“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.

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

In this excerpt from the Exposing Motion Picture Film Masterclass, we extend a 15-minute window of twilight into a 40-minute shoot.

(Watch the first 6 minutes of Exposing Motion Picture Film Masterclass for free.)

VIDEO LESSON EXCERPT: HOW TO EXTEND MAGIC HOUR

THE CHALLENGE: THE BLUE SHIFT

When the sun sets, the color temperature of the world shifts dramatically. The warm sun disappears, and you are left with the ambient light of the sky, which skyrockets to a very cold 8800 Kelvin or higher.

If you are shooting on standard daylight film, your footage will look aggressively, unnaturally blue. If you are shooting on tungsten film (which expects orange light), it will look even bluer.

1. THE FILM STOCK STRATEGY (500T)

To combat the dropping light levels, we need speed. I always choose the highest speed stock available: Kodak Vision3 500T (5219).

Why 500T? 

“T” stands for Tungsten (3200K). This stock is designed for indoor artificial light. This seems counterintuitive for an outdoor shoot, but 500T is the most sensitive stock Kodak makes. We need that sensitivity to see into the dark.

2. THE FILTER STACK (THE “WARM-UP”)

Because we are shooting Tungsten film outdoors, we need to correct the color temperature.

The Exposure Formula

With these filters in place, we are losing light. To compensate, I rate my light meter to 160 ISO (overexposing the 500T stock by roughly 2/3 of a stop) at 24 fps. This ensures a thick negative that captures rich color even as the light fades.

3. EXTENDING TIME WITH GEOGRAPHY

Most filmmakers wait for the sun to hit the horizon to start their “magic hour” clock. That gives you 15 minutes, tops.

By using a building to block the sun, we create “artificial dusk” 20 minutes before actual sunset. This simple location choice doubles our shooting window, giving us 40 minutes of usable soft light instead of 20.

4. THE SILVER BULLET (REFLECTORS)

As the light levels drop, a white bounce board becomes useless. It simply doesn’t have the punch to reflect the weak ambient light.

Switch to Silver.

We bring in a Silver Reflector (or shiny board) to catch the remaining blue sky ambiance and redirect it into the talent’s eyes.

5. THE “WEST-FIRST” SHOOTING ORDER

This is the most critical logistical rule of twilight photography. You must shoot your coverage in a specific order to survive the fading light.

Shoot WEST First (Camera facing East).

Why? Because the “source” of your light is the setting sun in the West (behind the camera). The Western sky is the brightest thing in the universe right now.

If you shoot the silhouette first, by the time you turn around to shoot the face, the “softbox” in the Western sky will be gone, and your actor will be in the dark.

THE BOTTOM LINE:

Shooting motion picture film at twilight is all about logistics. By choosing the fast 500T stock, stacking warming filters, blocking the sun early, and shooting West-first, you can squeeze every photon out of the day.

UNLOCK THE FULL MASTERCLASS

Understanding filters is just one piece of the puzzle. To truly shoot motion picture film, you need to master the light meter, understand stock personalities, and know how to manipulate the chemical process itself.

In the Exposing Motion Picture Film Masterclass, Shane Hurlbut, ASC takes you through every step of this journey.

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! 

The post How to Extend “Magic Hour” on Motion Picture Film appeared first on Filmmakers Academy.

When a 400-foot roll of fresh 16mm stock costs upwards of $200 (yielding only about 11 minutes of footage), the math can kill a project before it begins. But there is a backdoor into the world of celluloid that seasoned cinematographers have used for decades. It’s called the “grey market” of raw stock: short ends and recans.

This guide demystifies these discounted resources, showing you how to source, test, and shoot them to achieve a premium look on an indie budget.

WHAT ARE SHORT ENDS AND RECANS?

To buy effectively, you need to know exactly what you are purchasing.

SHORT ENDS

These are the “leftovers” from a larger production. If a studio feature loads a 1,000-foot magazine but only shoots 600 feet, the remaining 400 feet is clipped off and placed back in a can. It is unexposed, perfectly good film, just in a shorter length than the factory standard.

RECANS

This is stock that was loaded into a camera magazine but never shot. Perhaps the scene was cut, or the lighting changed, and the magazine was downloaded back into a can. This stock has been handled, but not exposed to light (theoretically).

WHERE TO FIND THEM

In 2025, the marketplace for film stock has shifted online, but reputable vendors are still key to avoiding “fogged” (ruined) film.

1. DEDICATED RESELLERS (THE SAFEST BET)

These companies specialize in buying leftover stock from large productions, testing it, and reselling it. They often guarantee the quality.

2. DIRECT FROM PRODUCTIONS/DPS

Cinematographers often finish a project with extra rolls sitting in their fridge.

THE GOLDEN RULE: TRUST, BUT VERIFY (THE “SNIP TEST”)

Buying second-hand stock carries risk. The film could have been X-rayed at an airport, left in a hot trunk, or accidentally flashed. Never shoot an important project on a short end without testing it first.

How to Perform a Snip Test: You don’t need to shoot a whole roll to test it.

SHOOTING STRATEGY: MITIGATING RISK

Even with a clean test, second-hand film requires a slight adjustment in your shooting philosophy.

OVEREXPOSE SLIGHTLY

Older film loses sensitivity over time. A common rule of thumb for stock that is a few years old is to rate it slightly slower. If you have 500T stock, rate your light meter at 320 or 400 ISO. This “overexposure” helps punch through any potential base fog, ensuring rich blacks and good shadow detail.

USE FOR B-ROLL FIRST

If you are nervous, use your recans for inserts, landscapes, or experimental sequences before committing them to your main dialogue scenes.

STORE IT COLD

As soon as you get the film, put it in the fridge (or freezer for long-term storage). Heat is the enemy of film.

THE BOTTOM LINE:

Shooting film doesn’t require a Hollywood bank account; it requires hustle. By utilizing short ends and recans, you can often secure premium Kodak Vision3 stock for 20% to 50% less than retail price.

The audience doesn’t care if your film came from a factory-sealed box or a leftover can from a Marvel movie. They only see the image. So grab some “trash” stock, perform your snip test, and go make something cinematic.

Ready to Master the Analog Workflow?

Understanding filters is just one piece of the puzzle. To truly shoot film, you need to master the light meter, understand stock personalities, and know how to manipulate the chemical process itself.

In the Exposing Motion Picture Film Masterclass, Shane Hurlbut, ASC takes you through every step of this journey.

The post The Indie Film Guide to Short Ends & Recans 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.

But when you are shooting on film — or even pushing a digital sensor to its limits in a backlit scenario — relying on post-production can be a fatal mistake. If you blow out the clouds on your negative, that detail is gone forever. It’s clipped. There is nothing to bring back.

To solve this problem in-camera, we turn to one of the most powerful tools in the analog cinematographer’s kit: Graduated Filters (Grads).

(This article is a deep dive into a lesson from the Exposing Motion Picture Film Masterclass. Learn how to control contrast without a monitor in the full course!)

THE “GRAD MEISTER”: TONY SCOTT

If there was one filmmaker who defined the use of graduated filters, it was Tony Scott. From Top Gun to Man on Fire, he was the “Grad Meister.” He didn’t just use them to balance exposure; he used them aggressively to paint the frame with color and contrast. He was experimental and fearless — he didn’t care if you saw the filter line during a pan or a tilt. For him, the artifact was part of the aesthetic.

While you may not want to be as extreme as Tony Scott in every film, understanding the tools he mastered is essential for controlling exposure on celluloid.

1. THE HARD GRAD: PRECISION CONTROL

The first type of graduated filter is the Hard Grad. As the name suggests, this filter has a sharp, defined transition line between the clear glass and the tinted (ND or Color) section.

The Look: 

It creates a hard edge in exposure. You can clearly see where the effect starts and stops.

The Tony Scott Signature: 

Tony’s favorite was the “Tobacco” Hard Grad filter (seen famously in Top Gun). It turned boring white skies into a rich, menacing orange-brown, adding immediate drama and heat to the image.

2. THE SOFT GRAD: SEAMLESS BLENDING

If the horizon is uneven or you need a more subtle touch, you turn to the Soft Grad.

The Look: 

This filter features a very gradual, feathered transition from clear to dense. There is no harsh line. Instead, the tint slowly “dives” into the deeper tones of the image.

The Benefit: 

It is much easier to hide. It allows you to darken a bright sky without darkening the top of a mountain, a tree, or an actor’s head that might cross into the upper part of the frame.

3. THE “BEAUTIFUL DANCE”: THE GEARED MATTE BOX

Using a grad filter on a “lock-off” (static) shot is easy: you slide the filter down until the line sits on the horizon, and you leave it.

But what happens if you need to tilt?

If you tilt the camera up without adjusting the filter, the dark part of the grad will remain static in the matte box, effectively wiping down over your subject’s face or the middle of the frame. It looks like a mistake.

To solve this, you need a Geared Matte Box and a skilled 1st AC.

It is a synchronized performance. The goal is to keep the transition line of the grad “pinned” to the horizon in the image, even as the camera moves physically. When done correctly, the audience never knows a filter was used. They just see a perfectly exposed sky and a perfectly exposed subject.

THE BOTTOM LINE:

Digital sensors have incredible latitude, but they still clip. Film has incredible highlight retention, but it still needs help to see into the shadows. Graduated filters bridge that gap. Whether you are using a Tobacco Hard Grad to channel Tony Scott or a Soft ND Grad to save a cloud formation, these pieces of glass allow you to paint the image before the light ever hits the emulsion.

Ready to Master the Analog Workflow?

Understanding filters is just one piece of the puzzle. To truly shoot film, you need to master the light meter, understand stock personalities, and know how to manipulate the chemical process itself.

In the Exposing Motion Picture Film Masterclass, Shane Hurlbut, ASC takes you through every step of this journey.

The post The “Tony Scott” Look: ND & Color Grads appeared first on Filmmakers Academy.

Are you telling a story of fragmented memory? 

The chunky grain of Super 8 might be your tool. 

Maybe you’re crafting a gritty, cinema verité drama. 

The texture of 16mm is unmatched. 

Or, are you painting a sweeping epic? 

The pristine resolution of 35mm is the gold standard.

Not all film is created equal. In this guide, we break down the “Big Three” formats, comparing their aesthetics, workflows, and budgets to help you match the gauge to your story’s emotional needs.

(This article complements our Exposing Motion Picture Film Masterclass. To learn the technical science of exposing these stocks, click the banner below!)

1. SUPER 8: THE DREAMSCAPE

Winning Time: The Rise of the Lakers Dynasty (Season 1, Episode 9) | HBO

• The Aesthetic: Nostalgia, Memory, Intimacy, Chaos. 
• The Grain: Heavy, pronounced, and soft. 
• The Aspect Ratio: Typically 1.33:1 (4:3), though modern scans can crop to 16:9. 

Super 8 is the gateway drug of analog filmmaking. Originally introduced by Kodak in 1965 for the home movie market, it has evolved into a beloved aesthetic for music videos, dream sequences, and flashbacks. Because the negative is tiny (about 8mm wide with a single perforation), the image has a low resolution that feels impressionistic rather than realistic.

Why Choose Super 8? 

Choose Super 8 when you want to evoke a sense of the past or a fleeting memory. It breaks the “fourth wall” of perfection and feels handmade. It is imperfect, jittery, and deeply emotional.

2. 16MM / SUPER 16: THE INDIE SPIRIT

Carol (The Weinstein Company)

• The Aesthetic: Grit, Realism, Texture, “The New Hollywood.” 
• The Grain: Visible and organic, but sharp enough for theatrical projection. 
• The Aspect Ratio: Standard 16mm is 1.37:1. Super 16 (single perf) is 1.66:1, easily croppable to 1.85:1 or 16:9.

If Super 8 is a memory, 16mm is a documentary. Historically used for news gathering and independent cinema (think Clerks, Pi, or The Texas Chain Saw Massacre), 16mm strikes the perfect balance between economy and quality. In recent years, it has seen a massive resurgence in high-end productions like Carol, Black Swan, The Fabelmans, and HBO’s Euphoria.

Why Choose 16mm? 

Choose 16mm (specifically Super 16) when you want a cinematic look that feels grounded and textured. It creates a psychological closeness to the characters. It feels “lived-in.” And it separates the audience from the hyper-reality of digital 4K, providing a layer of artistic abstraction without sacrificing detail.

3. 35MM: THE PRISTINE CANVAS 

Oppenheimer | Universal Pictures

• The Aesthetic: Epic, Glossy, Timeless, “The Standard,” “The Blockbuster.” 
• The Grain: Fine, tight, and incredibly sharp. 
• The Aspect Ratio: Versatile. 4-Perf (Anamorphic scope), 3-Perf (1.78:1/1.85:1), and 2-Perf (Techniscope).

This is the format that built Hollywood. From The Wizard of Oz to Oppenheimer (which mixed 35mm with IMAX), 35mm film offers a resolution and dynamic range that rivals and often exceeds the best digital sensors. It captures roughly 6K to 8K worth of data. The grain is present, but it serves as a subtle texture rather than a dominant feature.

Why Choose 35mm? 

Choose 35mm when you want the ultimate visual fidelity with the organic soul of celluloid. It offers superior highlight roll-off, incredible latitude, and a depth of color that feels rich and three-dimensional. It tells the audience they are watching a “Movie” with a capital M.

4. 65MM/IMAX: THE ULTIMATE SPECTACLE 

Dune: Part 1 (2021) | Legendary Entertainment

• The Aesthetic: Immersive, Hyper-real, Grandiose. 
• The Grain: Virtually invisible; unmatched clarity. 
• The Aspect Ratio: 2.20:1 (Standard 5-perf) or 1.43:1 (15-perf IMAX).

If 35mm is the gold standard, 65mm is the platinum. This is the format of Lawrence of Arabia, 2001: A Space Odyssey, and more recently, Dune: Part Two. It uses a massive negative area (roughly 3-4 times larger than standard 35mm) to capture images with unparalleled resolution, sharpness, and color depth.

Why Choose 65mm? 

Choose 65mm when you need absolute immersion and scale. It creates an image so detailed it feels like looking through a window rather than at a screen. It demands attention and is typically reserved for landscapes, massive set pieces, or emotional close-ups where every pore matters.

THE BOTTOM LINE: MATCH THE MEDIUM TO THE MESSAGE

There is no “best” format. There is only the right format for your story.

• Super 8 for the dreamers and the memory-makers.
• 16mm for the realists and the indie rebels.
• 35mm for the epic storytellers and visual purists.

However, choosing the gauge is only the first step. To truly harness the power of film, you must know how to expose it. You need to understand how light interacts with the silver halide crystals, how to use a light meter, and how to manipulate the chemical process.

Ready to Stop Guessing and Start Measuring?

Join the Exposing Motion Picture Film Masterclass on Filmmakers Academy. In partnership with KODAK, Shane Hurlbut, ASC takes you on a deep dive into the science of exposure for all three of these formats. Learn the craft that digital can’t teach you.

• Additional Film Resources via Kodak

The post Super 8 Film vs. 16mm Film vs. 35mm Film appeared first on Filmmakers Academy.

In this excerpt from the Exposing Motion Picture Film Masterclass, we go on location to break down my exact methodology for exposing daylight-balanced film stock in a high-contrast, backlit environment. This isn’t just about reading a meter; it’s about understanding how to control light, calculate filter factors, and make creative decisions about skin tone exposure that are baked into the negative.

(This article is a detailed breakdown of a lesson from the Exposing Motion Picture Film Masterclass. Discover how you can access the full course at the end!)

THE SCENARIO: SHOOTING DAYLIGHT STOCK (50D)

For this setup, we are shooting with Kodak Vision3 50D (5203). Because this is a daylight-balanced stock (5600K), we do not need an 85 correction filter. However, the sun is bright, and 50 ASA is still sensitive enough that we need to control the amount of light entering the lens to achieve our desired aperture. 

My goal is to shoot at a T-stop of around T2.0 to T2.5. This aperture provides a beautiful, cinematic depth of field that separates the subject from the background. Without filtration, the sun would force us to stop down to f/16 or higher, ruining that aesthetic.

STEP 1: METERING TECHNIQUE – THE “HAND CUP” METHOD

The first step is to get an accurate reading of the light. I use an incident light meter with a dome (not a flat disc), but technique is critical.

This creates a massive contrast ratio (about 3.5 stops difference). While dramatic, I prefer a more controlled two-stop backlit scenario for this kind of beauty work. This means we need to bring up the fill level.

STEP 2: FILTRATION AND THE FILTER FACTOR

To get our T-stop down to my preferred T2.0–2.5 range, we need to cut the light. I chose an ND 0.6 (Neutral Density) filter, which reduces light by 2 stops. 

PLACEMENT MATTERS 

I always place the ND filter in the matte box tray closest to the lens. This minimizes the risk of internal reflections and ghosting, especially when shooting directly into a strong light source like the sun.

UPDATING THE METER 

Before taking any new readings, I must update my light meter. I go into the menu and program a Filter Factor of -2 stops (for the ND 0.6). I also confirm my film speed is set to 50 ASA and my frame rate is 24 fps. Now, the meter will do the math for me.

STEP 3: SHAPING THE LIGHT WITH A BOUNCE

To reduce the contrast ratio, we bring in a Circle Bounce (a bead board or similar reflector). By positioning it high and reflecting the sun back onto the subject, we create a beautiful, soft fill light.

STEP 4: THE EXPOSURE DECISION

Now comes the artistry. We have our readings:

I decide to set my lens aperture to T2.5. Here is why:

1. UNDEREXPOSING THE FACE

By setting the lens to T2.5 when the fill measures T1.4, I am intentionally underexposing the face by about 1.5 stops. For lighter skin tones (like our talent, Kira), this protects the highlights and keeps the skin looking natural and rich, rather than flat and over-lit.

2. OVEREXPOSING THE BACKLIGHT

With the lens at T2.5 and the backlight measuring T4.3, the sun is now 1.5 stops overexposed. This creates a beautiful, glowing rim light that feels hot and sunny but retains detail without blowing out into a digital-looking clip.

THE RESULT

A perfectly balanced image with a 3-stop dynamic range between the key and the rim, all calculated precisely before rolling a single foot of film.

THE BOTTOM LINE: CONFIDENCE COMES FROM KNOWLEDGE

This lesson illustrates the precision required to shoot film. You aren’t guessing; you are calculating ratios and making deliberate creative choices about how to place your exposure. By understanding your meter, your filters, and your film stock’s latitude, you can walk onto any set and confidently shape the sun to your will.

UNLOCK THE FULL MASTERCLASS!

This article covers just one lighting scenario from our comprehensive Exposing Motion Picture Film Masterclass. In the full course, Shane Hurlbut, ASC, takes you through complex setups including side-lighting, tungsten stock in daylight, pushing and pulling film, and the “twilight combo” for extending magic hour.

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

This masterclass was produced in collaboration with Kodak. 

The post Exposing Film in Harsh Sunlight Backlit Scenes 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.

The wait is over.

This is the Filmmakers Academy 2025 Best Holiday Deals Guide! Black Friday, Cyber Week, and the best holiday sales are finally here, and we are ona mission to find you the only deals that actually matter.

We’re cutting through the noise to bring you a hand-picked, no-fluff list of game-changing cameras, stunning glass, and the must-have accessories you need to prep for your 2026 projects.

Whether you’re finally treating yourself to the upgrade you’ve earned or finding the perfect gift for your favorite collaborator, this is your definitive guide. Let’s get to the good stuff.

*Note: Filmmakers Academy only partners with brands and products we genuinely trust. That’s why you’ll see us working with reliable industry leaders like B&H and FilmTools. We take part in their affiliate programs, which means if you make a purchase through our links, we may earn a small commission at no additional cost to you. Thank you for your support! 

2025 LIGHTING DEALS:

Lighting is the single most powerful tool for elevating your filmmaking, and this holiday, the deals are too good to ignore. We’ve tracked down huge discounts on everything from high-CRI LED key lights to portable RGB panels and versatile tube lights (like those from Nanlite) to create stunning cinematic effects. With sales ranging from complete 3-point starter kits to professional fixtures for seasoned pros, it’s time to stop fighting with weak, inaccurate lights and finally grab the gear that gives you total control.

NANLUX EVOKE 900C RGB LED SPOT LIGHT (FRESNEL LENS TRAVEL KIT)

This might be the single biggest dollar-amount savings in our entire guide. The Nanlux Evoke 900C is a legitimate high-output workhorse designed to compete with heavy HMI fixtures, but with full color control.

This isn’t just the light head; it’s the full Travel Kit, which includes the FL-35YK Fresnel Lens (essential for focusing that massive output) and a heavy-duty rolling flight case. With built-in LumenRadio for wireless DMX, IP-rated durability, and a staggering CCT range of 1800K to 20,000K, this is a top-tier professional lighting package for the price of a mid-range fixture. Saving over $2,400 on a kit this capable is unheard of.

Holiday Price: $3,645.00 (Regular Price: $6,075.00 — Save $2,430!)

NANLUX EVOKE 1200B LED BI-COLOR SPOT LIGHT KIT (WITH TROLLEY CASE)

If you need a heavy hitter to replace your old HMIs, this is the deal of the year. The Evoke 1200B is a beast of a fixture, delivering a blinding amount of light (over 61,000 Lux at ~10 feet) while maintaining the flexibility of LED.

Designed for shooters who need to move fast on location, this kit comes with a rugged trolley case to protect the asset. You get a versatile CCT range of 2700K to 6500K with flawless color rendering, meaning you can match practicals or sunlight instantly without fumbling with gels. At nearly $1,600 off, this is the most affordable way to add true “big gun” output to your lighting truck.

Holiday Price: $2,369.00 (Regular Price: $3,949.00 — Save $1,580!)

NANLUX EVOKE 150C RGB LED SPOT LIGHT

The Nanlux Evoke 150C is a “unicorn” fixture: a professional, IP66-rated, full-color point source that fits in a backpack and requires no external ballast. This is the perfect light for DPs who need to move fast.

Powered by Nanlux’s advanced “Nebula C8” 8-chip light engine, it mixes Deep Red, Red, Amber, Lime, Green, Cyan, Blue, and Indigo to create the most vivid, saturated colors and accurate skin tones possible across a massive 1000-20,000K range. Whether you need a bulletproof eye light, a punchy backlight for a rain sequence, or a travel-ready interview key, the 150C is built to handle it all.

Holiday Price: $1,080.00

NANLUX EVOKE 600C RGB LED SPOT LIGHT (TROLLEY CASE KIT)

The Nanlux Evoke 600C hits the absolute “sweet spot” of the Evoke lineup. It packs a serious punch—enough to fight the sun in a close-up or light a large room—but retains the incredible convenience of the 150C’s ballast-free design. You don’t have to lug around a heavy power brick; you simply mount the head, plug it into the wall (or a 48V battery), and shoot.

It utilizes the same cutting-edge “Nebula C8” 8-chip RGBLAC color engine as the 900C for flawless skin tones and deep saturation. With its IP66 weather rating and the included rolling trolley case, this is arguably the most versatile, travel-ready high-output fixture on the market today.

Holiday Price: $2,580.00

NANLITE FS-60B BI-COLOR STUDIO SPOTLIGHT

This is the ultimate stocking stuffer for filmmakers. At just $99, the FS-60B is a steal. It’s a compact, bi-color studio workhorse that packs a surprising amount of punch for its size. Perfect for YouTubers, streamers, or as a dedicated hair light/rim light on a larger professional set, it offers the same high color accuracy (CRI 96) as Nanlite’s more expensive fixtures. If you need to expand your kit on a tight budget, grab two or three of these before they’re gone.

Holiday Price: $99.00 (Regular Price: $179.00 — Save $80!)

NANLITE PAVOTUBE II 30C RGB LED TUBE LIGHT (4’, 2-LIGHT KIT)

This is a massive 40% price drop on one of the most versatile tools in a filmmaker’s kit. The PavoTube II 30C 2-Light Kit gives you two 4-foot RGBWW tubes that are perfect for use as practicals in the shot, creating interesting background color contrast, or acting as a soft, wrap-around key light for interviews.

With full RGB control and a wide CCT range (2700K-7500K), these lights are ready for any creative scenario. Getting a complete 2-light kit (including mounting clips and a padded carrying bag) for just $359 is an exceptional value for indie filmmakers and production companies alike.

Holiday Price: $359.00 (Regular Price: $599.00 — Save $240!)

ROSCO DMG DASH CRMX SINGLE KIT

The DMG Dash is the smallest member of Rosco’s pro-level MIX family, and it’s a tiny beast. This is a high-output, color-accurate tool designed to be hidden in plain sight, used as an eye light, or integrated into complex lighting setups via its built-in wireless DMX. 

Its compact, rugged, and weatherproof design means you can mount it anywhere. The kit comes complete with magnetic modifiers, including a dome, flat diffuser, and eggcrate, making it a complete, set-ready package right out of the box.

Promo Price: $339.15 (15% Off) Use Code: FA15 (MAP Price: $399)

SPECTRA CINE V-A LIGHT METER

For decades, Spectra Cine has been the gold standard for cinematography, and the Professional V-A is the modern evolution of that legacy. This is a dedicated, no-nonsense tool for DPs and gaffers who demand absolute accuracy. It’s built for one purpose: to give you the most precise incident light measurements possible. 

With its massive dynamic range, flexible USB-C or AA battery power, and a memory function to store up to 10 readings, this is the last light meter you’ll ever need to buy

Get 25% Off This Holiday!

All orders should be directed to: tvfilm@spectracine.com and include promo code: PROV25

Impact 5-in-1 Collapsible Circular Reflector Disc (42″)

This circular reflector disc is the “Swiss Army Knife” of lighting. If you are just starting to build your kit, this should be your very first purchase after your camera. For under $35, you get a complete lighting control system.

Use the White side for a soft, neutral fill; the Silver for a punchy, high-contrast kick; the Gold to warm up skin tones during golden hour; or the Translucent disc to diffuse harsh sunlight. It folds down to a fraction of its size, fits in any backpack, and can save a shot when you don’t have the budget for big lights.

Holiday Price: $34.97 (Regular Price: $49.96 — Save 30%!)

GAFFER TEMPLATE PACKAGE

Lighting is an art, but Gaffing is a logistical battlefield. The Gaffer Template Package ensures you win that battle before the truck even opens. Designed by Shane Hurlbut, ASC—who spent years climbing the ladder as a professional Gaffer before becoming a DP—these templates are built on real-world experience.

For just $19.99, this package removes the administrative headache from your workflow. It organizes your crew, your power distribution, and your massive inventory of expendables so you can stop worrying about spreadsheets and focus on doing what you do best: creating and shaping light. Whether you are prepping a feature or a commercial, these resources will keep you organized through every show.

Price: $19.99

THE ULTIMATE GAFFER’S KIT

A Gaffer is part artist, part engineer, and part general. This kit is designed to give you the firepower and the precision to handle any scenario, from a subtle interview to a massive night exterior. We have curated a collection that represents the modern era of lighting: high-output, full-color control, and absolute precision.

Price: (Varies based on selection)

2025 FILMMAKING RESOURCES:

Want to sharpen your filmmaking skills and unlock your creative potential? This section is dedicated to the best filmmaking resources, like online courses and workshops. 

Whether you’re a seasoned pro or just starting your journey, continuous learning is essential for growth. Dive into these valuable resources and discover new techniques, gain inspiration, and elevate your craft. Knowledge is power. Invest in yourself and watch your filmmaking flourish!

FILMMAKERS ACADEMY

Filmmakers Academy is more than just an online learning platform—it’s the ultimate career accelerator. This holiday season, we are offering our best deal of the year: Get our all-new Exposing Motion Picture Film Masterclass bundled with a full Annual Membership for just $269.99.

Annual Membership provides the ultimate experience. On top of unlocking every piece of content, the global community, and monthly coaching calls with industry pros, Annual Members get exclusive access to every Masterclass and the ability to apply for the FA Shadow Program to get on-set experience. Plus, with the new B&H EDU Advantage benefit, you can upgrade your gear for less while you upgrade your skills. Invest in yourself and make 2026 your breakout year!

Black Friday Deal: Annual Membership + New Film Masterclass Bundle Sale Price: $269.99 (Regular Price: $349.99)

SHOTDECK

ShotDeck is the undisputed industry-standard tool for visual reference and inspiration. Built by and for filmmakers, it’s a massive, ever-growing library of millions of high-resolution shots from films, TV, music videos, and commercials. 

It’s the ultimate tool for building pitch decks, lookbooks, or just studying the craft of your favorite cinematographers. With its new integration directly into Canva, you can now access your curated decks and search its entire library without ever leaving your design, making it the most powerful and efficient visual workflow available to creatives.

Get 30% Off a Full Year Subscription!

Use Code: FAHOLIDAY (Valid now through December 30th for personal or gift subscriptions)

EDITSTOCK

The single best way to become a better editor is to edit. EditStock provides what students and aspiring editors need most: access to high-production-value, professionally shot projects to practice their craft.

This isn’t just random stock footage; this is the entire set of dailies from real short films, music videos, and documentaries, including the scripts and production sound. You get to cut a full scene from start to finish, just like you would on a real job. For Black Friday, they’re running a massive Buy One, Get One Free sale, letting you double the size of your practice library for half the price. This is the perfect time to grab a narrative scene and a doc-style project to show off your range.

DEAL: Buy One, Get One FREE Dates: 11/28 – 12/2 Use Code: BFCM25

MUSICBED

Stop using music that sounds like a corporate hold message. Musicbed has built its reputation on providing filmmakers with a catalog of exceptional, emotionally resonant music from actual, in-demand artists and composers. This is the secret weapon for giving your films a truly cinematic and professional feel.

For Cyber Monday, they aren’t just discounting—they’re adding massive value. When you purchase any Musicbed subscription, you’ll get a full year of their “Musicbed Sounds” add-on for free. This is their brand-new, premium library of sound effects, making this the perfect deal to lock in both your music and SFX for the entire year.

DEAL: Get a FREE Year of Musicbed Sounds with any Subscription Use Code: CYBERMONDAY25

SHORE SCRIPTS

A great script is the foundation of any great film, but getting honest, actionable feedback is one of the hardest parts of the process. Shore Scripts helps emerging screenwriters break in by providing comprehensive script coverage from professionals who actually work in the industry.

This is your chance to have your screenplay analyzed by the same script readers who have worked for studios like Paramount, Netflix, and HBO. They will provide comprehensive, actionable feedback to help you craft your very best screenplay. This isn’t a simple proofread; it’s a deep-dive analysis of your story, structure, characters, and marketability—the exact same process a script goes through when submitted to a major studio.

DEAL: 15% Off All Coverage Packages Use Code: FA15 (Valid now through December 31, 2025)

FILM DIRECTOR TEMPLATE PACKAGE

Directing is about more than just working with actors; it’s about being the general of an army. The Film Director Template Package empowers you to stop worrying about the logistics and focus on the performance. Inspired by the workflow of veteran Commercial Director Jordan Brady, these templates allow you to conduct your production like a symphony.

For just $29.99, you get the tools to keep your entire team in seamless harmony. From the creative side (Shot List Templates and Look Book Examples) to the logistical side (Crew Lists, Travel Info, and Camera Master Lists), this package ensures you never call “Action” without the peace of mind that comes from total preparation. Lead your team with a unified vision and keep your project on the rails.

Price: $29.99

THE ULTIMATE DIRECTOR’S KIT

A Director’s primary job is to communicate a vision, and this kit provides the tools to do exactly that with precision and authority. We have curated the essential “Director’s Survival Kit” to help you block scenes, scout locations, and command the set.

From the Focal Press theory book to the tools that help you frame the next masterpiece, this is the gear that helps you turn a script into a reality.

Price: (Varies based on selection)

HEADSETS & MICROPHONES:

Great visuals mean nothing if the audience can’t hear the story, and a smooth shoot is impossible if the crew can’t hear each other. This holiday season, step up your audio game with incredible deals on the gear that keeps your production loud and clear. Whether you need professional wireless lavs to capture pristine dialogue or a crystal-clear intercom system to keep your crew in sync, we’ve found the best discounts on the tools that separate the pros from the amateurs. Don’t let bad audio or miscommunication ruin your shoot—invest in the gear that ensures you’re heard.

HOLLYLAND LARK A1

The LARK A1 is the workhorse you need for all-day reliability. If your biggest fear is seeing a battery bar hit red, this is your solution.

It delivers crystal-clear 48kHz/24-bit audio and features 3-level intelligent noise cancellation to ensure your voice is heard, even in noisy environments. 

With 9 hours of life on a single charge and a total of 54 hours with the case, the LARK A1 is built for creators and vloggers who need to hit record and trust that their audio will be there.

Save 20% Off this Holiday Season!

HOLLYLAND LARK MAX 2

The LARK MAX 2 is a professional audio powerhouse in a compact package. This is for the serious filmmaker and videographer. 

Its standout feature is 32-bit float internal recording, which gives you an incredible dynamic range and means you never have to worry about audio levels being too hot. 

Add in a massive 1115ft range, built-in timecode, and a unique set of wireless OWS monitoring earphones, and you have a system that can handle any professional gig you throw at it.

Save 20% Off this Holiday Season!

HOLLYLAND LARK M2

The LARK M2 is the “mic-that-is-not-a-mic.” At a ridiculously tiny 9g, the “button-size” transmitter is so small it’s virtually unnoticeable, making it perfect for weddings, interviews, and any shoot where you need to hide the mic. 

But its small size hides big performance: you get crisp 48kHz/24-bit audio, a massive 1000ft range, and an incredible 40-hour total battery life with the charging case. It even has a remote phone shutter control for vloggers.

Save 20% Off this Holiday Season!

HOLLYLAND LARK M2S

The LARK M2S is the next evolution of “invisible audio.” Taking everything great from the M2, the M2S is even lighter (7g) and more discreet, with a premium titanium clip design that’s practically hidden when worn. 

It delivers high-fidelity 48kHz/24-bit audio over a 1000ft range and features two-level noise cancellation that you can control via the LarkSound app. 

With a 30-hour total battery life, this is the ultimate solution for filmmakers who demand the smallest, lightest, and most professional-looking mic for talent.

Save 20% Off this Holiday Season!

HOLLYLAND SOLIDCOM SE

Clear communication is the most important (and often overlooked) part of a smooth shoot. The Solidcom SE is the perfect affordable, full-duplex intercom system for small to medium-sized crews. Unlike walkie-talkies, these headsets allow everyone to talk and be heard at the same time, just like a natural conversation. 

They are incredibly lightweight, water-resistant, and come pre-paired so they work right out of the box. With a massive 1,100ft range and batteries that last all day, this is the ideal set-it-and-forget-it solution for DPs, 1st ACs, directors, and gaffers who need to stay in sync.

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B&H PHOTO DEALS

It’s a filmmaker’s paradise—and their holiday deal season is the main event. This is the moment to finally pull the trigger on that big kit upgrade you’ve been dreaming of all year.

B&H is going big with deep discounts on serious, professional video gear. We’re already seeing incredible savings on workhorse cameras, massive markdowns on monitors, and deals on everything from cinema lenses to essential V-mount batteries. Whether you’re building your first indie kit or upgrading a pro-level setup, their curated deals on cameras, audio, and lighting are not to be missed.

2025 CAMERA DEALS:

This is not a drill! The holiday camera deals are here, and they are deep. This is the moment to upgrade your camera game. We’re seeing massive price drops on the industry’s most in-demand cameras, giving you the chance to finally snag a true hybrid workhorse like the Blackmagic URSA Cine 12K at its lowest price of the year. 

We’re also spotting incredible deals on powerhouse cinema bodies, including the Blackmagic Pocket 4K/6K and the Sony FX30. For run-and-gun or unique POVs, don’t miss the holiday bundles on action cameras, making this the perfect time to get the camera you really want.

KONDOR BLUE: Starts at $14.99 (Tiered Free Gifts from $50–$2,500)

Kondor Blue has rapidly become the standard for filmmakers who care about both aesthetics and industrial-grade durability. While they offer everything from cages to cables, the Mini Lock Quick Release System is the ultimate stocking stuffer and the perfect entry point into their ecosystem. It replaces bulky, generic plates with a tiny, rock-solid receiver that snaps into place with a satisfying click, ensuring your monitors, lights, and arms never twist loose in the middle of a shoot.

Right now is the absolute best time to upgrade your rig because of their holiday tiered event. Whether you are grabbing a few $14.99 Mini Locks, a D-Tap hub, or investing in their $550 4×5 Matte Box System, you get rewarded for every milestone you hit. It’s a rare chance to grab premium, lifetime-warranty gear and get extra “cheer” dropped into your cart automatically.

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BLACKMAGIC CINEMA CAMERA 6K + SIGMA 28-70MM F/2.8 LENS KIT

This is the “indie filmmaker dream kit.” Blackmagic Design took the beloved form factor of the Pocket Cinema Camera and supercharged it with a massive Full-Frame 6K sensor and an L-Mount.

This B&H exclusive kit pairs the camera with the Sigma 28-70mm f/2.8 DG DN Contemporary, a lens that is tailor-made for this body. It’s lightweight, sharp, and features a fast constant aperture, making it the perfect “one-lens” solution for documentaries, weddings, or narrative shorts. You get 13 stops of dynamic range, dual native ISO, and the ability to record Blackmagic RAW directly to CFexpress cards or SSDs. If you’re ready to graduate to Full Frame, this is the perfect entry point.

Holiday Price: $3,799.00 (Regular Price: $3,899.00 — Save $100!)

BLACKMAGIC POCKET CINEMA CAMERA 6K PRO (CANON EF)

The Blackmagic Pocket 6K Pro is the workhorse of the indie film world for a reason. It takes the incredible Super35 6K sensor and Gen 5 Color Science of the original and packs it into a body designed for professional use.

With a super-bright 1500-nit tilting HDR screen (viewable in daylight), built-in motorized ND filters, and two mini-XLR audio inputs, this camera eliminates the need for a bulky rig. You can literally grab it and go. Recording Blackmagic RAW directly to SD cards, CFast 2.0, or external SSDs via USB-C, it remains the best value-for-money cinema camera on the market.

Holiday Price: $3,019.00 (In Stock & Ready to Ship)

Kodak Super 8 Camera

Super 8 is back, and it has evolved. After years of anticipation, Kodak has released a camera that bridges the gap between the golden age of film and the modern digital workflow.

This Kodak Super 8 Camera isn’t a vintage pawn-shop find; it is a precision instrument. It features a native C-Mount (coming with a sharp 6mm f/1.2 lens), a 4″ digital viewfinder for accurate framing, and the ability to record audio directly to an SD card with Crystal Sync—eliminating the hardest parts of the analog workflow. Whether you are shooting a stylized music video on Vision3 or a gritty documentary on Tri-X black and white, this camera offers the texture of film with the confidence of modern technology.

Price: $5,495.00 (In Stock & Ready to Ship)

EOS C80 6K Full-Frame Cinema Camera (Canon RF) 

The Canon EOS C80 is the camera solo operators have been waiting for. It takes the beloved, compact form factor of the C70 and upgrades it with the same stacked, back-illuminated 6K Full-Frame sensor found in the larger C400.

This means you get 16 stops of dynamic range, triple-base ISO for shooting in any lighting condition, and internal RAW recording—all in a body small enough to balance on a gimbal. Unlike the C70, the C80 features a dedicated 12G-SDI output, making it a true professional cinema tool ready for broadcast workflows. With built-in motorized ND filters and the game-changing Dual Pixel Autofocus, this is the ultimate run-and-gun powerhouse.

Holiday Price: $5,499.00 (Regular Price: $5,849.00 — Save $350!)

GoPro HERO11 Black Specialty Bundle 

Every filmmaker needs a “crash cam”—a camera you can strap to a car bumper, toss in a river, or mount in a tight corner where a cinema camera won’t fit. The GoPro HERO11 Black is the perfect tool for the job, and this bundle makes it a no-brainer.

While it isn’t the newest model, the HERO11 features the critical specs pros care about: 10-bit color (to match your A-cam), 5.3K resolution, and the incredible HyperSmooth 5.0 with Horizon Lock, which keeps your footage level even if the camera spins 360 degrees. This “Specialty Bundle” is a turn-key solution, including the camera, mounts, and a 64GB Sandisk card, so you’re ready to capture the action right out of the box.

Holiday Price: $299.99 (Regular Price: $349.99 — Save $50!)

Sony FX3A Full-Frame Cinema Camera

The Sony FX3 blurs the line between the Alpha mirrorless series and the professional Cinema Line, creating the ultimate B-camera or solo-operator tool.

It shares the legendary 12.1MP full-frame sensor of the A7S III—meaning it can see in the dark with ISOs up to 409,600—but adds professional cooling fans for unlimited recording times, S-Cinetone color for matching the VENICE and FX9, and a detachable top handle with two XLR inputs for pro audio. If you want the power of a cinema camera with the footprint of a mirrorless, this is the gold standard.

Holiday Price: $3,998.00 (Regular Price: $4,298.00 — Save $300!)

Sony FX30 Digital Cinema Camera 

If you want the professional workflow of the Sony Cinema Line—including S-Cinetone, Cine EI, and reliable autofocus—but don’t have the budget for an FX3 or FX6, the FX30 is the answer.

Ideally suited as a B-Cam to the FX3 or a powerful A-Cam for indie productions, the FX30 packs a 26MP APS-C backside-illuminated sensor into the familiar industrial design of the FX3. You get the same tally lights, the same cooling fan for unlimited recording, and the same 5-axis IBIS. It’s a true cinema workhorse that punches way above its weight class, giving you the Hollywood look for under $1,800.

Holiday Price: $1,798.00 (Regular Price: $2,098.00 — Save $300!

THE ULTIMATE CAMERA OPERATOR’S KIT

Operating a camera is an athletic performance, and this kit is designed to keep you in the game for the long haul. We have curated the essential tools for movement, stability, and ergonomics, ensuring you can get the shot without destroying your body.

Price: (Varies based on selection)

THE ULTIMATE CAMERA ASSISTANT’S KIT

A Camera Assistant is the immune system of the camera department, protecting the image and the workflow from chaos. This kit is your armor. We have curated the ultimate collection of tools, consumables, and tech to ensure you are always three steps ahead of the production.

Whether you are a 2nd AC loading out the truck or a 1st AC pulling on a 100mm prime, this kit has the gear to get you through the day.

Price: (Varies based on selection)

THE ULTIMATE CINEMATOGRAPHER’S KIT

A Cinematographer is only as good as their tools, and this kit is designed to ensure you are never caught unprepared. We have curated the ultimate “Director of Photography Survival Kit,” bridging the gap between old-school craft and modern digital workflow.

From the Pancro lens cleaner to the Focal Press theory book, this is the kit that tells the production you mean business.

CINEMATOGRAPHER TEMPLATE PACKAGE

Talent gets you the job; organization keeps you hired. The Cinematographer Template Package is the ultimate toolkit for systemizing your success as a Director of Photography. Designed by Shane Hurlbut, ASC, these templates are the “lifeblood” that has organized dozens of his feature films and commercials.

For $49.99, you are buying a proven workflow. This package ensures your entire team stays on the same page, keeping production on time and on budget. It includes everything from Look Book Examples and Shot List Templates to detailed Camera Breakdowns and Expendables Lists. Stop reinventing the wheel every shoot and start running your set with the efficiency of a Hollywood veteran.

*Note: The Cinematographer Template Package includes every other Template Package we offer (i.e. Directors, Gaffers, Key Grip, etc.).

Price: $49.99

CAMERA ASSISTANT TEMPLATE PACKAGE

Stop using amateur, free templates you found on Reddit and start running your department like a Hollywood professional. Designed by Key 1st AC Derek Edwards, this package is the exact organizational system used on major motion pictures to keep the camera department running smoothly.

For just $19.99, you get a complete suite of editable tools, including an AC Prep Checklist, Crew List, Expendable Master List, and Travel Info Templates. Available in PDF, Excel, and Apple Numbers/Pages formats, this package is designed to help you optimize your pre-production workflow, manage your team and gear with confidence, and ensure you are always three steps ahead of the production.

Price: $19.99

2025 MONITOR DEALS:

If you’re still relying on the 3-inch screen on the back of your camera, this is your sign to stop. Don’t settle for “I think it’s in focus” for another year. Nailing critical focus and exposure is non-negotiable, and this holiday’s monitor deals are the best we’ve seen, with massive price drops on top brands like SmallHD (Indie 7) and Atomos (Shinobi 7). 

Whether you need a super-bright 7-inch field monitor, a 5-inch lightweight for your gimbal, or a 4K production display for video village, the deals are here. We’ve even found Feelworld and PortKeys for 20% off or more. There’s an option for every budget, so you can finally afford to see every pixel.

HOLLYLAND MARS M1

The Mars M1 is the solution to over-complicated camera rigs. Why mount a monitor, a transmitter, and a battery for each? The M1 does it all. This 5.5” touchscreen monitor is a bright 1000 nits and features all the professional tools you need, including 3D LUT support, waveform, vectorscope, and false color. 

The best part? It can transmit its signal to another M1 or up to four mobile devices, or be switched to receiver mode to act as a wireless director’s monitor. With a 450ft (150m) range and low 0.08s latency, this is the perfect all-in-one monitor for your camera, gimbal, or director’s cage.

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FLANDERS SCIENTIFIC XMP270

The XMP270 is the on-set solution DITs and 1st ACs have been waiting for. It packs the same industry-leading QD-OLED technology as its larger mastering-suite siblings into a 26.5” UHD display that’s light, power-efficient, and completely silent. It’s the perfect display for pulling focus, checking exposure, and managing color on location, giving you a true representation of your HDR image at the moment of capture.

Black Friday Price: $9,995 (Save $1,500) (List Price: $11,495)

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FLANDERS SCIENTIFIC XMP550

The XMP550 is a modern legend. As the world’s first professional QD-OLED reference monitor, it set a new standard for HDR and SDR mastering. Its 55” panel, 2,000 nits peak luminance, and true per-pixel emissive control deliver the performance that grading suites and post-houses demand. This is a rare opportunity to get the award-winning display that started it all at a $2,000 discount.

Black Friday Price: $17,995 (Save $2,000) (List Price: $19,995)

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FLANDERS SCIENTIFIC XMP551

The XMP551 is the successor to the acclaimed XMP550, and it raises the bar significantly. Built on a next-generation 55″ QD-OLED panel, it delivers a staggering 4,000 nits peak luminance and an 8,000,000:1 contrast ratio, making it a future-proof solution for all HLG, PQ, and Dolby Vision mastering applications. 

It’s the perfect choice for facilities that want a single display to serve as both a color-critical reference and an impressive client-facing monitor.

Black Friday Price: $18,995 (Save $2,000) (List Price: $20,995)

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FLANDERS SCIENTIFIC XMP651 (PRE-ORDER)

For the most demanding post-production and broadcast environments, the XMP651 is the new flagship. It takes the same next-generation QD-OLED panel—with its 4,000 nits peak luminance and 8,000,000:1 contrast—and scales it up to an immersive 65 inches. 

This display is built for serious, color-critical work, from HLG monitoring to Dolby Vision mastering, serving as both the colorist’s primary reference and the room’s main client display.

Pre-Order Price: Lock in a $2,000 Discount! (Shipping expected to start in December)

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THE ULTIMATE COLORIST’S KIT

Color grading is where the emotional tone of a film is finalized, but it is a discipline that requires absolute scientific precision. We have curated the ultimate toolkit for the Colorist, ranging from the essential software to the highest-end reference gear on the planet.

Price: (Varies based on selection — from Entry Level to Hollywood Master Suite)

2025 TRIPOD DEALS: 

A cheap tripod isn’t a bargain; it’s a future headache of jittery footage and wobbly pans that make your work look amateur. It’s time to stop “fixing it in post” and invest in a rock-solid tripod with a true fluid head, the foundation of any professional shot. 

We’re seeing massive deals on the gear that will actually support your camera, from deep discounts on Manfrotto video kits and heavy-duty Sachtler rigs to amazing prices on lightweight carbon fiber travel tripods from Peak Design and Benro. Whether you’re handling a full cinema rig or a fast run-and-gun setup, this is the time to invest in rock-solid stability.

SmallRig TribeX SE Hydraulic Tripod 

If you follow camera gear on YouTube, you know this tripod. A collaboration between SmallRig and Potato Jet (Gene Nagata), the TribeX was designed to solve the biggest frustration filmmakers have with tripods: they are too slow to set up.

The “Special Edition” (SE) Aluminum version brings this revolutionary hydraulic technology down to an incredible price point. With a simple squeeze, you can go from low-angle to eye-level in a second. The included fluid head is optimized for modern creators, featuring a clever “touch-and-go” plate design that accepts both standard Manfrotto plates and DJI RS gimbal plates, letting you switch from handheld to tripod to gimbal without changing hardware.

Holiday Price: Save up to 30% off this Black Friday from November 20 through December 1! 

Magnus VT-4000 Tripod System with Fluid Head

If you are still shooting video on a stiff photography tripod, this is your intervention. The Magnus VT-4000 is widely considered the best “bang-for-your-buck” entry-level video tripod on the market.

For under $180, you get features usually reserved for systems costing three times as much: a true fluid head with separate pan and tilt locks, a mid-level spreader for rigidity, and a 65mm bowl for rapid leveling. It’s sturdy, reliable, and provides the smooth, cinematic movement that separates professional video from amateur footage. It is the perfect first tripod for students or a solid B-cam support for interview setups.

Holiday Price: $179.00 (Regular Price: $199.00 — Save $20!)

Sachtler aktiv8 flowtech75 MS Tripod System

This is the gold standard for documentary and ENG shooters. The Sachtler flowtech legs changed the industry with their quick-release brakes at the top of the legs, meaning you never have to bend down to adjust height. 

Paired with the revolutionary aktiv8 fluid head, this system is all about speed. The unique SpeedLevel technology allows you to level the head in seconds with a single lever, and the SpeedSwap system lets you move the head from tripod to slider instantly. At nearly $1,400 off, this is a rare chance to own the most advanced tripod system on the market at a mid-range price.

Holiday Price: $2,998.25 (Regular Price: $4,384.25 — Save $1,386!)

MANFROTTO MVH502A FLUID HEAD AND 546B TRIPOD SYSTEM WITH CARRYING BAG 

This is widely considered the “graduation” tripod for filmmakers moving from stills-hybrid gear to professional video support. The Manfrotto 502A head is legendary for its smooth drag and unique “bridging” design, which offers a wide platform for DSLRs and cinema cameras alike.

Paired with the robust 546B twin-leg aluminum tripod, this system offers torsional rigidity that single-tube tripods just can’t match. With a mid-level spreader for uneven terrain and “Easy Link” connectors on the head to mount monitors or recorders directly to the support, this is a rock-solid foundation for your camera package at a fantastic price.

Holiday Price: $598.95 (Regular Price: $769.95 — Save $171!)

SMALLRIG X POTATO JET TRIBEX CARBON II TRIPOD WITH FLUID HEAD

This is the “Pro” version of the internet’s most talked-about tripod. The TRIBEX Carbon II takes the revolutionary X-Clutch hydraulic technology—which lets you extend and level all three legs with a single squeeze—and pairs it with premium Carbon Fiber legs and a vastly superior fluid head.

For the filmmaker who needs speed and precision, this kit is a game-changer. The upgraded head offers stepless tilt and pan damping plus adjustable counterbalance, giving you cinema-grade control. It retains the brilliant dual-mode quick-release plate (Manfrotto + DJI RS) and the detachable swivel handle, making it the fastest, most versatile support system for run-and-gun shooters who refuse to compromise on stability.

Holiday Price: $569.99 (Regular Price: $799.99 — Save $230!)

2025 CAMERA LENS DEALS:

A new camera body is great, but it’s new glass that truly defines your look. This is the moment to finally snag that “holy trinity” zoom or fast prime you’ve been dreaming of, with incredible deals on workhorses like the Sigma 24-70mm f/2.8 and bokeh-monsters like the Sony G Master 50mm. 

It’s also the perfect time to add true cinematic style to your kit, with major discounts on Sirui Anamorphics for classic flares and complete Rokinon Cine Prime sets. Whether you need a versatile zoom for your gimbal or a specialty lens for unique effects, we’ve found the deals to expand your creative possibilities.

Nikon NIKKOR Z 28-135mm f/4 PZ Lens (Nikon Z)

Nikon Z shooters, your dedicated cinema workhorse has arrived. The NIKKOR Z 28-135mm f/4 PZ is designed to be the only lens you need for a documentary, wedding, or corporate shoot.

Covering the classic standard-to-telephoto range, this lens features a constant f/4 aperture and a Power Zoom design that allows for cinematic, motorized zooms. Crucially, the lens does not extend when zooming or focusing, meaning once you balance it on a gimbal, it stays balanced. With suppressed focus breathing and a weather-sealed build, this lens proves that Nikon is serious about professional video.

Holiday Price: $2,496.95 (Regular Price: $2,796.95 — Save $300!)

DZOFILM CATTA 35-80MM T2.9 E-MOUNT CINE ZOOM LENS (WHITE)

This deal represents nearly $1,000 in savings on a lens that bridges the gap between photography glass and high-end cinema optics. The DZOFilm Catta 35-80mm covers the “golden range” of focal lengths for documentary and narrative work on full-frame sensors.

Unlike rehoused photo lenses, this was built for cinema from the ground up. It features standard 0.8 MOD gears for follow focus, a 270-degree focus throw for precise pulling, and minimal focus breathing. Because this is the “White” version, it uses a durable polycarbonate shell to shave weight, making it an ideal choice for handheld work or balancing on larger gimbal stabilizers.

Holiday Price: $1,499.00 (Regular Price: $2,469.00 — Save $970!)

DZOFILM CATTA ACE FF 18-35/35-80/70-135MM T2.9 CINE 3-LENS BUNDLE (PL/EF, BLACK)

This deal represents nearly $1,000 in savings on a lens that bridges the gap between photography glass and high-end cinema optics. The DZOFilm Catta 35-80mm covers the “golden range” of focal lengths for documentary and narrative work on full-frame sensors.

Unlike rehoused photo lenses, this was built for cinema from the ground up. It features standard 0.8 MOD gears for follow focus, a 270-degree focus throw for precise pulling, and minimal focus breathing. Because this is the “White” version, it uses a durable polycarbonate shell to shave weight, making it an ideal choice for handheld work or balancing on larger gimbal stabilizers.

Holiday Price: $1,499.00 (Regular Price: $2,469.00 — Save $970!)

DZOFILM ARLES FF/VV PRIME CINE 5-LENS SET (ARRI PL)

This is a career-defining investment. Owning a matched set of high-speed cinema primes is the mark of a professional cinematographer, and the DZOFilm Arles set offers performance that rivals lenses costing three times as much.

This kit includes the essential five focal lengths: 25mm, 35mm, 50mm, 75mm, and 100mm. Every single one covers Full Frame and VistaVision sensors, features standard 0.8 MOD gears, and renders a “painterly,” low-contrast look with buttery smooth background separation. At $1,700 off, you are getting a complete, high-speed optical ecosystem for the price of a single lens from other manufacturers.

Holiday Price: $7,999.00 (Regular Price: $9,699.00 — Save $1,700!)

BLAZAR LENS MANTIS 1.33X ANAMORPHIC 5-LENS SET (ARRI PL)

This deal is arguably the best entry point into anamorphic cinematography on the market right now. For the price of a single lens from other brands, BLAZAR gives you an entire 5-lens ecosystem.

The MANTIS set covers every focal length you need, from a wide 25mm to a portrait-length 100mm. These lenses cover Full Frame sensors and deliver that sought-after anamorphic character—horizontal blue flares, oval bokeh, and distinct separation—without the vintage headaches of softness or heavy breathing. Packaged in a rugged hard-shell case, this kit saves you $1,300 and instantly upgrades your production value to “CinemaScope.”

Holiday Price: $3,299.00 (Regular Price: $4,599.00 — Save $1,300!)

2025 GRIP GEAR DEALS:

Tired of wobbly light stands or “making it work” with bad grip gear? This holiday season, stop settling and stock up on the essentials that give you control and safety on set. We’ve found the best deals on the workhorses, from sturdy C-stands (with grip arms included!) and versatile clamps to full flag and net kits for controlling light spill, plus essentials like gaffer tape and apple boxes. Whether you’re rigging a light or securing your camera, get a grip on these deals and build a kit you can trust.

KEY GRIP TEMPLATE PACKAGE

The Grip department is the backbone of the set—responsible for safety, camera support, and shaping the light. Managing that much heavy steel and rigging requires military-grade organization. The Key Grip Template Package gives you the logistical framework used by Shane Hurlbut, ASC on major motion pictures.

For just $19.99, you get the tools to run your department without missing a beat. From tracking your crew and travel logistics to managing the thousands of items in your inventory with the Grip Expendable Master List and 10-Ton Package List, this bundle ensures you are always ready to build, rig, and support the vision safely and efficiently.

Price: $19.99

THE ULTIMATE KEY GRIP’S KIT

The Key Grip is the engineer, the safety officer, and the architect of the set’s infrastructure. This kit is a massive arsenal of steel designed to support the vision, no matter how heavy or complex. We have curated the ultimate collection of industry-standard tools, relying heavily on the “bombproof” reputation of Matthews Studio Equipment.

Price: (Varies based on selection)

Manfrotto 038 Double Super Clamp 

If you have ever tried to rig a crossbar between two light stands or secure a speed rail grid, you know that stability is everything. The Manfrotto 038 Double Super Clamp is the professional solution to perpendicular rigging.

Consisting of two legendary cast-alloy Super Clamps fastened together at a rigid 90-degree angle, this tool allows you to clamp onto tubes from 0.5″ to 2.1″ in diameter with a vice-like grip. It includes wedge inserts for clamping onto flat surfaces, making it indispensable for securing background crossbars to AutoPoles or building custom lighting grids on location.

Holiday Price: $69.95 (Regular Price: $97.95 — Save $28.00!)

Manfrotto Super Clamp with 056 3-D Junior Head 

This is the rig you wish you had every time you needed to mount a crash cam, a POV angle, or a remote camera in a tight space. Manfrotto has combined two legendary pieces of kit into one essential bundle.

You get the 035 Super Clamp, which can grip onto any pipe, rail, or flat surface (from 0.5″ to 2.1″) with vice-like strength. Mounted to it is the 056 3-D Junior Head, a compact, heavy-duty head that allows for precise, independent framing adjustments. Whether you are mounting a DSLR to a car’s roll cage or hiding a mirrorless camera in the rafters for an overhead shot, this kit ensures your camera stays exactly where you put it.

Holiday Price: $111.85 (Regular Price: $158.85 — Save $47.00!)

Impact PortaFrame Scrim Flag Kit (24 x 36″)