Film Exposure Archives - Filmmakers Academy Filmmakers Academy Tue, 06 Jan 2026 22:50:16 +0000 en-US hourly 1 https://wordpress.org/?v=6.9 https://www.filmmakersacademy.com/wp-content/uploads/2021/07/cropped-Filmmakers-Academy-ico-32x32.png Film Exposure Archives - Filmmakers Academy 32 32 How to Extend “Magic Hour” on Motion Picture Film https://www.filmmakersacademy.com/blog-magic-hour-motion-picture/ Tue, 06 Jan 2026 22:48:24 +0000 https://www.filmmakersacademy.com/?p=107228 Every filmmaker loves “Magic Hour.” That fleeting window just after sunset provides the most flattering, ethereal light known to cinema. But when you are shooting on film, this time of day is terrifying. As the sun dips below the horizon, your light levels plummet by the second. On a digital camera, you might just crank […]

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]]> Every filmmaker loves “Magic Hour.” That fleeting window just after sunset provides the most flattering, ethereal light known to cinema. But when you are shooting on film, this time of day is terrifying. As the sun dips below the horizon, your light levels plummet by the second. On a digital camera, you might just crank the ISO. On film, you have to be smarter.

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.)

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What You Will Learn in This Article
  • The “Twilight Filter Stack”: Why combining an 85 and 81EF filter is essential to correct the extreme 8800K blue shift of twilight on tungsten film.
  • How to Double Your Shooting Window: A location scouting strategy (using buildings/mountains) that turns a fleeting 15-minute “magic hour” into a 40-minute shoot.
  • The “West-First” Rule: The critical shooting order you must follow to ensure your talent remains lit by the fading sky for as long as possible.
  • Why 500T is the King of Dusk: Why choosing high-speed tungsten stock (Kodak 5219) is the secret weapon for seeing into the dark outdoors.
  • Reflector Strategy: When and why to switch from white bounce to silver reflectors to maintain eye light as ambient levels drop.

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.

Shane Hurlbut, ASC - Tungsten Film Stock

  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.

  1. THE FILTER STACK (THE “WARM-UP”)

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

1.  85 Filter This is our baseline correction. It converts the outdoor light to match the tungsten film.
2. 81EF Filter This is our “secret sauce” for twilight. Since the ambient sky light is so cold (8800K), a standard 85 filter isn’t enough; the image would still feel cold. The 81EF adds an extra layer of warmth (about 0.7 stops worth).

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.

  1. 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.

Pro Tip: Use buildings, mountains and trees to extend twilight magic hour (dusk)

PRO TIP: Block the sun early. Find a location with a large building, a mountain range, or a dense tree line to the West. Position your talent in the shadow of this object while the sun is still up.

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.

  1. 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.

Pro Tip: While filming at dusk (twilight), use silver bounce

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.

  1. 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.

Shot 1 (Facing East) The hot Western sky is behind the camera, acting as a massive softbox illuminating the talent’s face. You get a beautiful reading (e.g., f/2.5).
Shot 2 (Facing West) Once the light drops further, then you turn around and shoot toward the sunset. Even though the subject is now backlit and darker (e.g., f/1.5), you have the bright, colorful twilight sky in the background to create a silhouette or moody separation.

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.

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]]> Film Masterclass CTA Banner Tungsten-Film-Stock Pro-Tip_Buildings-Twilight Pro-Tip-Dusk-Silver-Bounce Extend-Twilight-West East Film Masterclass CTA Banner The “Tony Scott” Look: ND & Color Grads https://www.filmmakersacademy.com/blog-tony-scott-nd-grad-filters/ Wed, 10 Dec 2025 02:16:52 +0000 https://www.filmmakersacademy.com/?p=107138 In the digital age, we have become accustomed to fixing exposure problems in the color grading suite. If a sky is too bright, we simply draw a Power Window, track it, and bring down the highlights. But when you are shooting on film — or even pushing a digital sensor to its limits in a […]

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]]> In the digital age, we have become accustomed to fixing exposure problems in the color grading suite. If a sky is too bright, we simply draw a Power Window, track it, and bring down the highlights.

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!)

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What You Will Learn in This Article
  • The “Tony Scott” Aesthetic: How the legendary director used Hard Grads (specifically the “Tobacco” filter) to create his signature high-contrast, dramatic skies.
  • Hard vs. Soft Grads: The key differences between these two filter types and the specific scenarios (horizons vs. uneven terrain) that call for each.
  • The Geared Matte Box Technique: A step-by-step breakdown of how an operator and AC work together to “hide” a grad filter during a tilt shot.
  • Why Digital Still Needs Glass: Why relying on Power Windows isn’t enough when shooting in high-contrast, backlit environments where sensor clipping is a risk.

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

Chocolate grad filter on horizon shot in Days of Thunder - Tony Scott

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.

WHEN TO USE IT
Defined Horizons When you have a distinct, flat horizon line, such as in an ocean scene or a desert.
Cityscapes When you have a row of buildings that are all roughly the same height.
Flat Hillsides Where there isn’t much undulation to reveal the straight line of the filter.

 

2. THE SOFT GRAD: SEAMLESS BLENDING

Tony Scott Tobacco Grad - Soft Grad example

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.

WHEN TO USE IT
Uneven Terrain Mountains, forests, or city streets with varying building heights.
Dynamic Shots When the camera is moving, and a hard line would be too obvious.

 

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

Shane Hurlbut places filter into camera 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.

THE TECHNIQUE
6×6 Filters We use larger 6×6 glass filters (instead of the standard 4×5.65) to give us a more vertical range of travel.
The Gear The filter tray has a gear track on the side.
The Whip The AC attaches a long focus whip to the filter tray gear.
The Dance As the operator tilts the camera up, the AC must simultaneously crank the whip to raise the filter tray.

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.

YOU CAN ACCESS THE FULL MASTERCLASS IN TWO WAYS
BECOME A PREMIUM ANNUAL MEMBER Get unlimited access to this masterclass, plus our entire library of hundreds of courses, monthly live coaching, and an exclusive community of filmmakers.
A LA CARTE PURCHASE Buy the standalone masterclass for a one-time fee of $129.99 and own it forever.

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

This masterclass was produced in collaboration with Kodak. 

Exposing Motion Picture Film Masterclass - CTA Banner

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]]> Film Masterclass CTA Banner tony-scott-nd-grad-filters_5 tony-scott-nd-grad-filters_9 tony-scott-nd-grad-filter_11 Film Masterclass CTA Banner Exposing Film in Harsh Sunlight Backlit Scenes https://www.filmmakersacademy.com/blog-backlit-sun-shot-expose-film/ Fri, 05 Dec 2025 07:46:04 +0000 https://www.filmmakersacademy.com/?p=107111 When shooting on film, you don’t have the luxury of a high-resolution monitor or waveform to check your exposure. You have your meter, your eye, and your knowledge of the craft. One of the most beautiful yet challenging lighting scenarios is the classic backlit sun shot. It creates separation, a stunning hair light, and a […]

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]]> When shooting on film, you don’t have the luxury of a high-resolution monitor or waveform to check your exposure. You have your meter, your eye, and your knowledge of the craft. One of the most beautiful yet challenging lighting scenarios is the classic backlit sun shot. It creates separation, a stunning hair light, and a sense of depth — but if you miscalculate your ratios, you risk blowing out the highlights or losing your subject in the shadows.

Cinematographer Shane Hurlbut shows how to shoot film for daylight backlit scenes

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!)

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WHAT YOU WILL LEARN IN THIS ARTICLE
  • The “Hand Cup” Metering Technique: How to get an accurate incident reading in harsh sunlight without false inflation.
  • Calculating Filter Factor: How to adjust your light meter to account for ND filters and ensure perfect exposure.
  • Managing Contrast Ratios: How to use bounce light to bring a high-contrast scene into a cinematic range.
  • Strategic Underexposure: Why underexposing skin tones on film can create a richer, more natural look, and how to adjust for different complexions.
  • The T-Stop Decision: How to balance aperture, filtration, and lighting to achieve a specific depth of field.

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. 

Shane Hurlbut, ASC shows how to shoot daylight film stock

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.

Light Meter image with definition

THE PROBLEM When measuring the shadow side of the face (fill light), if the bright sun hits the back of the meter’s dome, it will artificially inflate the reading, telling you there is more light than there actually is.
THE SOLUTION I use my hand to cup the dome, blocking the direct sun from hitting it while allowing the ambient fill light to enter. This ensures I am measuring only the light falling on the shadow side of the subject’s face.

INITIAL READINGS

Backlight (Sun)

 f/8.3
Fill (Shadow side)

f/2.5

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. 

Cinematographer Shane Hurlbut, ASC places filter in film camera

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.

NEW READINGS (WITH ND 0.6
Backlight f/4.3

 

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.

Cinematographer Shane Hurlbut, ASC shows how to shoot film in daylight and shaping light with a bounce

FINAL READINGS
New Fill (with bounce) f/1.4

STEP 4: THE EXPOSURE DECISION

Now comes the artistry. We have our readings:

Backlight f/4.3
Fill  f/1.4

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.

NOTE: If the talent had darker skin tones, I would only underexpose by 1 stop to ensure rich detail in the shadows.

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.

Filmmaker looks at monitor of cinematographer Shane Hurlbut using light meter for shooting 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.

YOU CAN ACCESS THE FULL MASTERCLASS IN TWO WAYS
BECOME A PREMIUM ANNUAL MEMBER Get unlimited access to this masterclass, plus our entire library of hundreds of courses, monthly live coaching, and an exclusive community of filmmakers.
A LA CARTE PURCHASE Buy the standalone masterclass for a one-time fee of $129.99 and own it forever.

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

This masterclass was produced in collaboration with Kodak. 

Exposing Motion Picture Film Masterclass - CTA Banner

The post Exposing Film in Harsh Sunlight Backlit Scenes appeared first on Filmmakers Academy.

]]> Exposing-Film_10 Film Masterclass CTA Banner Exposing-Film_5 Exposing-Film_11 Exposing-Film_1 Exposing-Film_9 Exposing-Film_6_1000x666 Film Masterclass CTA Banner Exposing Film Stocks: 16mm Film & 35mm Film https://www.filmmakersacademy.com/blog-film-stocks-16mm-35mm/ Thu, 04 Dec 2025 06:41:58 +0000 https://www.filmmakersacademy.com/?p=107100 In an age dominated by digital “fixes,” false color overlays, and the ability to change ISO with the scroll of a wheel, the true, hands-on craft of exposing celluloid has become a rare and vital skill. We see the “film look” imitated everywhere. Grain overlays, halation plugins, and LUTs designed to mimic Kodak Vision3. But […]

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

]]> In an age dominated by digital “fixes,” false color overlays, and the ability to change ISO with the scroll of a wheel, the true, hands-on craft of exposing celluloid has become a rare and vital skill. We see the “film look” imitated everywhere. Grain overlays, halation plugins, and LUTs designed to mimic Kodak Vision3. But how many modern filmmakers truly understand the nuts and bolts behind it all?

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.

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WHAT YOU WILL LEARN IN THIS ARTICLE
  • How to decode Kodak’s film numbering system to instantly identify formats (35mm vs. 16mm) and stock types.
  • The specific characteristics of Kodak Vision3 Color Negative stocks (50D, 250D, 200T, 500T) and when to use them.
  • The difference between Color Negative (ECN-2) and Reversal Film, and why films like Three Kings utilized the latter for a unique aesthetic.
  • The science of Analog White Balance, specifically how to use the 85 Filter to shoot tungsten stock in daylight without ruining your image.

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.

Arri Film Camera

  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.

THE PREFIX
52 Indicates 35mm film (e.g., 5203, 5219)
72 Indicates 16mm film (e.g., 7203, 7219)
THE SUFFIX The last two digits indicate the specific emulsion type (ISO and Color Balance).

  1. 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.

WHY USE NEGATIVE?
It offers superior dynamic range (latitude). It is forgiving in the highlights and can dig into the shadows, giving the cinematographer immense flexibility in the color grading suite (or timing lab).

Film Stock Exposure

CURRENT KODAK VISION3 STOCKS
50D (5203 / 7203) A Daylight balanced (5600K) stock with an ISO of 50. It has the finest grain structure, perfect for bright exteriors.
250D (5207 / 7207) A faster Daylight balanced stock.
200T (5213 / 7213) A tungsten-balanced (3200K) stock. The “T” stands for Tungsten.
500T (5219 / 7219) The high-speed workhorse. Tungsten balanced, ideal for low light and night scenes.

  1. 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.

Video News for Film Walter Cronkite - Broadcast film stock

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.

NATURAL, PUNCHY COLORS The colors are often super-saturated and vibrant.
UNIQUE BLOWOUTS When overexposed, reversal film doesn’t roll off gently like negative; it blows out in a distinct, harsh, yet artistic way.

Kodak Film used on Three Kings movie

CINEMATIC EXAMPLE
David O. Russell’s Three Kings (1999) famously utilized color reversal stock (specifically Ektachrome) to achieve its bleach-bypass-style, high-contrast look. The result was deep, unnatural blue skies and stark, golden-white sands that heightened the surreal nature of the narrative.

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.

Shane Hurlbut Exposing film stock

THE SOLUTION: THE 85 FILTER

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

WHAT IT IS An orange-colored glass filter.
WHAT IT DOES It physically converts the 5600K daylight entering the lens into 3200K light before it hits the film emulsion.
THE COST Placing glass in front of the lens cuts light. You must account for this Filter Factor when calculating your exposure (typically a loss of 2/3 of a stop for an 85 filter).
85 Filter 85 Filter

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.

YOU CAN ACCESS THE FULL MASTERCLASS IN TWO WAYS
BECOME A PREMIUM ANNUAL MEMBER Get unlimited access to this masterclass, plus our entire library of hundreds of courses, monthly live coaching, and an exclusive community of filmmakers.
A LA CARTE PURCHASE Buy the standalone masterclass for a one-time fee of $129.99 and own it forever.

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

This masterclass was produced in collaboration with Kodak. 

Exposing Motion Picture Film Masterclass - CTA Banner

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

]]> Film Masterclass CTA Banner Arri Film Camera Film Exposure Video News Film Film Broadcast Three Kings_Kodak Film Exposing Filters for Film Film 85 Filter 2 Film 85 Filter Film Masterclass CTA Banner Film is Back. Are You Ready? Exposing Motion Picture Film https://www.filmmakersacademy.com/blog-exposing-motion-picture-film/ Fri, 21 Nov 2025 01:57:21 +0000 https://www.filmmakersacademy.com/?p=106958 In an age of digital “fixes,” LUT packs, and false color, the true, hands-on craft of exposing celluloid has become a rare and vital skill. We see the “film look” imitated everywhere, but how many filmmakers truly understand the alchemy that creates it? Film is making a comeback. From the IMAX spectacle of Oppenheimer to […]

The post Film is Back. Are You Ready? Exposing Motion Picture Film appeared first on Filmmakers Academy.

]]> In an age of digital “fixes,” LUT packs, and false color, the true, hands-on craft of exposing celluloid has become a rare and vital skill. We see the “film look” imitated everywhere, but how many filmmakers truly understand the alchemy that creates it?

Film is making a comeback. From the IMAX spectacle of Oppenheimer to the gritty texture of indie darlings, directors are returning to the medium that started it all. But shooting on film isn’t just a stylistic choice; it’s a discipline. It demands that you stop relying on a monitor and start trusting your eye, your tools, and your knowledge.

On November 25th, Filmmakers Academy, in partnership with KODAK, is launching the definitive guide to this timeless craft: the Exposing Motion Picture Film Masterclass.

EXPOSING MOTION PICTURE FILM TEASER:

A “BRICK-AND-MORTAR” EDUCATION FOR THE MODERN FILMMAKER:

This masterclass is a deep, comprehensive dive into the art and science of analog cinematography, taught by Shane Hurlbut, ASC. Drawing from his experience lensing over 23 feature films on 35mm, 16mm, and Super 8, Shane demystifies the entire photochemical process, teaching you to be both a scientist and an artist.

Whether you are an aspiring DP looking to shoot your first short on 16mm or a digital native wanting to understand the foundational principles of light and exposure, this masterclass provides a playbook you simply cannot find anywhere else online.

WHAT YOU WILL MASTER:

THE TOOLS OF THE TRADE 

Learn to stop guessing and start measuring. You will master the incident meter for perfect exposure and the spot meter for precision contrast control.

FILM STOCKS 

Understand the unique personalities of Kodak’s Vision3 color negative stocks (50D, 250D, 200T, 500T) and the vibrant, unforgiving nature of color reversal film.

Shane Hurlbut holds filters for film camera Hand inserting filter tray into film camera

THE SCIENCE OF GLASS

Master the critical concept of “Filter Factor” and learn how to calculate it for any piece of glass. Discover how to use essential correction filters (85, 80A) and creative filters (81EF, Color Enhancers) to bake your look into the negative.

CONTROLLING CONTRAST

Learn advanced techniques for taming bright skies and hot spots. Do so using graduated ND filters, attenuators, and the “beautiful dance” of operating a geared matte box.

Shane Hurlbut uses light meter on film shoot - Exposing Motion Picture Film Masterclass Shane Hurlbut outside with film camera

ADVANCED EXPOSURE TECHNIQUES 

Go beyond the basics with lessons on lighting ratios, the philosophy of the “thick negative” for richer blacks, and the chemical magic of Push and Pull processing.

REAL-WORLD SCENARIOS

Join Shane on location as he breaks down how to expose for challenging high-contrast backlit scenes, harsh side lighting, and the fleeting, beautiful light of twilight (magic hour).

DIGITAL CAPTURES. FILM IS CRAFTED.

When you shoot on film, you are making definitive creative choices before the camera ever rolls. You are painting with light and chemistry, not just capturing data.

By mastering these analog skills, you gain a deeper understanding of exposure, color, and contrast that will elevate your work on any camera system, digital or film. You will learn to see the world differently. Not as a waveform, but as a landscape of light waiting to be shaped.

HOW TO JOIN THE MASTERCLASS:

The Exposing Motion Picture Film Masterclass launches on November 25th. You can access this exclusive training in two ways…

1. BECOME A PREMIUM ANNUAL MEMBER Get unlimited access to this masterclass, plus our entire library of hundreds of courses, monthly live coaching, and an exclusive community of filmmakers.
2. A LA CARTE PURCHASE Buy the standalone masterclass for a one-time fee of $129.99 and own it forever.

Choose the craft that endures. Stop chasing the “look” and start mastering the source.

The post Film is Back. Are You Ready? Exposing Motion Picture Film appeared first on Filmmakers Academy.

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