Shane Hurlbut ASC Archives - Filmmakers Academy

How to Extend “Magic Hour” on Motion Picture Film

Shane Hurlbut, ASC — Tue, 06 Jan 2026 22:48:24 +0000

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.)

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.

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.

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.

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.

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: 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.

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.

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

The “Tony Scott” Look: ND & Color Grads

Shane Hurlbut, ASC — Wed, 10 Dec 2025 02:16:52 +0000

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!)

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.

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

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

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

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.

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

Exposing Film in Harsh Sunlight Backlit Scenes

Shane Hurlbut, ASC — Fri, 05 Dec 2025 07:46:04 +0000

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.

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!)

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.

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.

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.

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.

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.

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.

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

Exposing Film Stocks: 16mm Film & 35mm Film

Shane Hurlbut, ASC — Thu, 04 Dec 2025 06:41:58 +0000

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.

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.

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).

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).

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.

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.

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.

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.

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).

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.

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

Why We Still Shoot Film in the Digital Age

Filmmakers Academy — Wed, 03 Dec 2025 01:52:15 +0000

In an industry obsessed with the latest sensors, 8K resolution, and AI-driven workflows, a quiet but powerful movement is growing. It’s a return to the chemical, the tactile, and the analog. Filmmakers, from studio auteurs like Christopher Nolan to independent visionaries, are increasingly choosing to shoot on motion picture film.

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

1.	START WITH PHOTOGRAPHY	Buy a 35mm still camera. Learn to expose manually without a screen. Understand ISO, aperture, and shutter speed intimately.
2.	TRY SUPER 8	Pick up a cheap Super 8 camera. Companies like Pro8mm offer bundles that include the film cartridge, processing, and digital scanning, making the workflow simple and accessible.
3.	VISIT A RENTAL HOUSE	If you’re in a major city, go to a camera rental house. Ask to see their film cameras. Build relationships. The film community is passionate and eager to help those who want to keep the medium alive.
4.	JUST DO IT	Don’t be afraid of the technology. “You have to train yourself to realize these tools are meant to be used,” Brendan advises.

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.

LIMITED-TIME OFFER:

This exclusive training is available as a standalone masterclass or included with a Premium Annual Membership. It’s time to stop chasing the “film look” and start learning the source.

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

Film is Back. Are You Ready? Exposing Motion Picture Film

Filmmakers Academy — Fri, 21 Nov 2025 01:57:21 +0000

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.

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.

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.

Cinematographer’s Tip: Cinematic Moonlight Placement

Filmmakers Academy — Fri, 31 Oct 2025 22:44:24 +0000

We’ve all seen night exteriors that feel flat, overlit, or just plain wrong. Of all the lighting scenarios a cinematographer faces, “how to light the night” is one of the biggest challenges. It’s an art form that requires balancing technical skill with a strong creative vision. Where you place your moonlight is arguably the most important decision you will make, as it defines the mood, shape, and emotional impact of your entire scene.

In this lesson excerpt from our Night Cinematography Masterclass, renowned cinematographer Shane Hurlbut, ASC, takes you into the “Moonlight Lab” to demonstrate his personal philosophy on moonlight placement. This isn’t just theory; it’s a practical, on-set breakdown of how moving a light just a few feet can completely transform a shot from flat and uninspired to chiseled and cinematic.

(This article is a detailed breakdown of an excerpt from our Night Cinematography Masterclass. Discover how you can access the full lesson and course at the end!)

The Problem: Where Do You Place the Moon?

After establishing the color and softness of your moonlight (which we cover in other lessons), the next critical question is placement. Shane kicks off the demonstration by explaining his preference. “I’m more of a three-quarter back kind of person, a cinematographer,” he explains. This means the primary moonlight source is positioned behind the subjects and off to one side, creating a strong edge and sense of dimension.

To illustrate this, he begins with the light in a good position but decides to push it even further to find the “sweet spot.” He instructs his gaffer, Tom Sigurdsson, to move the light further to the “lamp right” position and pan it back left.

Finding the “Hero” Position: The Three-Quarter Backlight

As the light moves, the effect is immediate. “Now I’m just bringing that light just a little more around on them,” Shane observes, “and I’m seeing how it’s chiseling out his jaw, where we didn’t have that before.” This is the magic of the three-quarter backlight. By positioning the key source behind the actors, it rakes across the side of their faces, creating a “hero” light that defines the jawline, creates a beautiful sheen on the side of the face, and catches the hair, separating them from the dark background.

To prove the point, Shane tests two less effective positions…

1	The Dead Backlight	First, they move the light to a “dead back” position, directly behind the actors. While this creates separation, Shane notes it’s just not as pleasing. “It’s just not as nice as the other side,” he says.
2	The Cross-Beam	Next, they move the light to the opposite side, “crossing the beams.” This creates a flatter, less dimensional look by lighting the front of the actors instead of sculpting them from behind. “This I hate,” Shane says bluntly, “but I want to show you so you can hate along with me… it just still feels flat.”

The team quickly returns to the three-quarter back position on the hillside, which Shane calls the “hero” position. It provides the best shape, dimension, and cinematic quality.

Shane’s Philosophy: “Key on Key” Lighting

This preference for a three-quarter backlight is part of a larger lighting philosophy Shane calls “key on key” lighting. This is a crucial concept for creating naturalistic and dimensional images. “Everything comes from 180 degrees,” he explains.

This means if your main source (the moonlight) is coming from the three-quarter back-right position, then all your other motivating sources—like your fill light or any bounces—should also come from that same 180-degree arc (the right side of the camera). This approach avoids “sandwich” lighting, where you light from both sides, which can cancel out shadows and make your subject look flat. By keeping all your sources on one side, you create a natural “wrap” of light, with one side of the face being brighter and gradually falling off into a defined shadow, which adds shape and dimension.

The Bottom Line: A Tip for All Budgets

In the full masterclass, Shane demonstrates how to apply this philosophy to both massive “Hollywood style” setups (with 120-foot Condors and powerful 2400W lights) and more accessible “indie style” setups lit entirely from the ground. But as he emphasizes, the principles remain the same.

The key takeaway is this… Where you place your moonlight is everything. A simple, flat front light or a basic backlight will rarely give you the cinematic and emotional impact you want. By starting with a three-quarter backlight, you create immediate shape, dimension, and a “chiseled” quality that defines your subjects’ features. From there, you can build the rest of your scene using the “key on key” philosophy. This ensures all your light sources work in harmony. They create a single, dimensional, and powerful image that serves your story.

Unlock the Full Night Cinematography Masterclass!

This has been a detailed breakdown of just one concept from our comprehensive Night Cinematography Masterclass. The full course is a 9-hour journey that takes you on set with Shane Hurlbut, ASC, as he breaks down every aspect of lighting the night, from large-scale Hollywood setups to efficient indie solutions.

The post Cinematographer’s Tip: Cinematic Moonlight Placement appeared first on Filmmakers Academy.

Cinematography Tip: Softening Digital Sharpness with Diffusion Filters

Filmmakers Academy — Wed, 08 Oct 2025 20:45:25 +0000

Modern digital cinema cameras are technical marvels, capable of capturing images with incredible sharpness and resolution. But sometimes, that technical perfection can be a double-edged sword, resulting in a look that feels too harsh, too clinical—too “digital.” So, how do you take that pristine sharpness and shape it into something more organic, more cinematic, and more flattering for your actors?

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

What You Will Learn in This Article:

Why excessive digital sharpness can sometimes work against a cinematic feel.
How subtle diffusion filters can “take the edge off” without creating a heavy, obvious effect.
Shane Hurlbut’s specific filter recommendation for gently softening contrast and blooming highlights.
The critical rule for scaling filter strength based on your lens’s focal length.
How to evaluate and balance filtration between different types of lenses.

The Challenge: Balancing Sharpness and Cinematic Character

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

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

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

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

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

The Solution: Tiffen Soft Glow Filters

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

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

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

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

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

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

The Fundamental Rule: Scaling Filter Density to Focal Length

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

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

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

The Bottom Line: Controlling Sharpness with Intention

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

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

JOIN FILMMAKERS ACADEMY AND SAVE $50!

Unlock the Full Masterclass Lesson!

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

TIFFEN FILTERS:

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

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

Camera Test: URSA Cine 12K vs ARRI vs Sony vs RED

Filmmakers Academy — Tue, 16 Sep 2025 10:15:25 +0000

In today’s filmmaking landscape, filmmakers face an overwhelming number of options. Every new cinema camera promises to be a game-changer, boasting incredible specs, higher resolutions, and wider dynamic ranges. But beyond the marketing hype and online debates, one fundamental question remains for every cinematographer, director, and producer: How does the camera actually see the world?

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

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

The Mission: A True Apples-to-Apples Comparison

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

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

Single Camera Position	Every camera was shot from the exact same position, using matched focal lengths.
Identical Lensing & Filtration	The same lenses and Tiffen NATural ND filters were used on each camera.
Controlled Lighting	The lighting setup remained identical for each camera’s pass.
Consistent Subjects	The same two subjects, one with a light complexion and one with a dark complexion, were used throughout to evaluate skin tone rendering.
Calibration	Focus and color charts were used in every setup to ensure a perfect technical baseline for comparison.

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

The Tests: Pushing Sensors to Their Limits

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

Day Interiors Camera Test

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

Day Exteriors Camera Test

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

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

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

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

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

Make your next camera choice an informed one.

JOIN FILMMAKERS ACADEMY AND SAVE $50!

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

Cinematography Tip: Are LED Lights Replacing HMIs?

Shane Hurlbut, ASC — Wed, 03 Sep 2025 20:46:46 +0000

For over a decade, one light has been the gold standard on my sets for punching through windows or bouncing into massive frames: the ARRI M90. This HMI has been a powerful workhorse, a tool that expanded my creativity and could beautifully replicate the sun. It was an oldie, but a goodie. But as filmmakers, we must constantly ask ourselves: Is there a better, more efficient, more versatile way to achieve the looks we need?

The answer is a resounding yes.

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

THE BENCHMARK: UNDERSTANDING THE ARRI M90 HMI

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

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

However, this power comes with classic HMI challenges.

THE HMI CHALLENGE 1: CUTTING AND SHADOW QUALITY

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

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

THE HMI CHALLENGE 2: HEAT AND EXPENDABLES

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

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

THE CONTENDER: THE VERSATILE NANLUX EVOKE 5000B LED

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

This is where the advantages of the LED become clear.

SOLVING THE SHADOW PROBLEM

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

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

SOLVING THE HEAT PROBLEM

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

BEYOND THE BASICS: THE LED ADVANTAGE IN CONTROL & EFFICIENCY

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

PRECISION COLOR CONTROL

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

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

SIMPLICITY AND EFFICIENCY

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

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

THE BOTTOM LINE: A NEW ERA OF LIGHTING

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

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

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

Featured Nanlux Lighting

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

Camera Techniques for Emotional Storytelling

Filmmakers Academy — Tue, 26 Aug 2025 21:55:04 +0000

As a cinematographer, your job extends far beyond simply capturing a well-exposed image. You are a visual psychologist, tasked with translating the complex inner worlds of characters into a language of light, shadow, and movement. Every choice you make—from lens selection and camera placement to the subtle nuances of camera motion—should serve the emotional core of the story. But how do you build a cohesive visual strategy that elevates a performance and immerses the audience in a character’s journey?

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

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

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

INTERVIEWS WITH ASC CINEMATOGRAPHERS:

How To Become a Cinematographer with Todd Dos Reis, ASC
Standardizing Exposure with the El Zone System with Ed Lachman, ASC
Cinematographer Mandy Walker Behind Making of Elvis Film
Cinematically Recreating the Life of Mike Tyson with DP Brendan Uegama, CSC
Cinematography Mentorship with Shane Hurlbut, ASC
Finding the Frame: Alice Brooks, ASC

WATCH THE FULL EPISODE:

CAMERA EMOTION: BUILDING A VISUAL STRATEGY

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

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

VISUALLY REPRESENTING LONELINESS AND GRIEF

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

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

Fathers and Daughters (2015)

CRAFTING FLASHBACKS AND HAPPY MEMORIES

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

Camera Movement	Use handheld camera movement to create a sense of life, freedom, and intimacy. Get close to the characters with wider lenses to feel immersed in their joy.
Warmth and Haze	Introduce warmer color tones in the lighting or color grade. Adding haze or diffusion filtration (like Tiffen’s Digital Diffusion FX) can soften the image, bloom the highlights, and create a dreamlike, nostalgic quality.
Lens Choice	Lenses with a strong character, like vintage Canon K35s or Kowas, which have a more gentle contrast and beautiful flare, can enhance the romantic, memory-like feel.

DEPICTING PSYCHOLOGICAL DISTRESS: ANXIETY, CONFUSION & ALZHEIMER’S

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

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

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

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

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

FROM LOVE TO FEAR: A VISUAL SPECTRUM

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

CAMERA EMOTION: LOVE

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

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

CAMERA EMOTION: FEAR

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

Halloween (1978)

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

THE BOTTOM LINE: YOUR CAMERA IS AN EMOTIONAL TOOL

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

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

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

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A Gaffer’s Guide: Balancing Generator Load Tester

Filmmakers Academy — Wed, 20 Aug 2025 22:01:25 +0000

On a film set, the generator is the beating heart of the production, providing the essential power that brings every light to life. But simply plugging in lights isn’t enough. A professional gaffer’s most critical and often unseen task is balancing the generator’s load—a crucial process that ensures safety, efficiency, and the stable operation of your entire lighting package. An imbalanced generator can lead to power fluctuations, equipment damage, or even a complete shutdown in the middle of a take.

In this excerpt from our Generator Etiquette Masterclass, cinematographer Shane Hurlbut, ASC, and gaffer Thomas Sigurdsson demonstrate this essential skill. They walk through a real-world scenario, demonstrating step-by-step how to read a generator, balance large lights, and adapt to creative changes on the fly. This article provides a detailed written breakdown of their process, perfect for filmmakers who want to understand the art and science of on-set power management.

(This article is an excerpt from a lesson in our Generator Etiquette Masterclass. Included with the masterclass is a downloadable textbook lesson and checklists for diesel and battery generator safety and etiquette.)