurlbut. Avoid confusing or unprofessional nicknames. 

In the “Name” field of your bio, add your profession and location (e.g., “John Doe | Cinematographer | Los Angeles”). This makes you discoverable when people search for those keywords.

Your Profile Picture

Use a clear, professional image of your face. 

As Brendan notes, “People want to see your face. If you’re at a convention… you want to be able to stand out in the crowd and make those connections.” 

If you run a business account, a clean logo is appropriate. However, for an individual, your face is often your brand.

Your Bio

You only have 150 characters, so every word counts. State your role, your location, and include a link to your work. A touch of personality, like Kyra’s phonetic spelling of her name, can make your profile memorable.

The Creator Account Advantage:

This is a non-negotiable. Switch your profile to a Creator Account (or Business Account). Kyra calls this a “game-changer” for three reasons:

Extending Your Portfolio: Highlights, Pinned Posts & Your Link Hub

Highlights

Use Instagram Highlights as a permanent, curated portfolio. Organize your best content into categories like “BTS,” “Stills,” “Gear,” “Film Festivals,” or “Press.” Keep the number of highlights concise and ensure your cover images match your branding for a polished, professional look.

Pinned Posts

Instagram allows you to pin three posts to the top of your grid. Use this feature strategically:

Link Hub

Instagram only allows one clickable link in your bio, so make it count. Instead of constantly changing it, use a free link hub service like Linktree or Beacons.ai. This creates a simple landing page where you can host your reel, website, portfolio, press links, and contact information all in one place.

The Content Pillars: What to Post as a Filmmaker

The key to great content is authenticity. Focus on what feels true to you while aligning with your professional goals. These pillars consistently perform well for filmmakers.

Stills from Your Work

This is the foundation. Post high-quality images that showcase your creativity and technical expertise. A single, powerful still can speak volumes.

Behind-the-Scenes (BTS)

“People want to see what it took,” says Brendan. 

BTS content humanizes your process, shows your role in action, and connects your audience to the final product. It’s the modern equivalent of a DVD featurette.

Educational Content

This is a powerful way to establish yourself as an authority. Share lighting diagrams, break down your camera rigs, or create carousels explaining a color grading technique. This type of content has the highest save and share rates, which boosts your visibility in the algorithm.

Maximizing Your Reach: The Power of Engagement

Simply posting isn’t enough. You need to optimize your content to reach a wider audience.

Captions and Hashtags

Write captions that tell a story or provide value. Ask open-ended questions to encourage comments. 

Use a mix of general (#filmmaking, #cinematographer) and niche-specific (#griprigs, #lightingdesign) hashtags to help Instagram categorize your content and show it to new, relevant audiences.

Collaborations (The Game-Changer)

The single most powerful tool for growth on Instagram is the Collab feature. This allows you to co-author a post with up to five other accounts, sharing it directly with all of their followers. 

“This has single-handedly changed the game,” Kyra notes. 

She shares a story of how a single collaboration post with ShotDeck and other pages resulted in a million views and gained Filmmakers Academy 2,000 new followers. Always invite key crew members, rental houses, or brands featured in your post to collaborate.

A Real-World Blueprint: The Legacy Grip Case Study

To prove this strategy works, Brendan and Kyra shared their success with Legacy Grip, a client they grew from 400 to over 35,000 followers organically. They did it by:

The Bottom Line: Your Career is in Your Hands

Social media doesn’t have to be overwhelming. By optimizing your profile, creating authentic content that provides value, and strategically engaging with the community, you can transform your Instagram into a powerful tool for career growth. Start small, stay consistent, and focus on building genuine connections. In today’s industry, your digital presence is a vital part of your professional toolkit—it’s time to start using it.

The post A Filmmaker’s Guide to Instagram Growth appeared first on Filmmakers Academy.

How does it render the subtle nuances of skin tone? Does it handle the roll-off into highlights under a harsh sun? And does it interpret color and contrast under controlled studio lighting? Answering these questions is the key to making one of the most crucial creative decisions for any project.

That’s why Filmmakers Academy, in collaboration with the renowned Keslow Camera, has produced the definitive Camera Test Series. Spearheaded by ASC-caliber professionals, this is your backstage pass to a meticulously crafted, no-frills shootout between today’s top cinema cameras. We stripped away the variables to reveal the true character of each sensor, providing you with the visual knowledge to choose with confidence.

The Mission: A True Apples-to-Apples Comparison

The goal of this series was to eliminate guesswork. We pitted the groundbreaking Blackmagic URSA Cine 12K LF against the reigning industry heavyweights: the Sony Venice 2, the RED Raptor XL, the ARRI Alexa LF, and the ARRI Alexa 35.

To ensure a fair and scientifically accurate comparison, our methodology was rigorous and consistent across every single test.

Anyone can look at specs, but this camera test is about seeing how each sensor interprets the exact same reality.

The Tests: Pushing Sensors to Their Limits

Our comprehensive series focuses on two key lighting environments. We present each one with both individual camera tests and direct side-by-side comparisons.

Day Interiors Camera Test

Shot under controlled 3200K tungsten light pushed through diffusion, this test is all about nuance. We evaluate how each camera system renders skin tones under warm, soft, artificial light. By pushing each camera through its ISO range (400 to 3200) with both wide and tight lenses, we reveal the true fidelity of its color science and the character of its noise pattern in a controlled studio setting.

Day Exteriors Camera Test

We took the cameras out into the harsh, beautiful light of a Southern California day. This test is the ultimate evaluation of dynamic range and color rendering under natural daylight. We analyze how each sensor handles the bright highlights of the sky, the subtle details in the shadows, and the complex interplay of light on both light and dark skin tones. We also test each camera’s internal NDs against external Tiffen NATural NDs, providing a clear look at any potential IR pollution or color shifts.

The Verdict is In Your Hands: Watch the Full Camera Test Series for FREE!

Reading about a camera’s performance is one thing. Seeing it for yourself is everything.

We are making the complete Keslow Camera | Camera Test Series available for you to watch right now, absolutely FREE, exclusively on the Filmmakers Academy platform. No strings attached.

Analyze the side-by-side comparisons, pixel-peep the skin tones, and see with your own eyes how the Blackmagic URSA Cine 12K LF truly stacks up against the ARRI Alexa 35, Sony Venice 2, and RED Raptor XL. This series is an indispensable resource for any craftsman who knows that choosing the right camera isn’t about hype—it’s about how it sees the world.

Make your next camera choice an informed one.

JOIN FILMMAKERS ACADEMY AND SAVE $50!

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The post Camera Test: URSA Cine 12K vs ARRI vs Sony vs RED appeared first on Filmmakers Academy.

In this Cinematography Tip of the Day, DP Shane Hurlbut, ASC, showcases on-set filter testing. He puts three popular Tiffen diffusion filters—Night Fog, Black Fog, and Soft Glow—through their paces, demonstrating their unique characteristics on both wide and telephoto lenses. This article explores that process, designed to help you understand the personality of each filter and choose the right tool for your story.

The Testing Methodology: “Break It to Find the Sweet Spot”

Shane begins with his core philosophy for testing filters: always start with the strongest grade to “break it.”

“If you go too little,” he explains, “then you really don’t know what the true effect of this filter is.”

By applying the heaviest strength first, you can clearly see the filter’s maximum impact on the image. This gives you a strong baseline, from which you can then dial it back incrementally to find that perfect “sweet spot” where the effect is present but not overpowering.

Filter Breakdown on a Wide Lens (21mm Optimo Prime)

The test begins on a 21mm lens to see how the filters perform on a wider field of view.

Tiffen Night Fog:

Shane describes this filter as “specular,” acting similarly to a White Pro-Mist. It aggressively blooms highlights and lifts the shadows.

Tiffen Black Fog:

This filter has a different character. Instead of a white, milky haze, it feels more like “black dust,” retaining deeper blacks while still blooming highlights.

Tiffen Soft Glow:

Shane compares this filter to Glimmerglass, noting its subtlety.

Filter Breakdown on a Telephoto Lens (100mm Optimo Prime)

Shane reiterates a crucial rule of thumb:

“Wider lenses, higher number. Longer lenses, smaller number.”

Because a telephoto lens magnifies a smaller portion of the glass, the diffusion effect is amplified, requiring a much lighter grade.

The Bottom Line: Choosing the Right Tool for the Feeling

This head-to-head comparison reveals the distinct personality of each filter. 

Night Fog is your tool for a heavy atmospheric effect, aggressively blooming highlights, and lifting shadows for a foggy or dreamlike state. 

Black Fog is a more subtle choice for adding atmosphere and softness while protecting your rich blacks. 

Soft Glow is the most delicate. It’s a finishing filter that adds a subtle polish, depth, and dimension without a heavy haze.

The key takeaway is that filtration is a nuanced art. It requires testing, understanding the relationship between focal length and density. And it’s about always choosing the filter and strength that best serve the emotion of your story.

For more expert advice and lighting breakdowns, subscribe to our channel and watch our full library of Cinematography Essentials.

Tiffen Filters:

• Tiffen Black Fog
• Tiffen Night Fog
• Tiffen Soft Glow 
• Black Pro-Mist Filter
• Tiffen Black Soft Glow
• Tiffen Golden Glow
• Tiffen Soft Glow Screw-In Camera Filter
• Tiffen Night Fog Filters Screw-In Camera Filter
• Tiffen Black Soft Filters Screw-In Camera Filter

The post Diffusion Filters: Night Fog vs. Black Fog vs. Soft Glow appeared first on Filmmakers Academy.

It’s no wonder, then, that some of the most powerful and memorable frames in cinema weren’t born solely from a viewfinder, but from this same rich artistic tradition. These iconic movie moments didn’t happen by accident. They echo the masters who came before: van Gogh, Magritte, Vermeer, Goya. 

This article is a love letter to that enduring lineage—a conversation between the canvases of old and the silver screen of today. Join us as we explore ten breathtaking examples where cinema paid homage to art, proving that true vision transcends time and medium.

1. A Clockwork Orange + Vincent Van Gogh’s Prisoners’ Round 

Stanley Kubrick, a master of visual storytelling, often drew from art history. The chilling, repetitive nature of Alex’s “treatment” in A Clockwork Orange finds a striking parallel in Van Gogh’s Prisoners’ Round. 

Both depict figures trapped in a cyclical, inescapable torment, emphasizing themes of dehumanization and the futility of escape. The confined, almost claustrophobic compositions create an immediate sense of dread.

2. The Exorcist + René Magritte’s L’Empire des Lumières

The iconic poster and arrival scene from William Friedkin’s The Exorcist perfectly capture the surrealist unease of Magritte’s Empire of Light. Both images present a profound paradox: a house bathed in the artificial glow of night, yet set against a bright, daylit sky. 

This impossible combination of night and day creates a deeply unsettling atmosphere, suggesting a world where the natural order is broken—a perfect visual metaphor for the supernatural evil that has invaded a suburban home.

3. The Lighthouse + Sascha Schneider’s Hypnosis

Robert Eggers’ psychological thriller The Lighthouse is steeped in mythological and artistic references. The mesmerizing, almost terrifying power of the lighthouse’s beam over Robert Pattinson’s character directly mirrors the composition and theme of Schneider’s Symbolist painting, Hypnosis. 

Both feature a powerful, almost divine force emanating from above, captivating a mortal figure below. The stark, high-contrast lighting and the themes of madness, obsession, and subjugation to a higher, unknowable power are powerfully linked.

4. Girl with a Pearl Earring + Vermeer’s Girl with a Pearl Earring

Girl with a Pearl Earring is perhaps one of the most direct and beautifully realized homages in cinema. Director Peter Webber and cinematographer Eduardo Serra didn’t just reference Vermeer’s masterpiece; they built their entire visual language around his signature use of light. 

The film meticulously recreates the composition, the soft, directional light from a single source, the rich textures, and the enigmatic expression of the original painting, bringing the world of the Dutch Golden Age painter to vivid, breathing life.

5. Nosferatu + Caspar David Friedrich’s Wanderer Above the Sea of Fog

In Nosferatu, Robert Eggers places his vampire count in a pose that directly evokes Caspar David Friedrich’s quintessential Romantic painting. Friedrich’s work often explored themes of the sublime, the terrifying beauty of nature, and man’s smallness in the face of it. 

By placing the monstrous Nosferatu in this iconic stance, Eggers aligns his creature with these same elemental, almost divine forces of nature, suggesting a being that is both ancient and powerful, a lord over a desolate, fog-shrouded domain.

6. The Dark Knight + Francis Bacon’s Head VI

Christopher Nolan cited Francis Bacon’s unsettling portraits as a key visual influence for Heath Ledger’s Joker in The Dark Knight. Bacon’s Head VI, a distorted and haunting take on a Velázquez portrait, captures a figure trapped in a glass box, mouth open in a silent scream. 

This feeling of visceral terror, psychological decay, and constrained chaos is perfectly translated into the Joker’s smeared makeup, his unsettling mannerisms, and the moments where his anarchic rage is barely contained beneath a veneer of control.

7. Inherent Vice + Leonardo da Vinci’s The Last Supper

Paul Thomas Anderson masterfully stages a scene in Inherent Vice that playfully yet pointedly recreates Leonardo’s iconic composition. By arranging his eclectic cast of characters at a long table in a similar formation to Jesus and the Apostles, Anderson creates a moment of surreal, darkly comic reverence. 

The scene, like the painting, is about a central figure and his followers, but in Anderson’s hazy, paranoid version of 1970s Los Angeles, the themes are of betrayal, fractured loyalty, and the search for meaning in a chaotic world.

8. Carrie + Gustave Moreau’s Study of Lady Macbeth

Brian De Palma captures the haunting aftermath of the prom massacre in a shot that mirrors the composition and mood of Moreau’s Study of Lady Macbeth. Sissy Spacek as Carrie, drenched in blood and staring blankly, holds the same haunting, post-traumatic pose as Moreau’s depiction of the guilt-ridden queen. 

The images convey a sense of profound psychological horror, capturing a woman who has become both a victim and a perpetrator of immense violence, lost in the horror of her own actions.

9. Pan’s Labyrinth + Francisco Goya’s Saturn Devouring His Son

Guillermo del Toro is a master of weaving art history into his dark fantasies, and the terrifying Pale Man from Pan’s Labyrinth is a direct homage to Goya’s masterpiece. 

The creature, with its sightless eyes-in-hands and grotesque appetite for children, embodies the same primal, cannibalistic horror as Goya’s depiction of the Titan Saturn. Both are unforgettable images of monstrous power and the consumption of innocence, tapping into deep-seated mythological fears.

10. 28 Years Later + Vasily Vereshchagin’s The Apotheosis of War

In 28 Years Later, a lone figure stands before a mountain of skulls, a direct and chilling recreation of Vereshchagin’s anti-war painting. Vereshchagin dedicated his work “to all great conquerors, past, present, and to come,” and the painting is a stark, brutal monument to the human cost of conflict. 

By placing this image within the context of their post-apocalyptic zombie world, the filmmakers suggest that the devastation is on the scale of a great war, a grim demonstration to humanity’s destructive potential.

THE BOTTOM LINE:

From Stanley Kubrick’s circular torment echoing van Gogh to Guillermo del Toro’s Goya-inspired monster, these ten examples reveal a profound and ongoing dialogue between the canvas and the camera. These homages are far more than clever visual nods and serve as a way for filmmakers to tap into a shared cultural consciousness, infusing their scenes with the pre-existing power, emotion, and symbolism of masterworks. 

By looking to the past, directors and cinematographers enrich the present, creating images that feel both original and timeless. This enduring lineage inspires us, as filmmakers and film lovers, to always look deeper. The next time you are struck by a powerful cinematic frame, consider the centuries of art that may have informed its creation. 

JOIN FILMMAKERS ACADEMY AND SAVE $50!

Ready to take your filmmaking skills to the next level? Join the Filmmakers Academy community and gain access to exclusive content, expert mentorship, and a network of passionate filmmakers. Use code FABLOG50 to save $50 on your annual membership! 

This video is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland. 

The post 10 Iconic Film Frames Inspired by Master Paintings appeared first on Filmmakers Academy.

The answer is a resounding yes.

We are in a revolution in the lighting world. High-powered LEDs are now ready to challenge the reigning champions. In this Cinematography Tip, we’re putting the legendary ARRI M90 HMI head-to-head with the Nanlux Evoke 5000B LED. I’ll walk you through a series of tests that reveal the frustrations of older tech and the incredible versatility of the new, showing you why modern LEDs are increasingly replacing HMIs in my arsenal.

THE BENCHMARK: UNDERSTANDING THE ARRI M90 HMI

To understand the evolution, we first need to appreciate the benchmark. The ARRI M90 is a powerful 9,000-watt HMI known for its incredible punch. 

In our test, positioned 30 feet away, it delivered a reading of f/45 and three-tenths at 800 ISO and 24fps when set to its full 15-degree spot. It has the power to rip through backgrounds and fill huge diffusion frames.

However, this power comes with classic HMI challenges.

THE HMI CHALLENGE 1: CUTTING AND SHADOW QUALITY

The M90 uses a parabolic reflector, which creates a beautiful beam but is notoriously difficult to control for a clean, hard shadow. In our test, we brought in a 4×8 piece of foam core to create a cut. 

At full spot, the M90 produced six distinct, soft-edged shadows. This messy cut is far from ideal when you need a sharp, defined line of light on a wall or across an actor. Even when adjusted to a 45-degree beam, it still produced four separate shadows.

THE HMI CHALLENGE 2: HEAT AND EXPENDABLES

The second major issue is heat. When we tried to add a Rosco 179 Chrome Orange gel to create a golden glow, it began to smoke and melt almost instantly. The only solution is to use a heat shield and create distance, which is cumbersome. 

As I’ve seen throughout my career, this intense heat means you “end up blowing through gel left and right,” creating significant and often wasteful expendable costs on your production.

THE CONTENDER: THE VERSATILE NANLUX EVOKE 5000B LED

Now, let’s turn to the Nanlux Evoke 5000B. This high-powered LED is designed to compete directly with large HMIs. While the M90 has about 1 1/3 stops more power at its absolute tightest spot, the Nanlux offers a suite of accessories—including 30, 45, and 60-degree reflectors, a Fresnel, a bare bulb attachment, and a parabolic beam attachment—that give it unparalleled versatility. With its parabolic attachment, the 5000B was able to perfectly match the M90’s output at a 30-degree beam angle.

This is where the advantages of the LED become clear.

SOLVING THE SHADOW PROBLEM

When we put the Nanlux 5000B through the same shadow test, the results were dramatically different. Using the Fresnel attachment, it produced one beautiful, hard shadow—a clean, perfect cut. Even with just the 30-degree reflector, which I expected to create multiple shadows like the M90, it still produced a surprisingly clean, hard cut. 

For the absolute hardest shadow possible, similar to taking the lens off an old tungsten Tweenie, the Nanlux offers a bare bulb attachment. This gives you ultimate control over your shadow quality, a level of precision the HMI simply cannot match.

SOLVING THE HEAT PROBLEM

With the 5000B, heat is a non-issue. We placed the same 179 Chrome Orange gel right in front of the 30-degree reflector at full power. The result? A beautiful, golden glow with absolutely no smoking or burning. This saves time, reduces expendable costs, and is significantly safer on set.

BEYOND THE BASICS: THE LED ADVANTAGE IN CONTROL & EFFICIENCY

The benefits of modern LEDs like the Nanlux 5000B extend even further, solving some of the most persistent frustrations of working with HMIs.

PRECISION COLOR CONTROL

One of the biggest challenges with HMIs is color consistency. As an HMI bulb ages, it shifts green. A new bulb might be slightly magenta. You’re constantly adding gels to try and balance it to a perfect 5600K. The Nanlux, however, is incredibly stable. 

In our tests, we dimmed it all the way down to 1% output, and it maintained a perfect 5600K color temperature with a negligible .1 magenta shift. This is unheard of with most LEDs, which often go significantly green at low intensities. The ability to dial in your color temperature (from 2700K to 6500K) and precisely adjust your tint (+/- Green/Magenta) gives you complete creative control without ever touching a gel.

SIMPLICITY AND EFFICIENCY

Look at the M90 setup, and you’ll see the head, a long head cable, and a separate, heavy ballast. This creates multiple variables and points of failure. If the light doesn’t strike, is it the bulb? The cable? The ballast? 

With the Nanlux 5000B, the ballast is built directly into the light head. There are no head cables to run and no separate ballast to move. This streamlines the setup process, reduces the number of variables, and makes the entire system more efficient and reliable.

THE BOTTOM LINE: A NEW ERA OF LIGHTING

While the ARRI M90 is a legendary light with incredible power, this comparison makes the evolution clear. The Nanlux Evoke 5000B LED offers vastly superior versatility and control. You can shape it into a Fresnel, a PAR, a mole beam, or a bare bulb source. You have precise, stable control over color temperature and tint. And its efficient, all-in-one design simplifies the on-set workflow, saving time, money, and labor.

The cinematography tip is this: it’s time to re-evaluate our reliance on older technology. For many on-set applications, the creative control, stability, and efficiency of modern high-powered LEDs now outweigh the brute force of traditional HMIs.

JOIN FILMMAKERS ACADEMY AND SAVE $50!

Ready to take your filmmaking skills to the next level? Join the Filmmakers Academy community and gain access to exclusive content, expert mentorship, and a network of passionate filmmakers. Use code FABLOG50 to save $50 on your annual membership!

This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

Featured Nanlux Lighting

The post Cinematography Tip: Are LED Lights Replacing HMIs? appeared first on Filmmakers Academy.

In a recent episode of the Inner Circle Podcast, a Filmmakers Academy member poses this very question, outlining his plan for a short film about an elderly man grappling with grief and Alzheimer’s. This sparked an in-depth discussion between hosts Shane Hurlbut, ASC, and Lydia Hurlbut, offering an amazing overview in using “camera emotions” to amplify a narrative.

This article breaks down the key insights from that conversation, providing a practical guide to using camera techniques to visually express complex emotions like loneliness, love, and fear.

(This article is an excerpt from Inner Circle Podcast Episode 21.)

WATCH THE FULL EPISODE:

CAMERA EMOTION: BUILDING A VISUAL STRATEGY

Patrick’s question centers on his short film about a man named John, whose story is told in four parts: his current state of loneliness and grief, flashbacks to happier times with his late wife, an anxiety attack, and a more hopeful ending. His instincts were to use observational, locked-off shots to convey loneliness and more energetic handheld movement for the flashbacks.

Shane praises these instincts, emphasizing the importance of creating “rules of engagement” for each character or emotional state. He shared an example from a film he lensed, Fathers and Daughters, where Russell Crowe’s character was always center-punched in the frame when he was in control, but pushed to the extreme edges of the frame with uncomfortable headroom or foot room during his manic seizures. This visual rule immediately communicated his psychological state to the audience.

VISUALLY REPRESENTING LONELINESS AND GRIEF

For the first part of John’s story, the idea of keeping the camera distant and using locked-off shots is a powerful way to depict loneliness. Shane adds to this, suggesting the use of a frame within a frame. By shooting through doorways or corridors, you not only make the character feel small but also physically trapped by their environment and their grief.

As the character’s journey progresses after a memory, you can then move the camera closer, perhaps using wider lenses to maintain a sense of the empty space around him. This creates a more immersive yet still isolating feeling, as if the walls are closing in. The key is to juxtapose the visual styles. The still, distant shots of his lonely present will contrast powerfully with the more dynamic, intimate shots of his past.

Fathers and Daughters (2015)

CRAFTING FLASHBACKS AND HAPPY MEMORIES

To create the flashbacks of happier times, the visual language needs to shift dramatically. Shane recommends a combination of techniques to create a warm, vibrant, and energetic feel.

DEPICTING PSYCHOLOGICAL DISTRESS: ANXIETY, CONFUSION & ALZHEIMER’S 

For moments of intense psychological distress, like John’s anxiety attack or his confusion from Alzheimer’s, the visual approach can become more abstract and unsettling.

Lydia notes that both grief and Alzheimer’s can create a profound sense of imbalance and disorientation. To translate this to the screen, Shane suggests a more radical tool: Swing & Tilt lenses. These lenses, which have a flexible bellows system, allow you to physically shift the focal plane during a shot. 

“You can literally pan the lens,” Shane explains, “not the camera.”

By moving the lens, you can make different parts of the frame slide in and out of focus in an unnatural way. This creates a powerful visual representation of a character’s fractured mental state—a moment of clarity followed by sudden confusion. Shane used this technique on Mr. 3000 to show Bernie Mac’s character focusing intently on a pitcher’s grip, creating a “Hawkeye” effect. For a character like John, it could perfectly visualize the disorienting experience of his mind being “in sync, and then all of a sudden it’s not.”

Other techniques for anxiety include using macro lenses for extreme close-ups with intensely shallow depth of field, or the old-school trick of applying Vaseline to a clear filter to create a distorted, blurry effect around the edges of the frame.

FROM LOVE TO FEAR: A VISUAL SPECTRUM

The conversation also touched on how to visually represent more fundamental emotions. 

CAMERA EMOTION: LOVE

To show two characters falling in love, start with “clean” single shots, keeping them separate in the frame. As their connection grows, gradually introduce “dirty” over-the-shoulder shots, moving the camera closer and tightening the frame until they are intimately linked, perhaps even overlapping, in the composition. 

The lens choice can also evolve from longer lenses (creating distance) to wider lenses (creating immersion) as their love deepens.

CAMERA EMOTION: FEAR 

Fear and suspense are often built by manipulating the audience’s perspective. The classic Point of View (POV) shot, as pioneered by John Carpenter, puts the audience in the killer’s shoes. 

Halloween (1978)

Handheld camera movement that follows a character down a dark hallway creates a sense of vulnerability, as if the threat is right behind them. Slow, deliberate pans into darkness can build immense tension, leaving the audience to imagine what lurks in the shadows.

THE BOTTOM LINE: YOUR CAMERA IS AN EMOTIONAL TOOL

As Shane Hurlbut’s insights reveal, every camera and lighting choice is an opportunity to deepen the audience’s emotional connection to the story. By thinking like a “visual psychologist,” you can create a deliberate and powerful visual language that goes beyond simply documenting the action. Remember, your camera is a tool for expressing emotion, revealing psychology, and immersing your audience in the world of your characters.

UNLOCK THE FULL MASTERCLASS LESSON!

This article is inspired by the deep dive into camera emotions from Inner Circle Podcast Episode 21. For more in-depth lessons on how to master the art and science of cinematography, you need to be a part of Filmmakers Academy.

In our full courses, like Film & Camera Theory, part of the On Set Series: Cinematic Light Sources, you’ll find hours of detailed, on-set instruction to elevate your craft.

You can get access in two ways:

• Become a Filmmakers Academy Premium Member for unlimited access to this and hundreds of other in-depth courses, lessons, and resources.
• Or, make a one-time purchase of individual lessons or complete courses.

JOIN FILMMAKERS ACADEMY AND SAVE $50!

Ready to take your filmmaking skills to the next level? Join the Filmmakers Academy community and gain access to exclusive content, expert mentorship, and a network of passionate filmmakers. Use code FABLOG50 to save $50 on your annual membership!

This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

TUNE INTO PREMIUM FILMMAKERS ACADEMY PODCASTS

The post Camera Techniques for Emotional Storytelling appeared first on Filmmakers Academy.

Talent, passion, and technical skill are essential, but on their own, they aren’t enough to build a sustainable career. In today’s rapidly evolving industry, survival and success are built upon two fundamental pillars: continuous craft improvement and access to a professional community and consistent opportunities.

This article explores why these two pillars are non-negotiable and how choosing the right platforms to support them can make all the difference.

THE CRAFT – NEVER STOP HONING YOUR SKILLS

The technology, techniques, and even the language of filmmaking are constantly changing. Staying relevant and competitive means being a lifelong student. It’s about going beyond the basics and diving deep into the why behind the craft—understanding not just what button to press, but why one lighting choice creates intimacy while another creates dread.

This is the core philosophy of Filmmakers Academy. Our platform is built to provide that continuous, deep-dive education. Through our masterclasses, mentorship, and in-depth lessons, we focus on empowering you with the knowledge that transforms your work from good to great. Honing your craft is the first, essential investment you make in yourself.

Photo Courtesy of Jericho Patrick

THE CONNECTION – FINDING YOUR CREW & YOUR NEXT GIG

Here’s the second, equally crucial truth: your skills are only as valuable as the opportunities you have to use them. The old adage, “it’s not what you know, but who you know,” can feel transactional and intimidating. Let’s reframe it: great filmmaking happens when talent meets opportunity meets community.

But finding that community and those opportunities is a huge challenge. Sifting through generic job sites, cold-emailing producers, and trying to network on noisy social media platforms can feel like shouting into the void. How do you find real, vetted job opportunities? How do you connect with other serious, passionate professionals who share your vision?

THE SOLUTION – A PARTNERSHIP FOR THE MODERN FILMMAKER

This is precisely why we at Filmmakers Academy are thrilled to announce our collaboration with FilmLocal, a platform built with a fundamental understanding of what working filmmakers truly need. We believe in providing the best education on the craft, and FilmLocal excels at connecting that craft to the real world of production.

This partnership is a natural extension of our philosophy. While we provide the “what you know,” FilmLocal provides the “who you know” and the “where you go next.”

Photo Courtesy of Jericho Patrick

WHY THIS KIND OF COMMUNITY MATTERS NOW MORE THAN EVER

There’s a beautiful paradox in our work: we often create in solitude—writing in a quiet room, editing in the dark—yet our greatest breakthroughs happen through connection and collaboration. As of August 2025, the industry is still finding its footing after a period of immense change. In this climate, focused, professional communities are more valuable than ever.

Platforms like Filmmakers Academy and FilmLocal cut through the noise. They provide dedicated spaces for growth and opportunity, connecting you with the education and the people who can elevate your work and advance your career.

YOUR CREW AWAITS

We believe every member of our community can benefit from what FilmLocal offers. This partnership isn’t just about finding jobs—though the opportunities are substantial. It’s about joining a global community of storytellers who understand that filmmaking is both a solitary art and a profoundly collaborative endeavor.

Ready to explore?

• Discover FilmLocal: filmlocal.com
• Join the Community: filmlocal.com/memberships
• Browse Opportunities: filmlocal.com/film-production-jobs

Your stories matter. Your growth matters. And sometimes, the difference between a project that stays in your imagination and one that reaches the world is knowing exactly where to find the right people and the right opportunities.

The post 2 Things Every Filmmaker Needs to Survive & Thrive appeared first on Filmmakers Academy.

Thankfully, those days are over. Modern wireless video monitors have become one of the most transformative tools on a film set, fundamentally changing how we collaborate and create. By cutting the cord, these devices unlock a more dynamic, efficient, and creative way of filmmaking. 

Let’s explore the FIVE BIGGEST REASONS a powerful wireless monitor will revolutionize your set, using the versatile Hollyland Pyro 5 as a perfect example of this evolution.

1. TRUE CREATIVE FREEDOM AND COLLABORATION

The most immediate benefit of a wireless monitor is freedom of movement. No longer tethered to the camera, a director can step away to watch the actors’ live performances, a cinematographer can move around the set to check lighting from different angles, and a producer or client can view the take without hovering over the operator. This physical separation allows each department head to focus on their specific role while staying visually connected.

The Hollyland Pyro 5 enhances this freedom with its robust dual-band 2.4G/5G transmission system. Featuring Auto Frequency Hopping technology, it constantly scans for the clearest channel, ensuring a stable, interference-resistant signal up to 400 meters (over 1,300 feet). This reliability means you can trust the feed whether you’re across a large room or down the street, fostering a more flexible and collaborative on-set environment.

2. GAIN PROFESSIONAL IMAGE CONTROL, RIGHT IN YOUR HANDS

A wireless monitor serves as a professional image analysis tool. Modern monitors provide the essential scopes and overlays that cinematographers rely on to ensure perfect focus, exposure, and color.

The Pyro 5 excels here, offering a suite of advanced image analysis tools like Waveform, Focus Assist, Zebra Patterns, and False Color. Crucially, it also supports 3D LUTs, allowing you to preview your final color grade on set. This ensures that what you see is what you’ll get in post. But the Pyro 5 takes it a step further with a game-changing direct camera control feature. From its 5.5-inch touchscreen, you can remotely adjust your camera’s shutter, aperture, ISO, and even focus mode. This transforms the monitor from a passive viewing device into an active command center, offering a level of control previously reserved for much more expensive systems.

3. EMPOWER YOUR ENTIRE CREW WITH MULTI-PERSON MONITORING

A single remote monitor is great for the director, but what about the 1st AC, script supervisor, producer, and client? Professional wireless systems are built to distribute a signal to multiple people simultaneously, creating a true, modern “video village.”

Photo Courtesy of Jeremy Pavia

This is a core feature of the Pyro 5, which includes a Broadcast Mode. In this mode, a single transmitter can send a stable signal to up to four receiver units simultaneously. This means the focus puller can have their own monitor for critical focus, the director can have theirs for performance, and the script supervisor can have another for continuity, all seeing the same low-latency feed. For productions with multiple Pyro systems, the Lock Pairing feature ensures each receiver stays securely connected to its designated transmitter, preventing signal mix-ups on a busy set.

4. STREAMLINE YOUR WORKFLOW FROM PRODUCTION TO POST

Modern wireless monitors are evolving into multi-tasking production hubs that can dramatically speed up your entire workflow. They are no longer just for on-set viewing. In fact, they are now active participants in the post-production pipeline.

The Hollyland Pyro 5 is a prime example of this evolution. It features efficient Proxy Recording, allowing you to record lightweight proxy files directly to an SD card or USB drive while you monitor the shot in real-time. These proxy files now include timecode that is perfectly synced with your camera, making them immediately ready for an editor to start cutting. This ability to record and edit almost simultaneously is a huge time-saver. 

Furthermore, with RTMP live streaming support, the Pyro 5 allows you to stream your feed directly to platforms like YouTube or Zoom, perfect for remote client viewing or live broadcasts without complex setups.

5. SEE CLEARLY, NO MATTER THE CONDITIONS

One of the biggest challenges of on-set monitoring is visibility, especially when shooting outdoors in bright daylight. A standard monitor screen can be easily washed out, making it impossible to judge focus or exposure accurately.

Photo Courtesy of Ryan Joseph

A professional wireless monitor must have a high-brightness screen. The Pyro 5 is built for these challenging conditions, featuring a 1500-nit daylight-viewable screen. This high level of brightness ensures the image remains crisp, clear, and readable even in direct sunlight, eliminating the need for bulky sun hoods and allowing you to make confident creative decisions, no matter where your shoot takes you.

THE BOTTOM LINE: MORE THAN A MONITOR, IT’S YOUR ON-SET HUB

A modern wireless monitor is one of the most revolutionary investments you can make for your productions. It breaks down the physical barriers on set, enhances collaboration, provides essential image control, and streamlines your entire workflow. And a versatile tool like the Hollyland Pyro 5 exemplifies this shift, combining the functions of a high-brightness monitor, a reliable wireless transmitter/receiver, a camera controller, and a proxy recorder into one compact device. By cutting the cord, you’re not just getting a remote view; you’re unlocking a more efficient, collaborative, and creative way of filmmaking. 

Other Hollyland Gear Articles:

• Cosmo C2: Best Budget Wireless System
• Lark M2S: Ultra-Compact Wireless Microphone
• Hollyland Solidcom Releases
• Hollyland VenusLiv V2: Democratizing Live Streaming
• Pyro 7: Next Gen On-Set Collaboration

TAKE A LOOK AT OUR OTHER FAVORITE HOLLYLAND GEAR!

The post 5 Reasons a Wireless Monitor Will Revolutionize Your Film Set appeared first on Filmmakers Academy.