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

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

WHAT ARE SHORT ENDS AND RECANS?

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

SHORT ENDS

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

RECANS

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

WHERE TO FIND THEM

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

1. DEDICATED RESELLERS (THE SAFEST BET)

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

2. DIRECT FROM PRODUCTIONS/DPS

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

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

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

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

SHOOTING STRATEGY: MITIGATING RISK

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

OVEREXPOSE SLIGHTLY

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

USE FOR B-ROLL FIRST

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

STORE IT COLD

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

THE BOTTOM LINE:

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

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

Ready to Master the Analog Workflow?

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

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

The post The Indie Film Guide to Short Ends & Recans appeared first on Filmmakers Academy.

Are you telling a story of fragmented memory? 

The chunky grain of Super 8 might be your tool. 

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

The texture of 16mm is unmatched. 

Or, are you painting a sweeping epic? 

The pristine resolution of 35mm is the gold standard.

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

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

1. SUPER 8: THE DREAMSCAPE

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

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

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

Why Choose Super 8? 

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

2. 16MM / SUPER 16: THE INDIE SPIRIT

Carol (The Weinstein Company)

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

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

Why Choose 16mm? 

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

3. 35MM: THE PRISTINE CANVAS 

Oppenheimer | Universal Pictures

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

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

Why Choose 35mm? 

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

4. 65MM/IMAX: THE ULTIMATE SPECTACLE 

Dune: Part 1 (2021) | Legendary Entertainment

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

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

Why Choose 65mm? 

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

THE BOTTOM LINE: MATCH THE MEDIUM TO THE MESSAGE

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

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

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

Ready to Stop Guessing and Start Measuring?

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

• Additional Film Resources via Kodak

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

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

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

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

PART 1: UNDERSTANDING YOUR CANVAS (FILM STOCKS)

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

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

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

2. COLOR NEGATIVE FILM: THE INDUSTRY STANDARD

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

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

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

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

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

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

THE PROBLEM: SHOOTING TUNGSTEN FILM IN DAYLIGHT

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

THE SOLUTION: THE 85 FILTER

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

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

STOP CHASING THE “LOOK.” MASTER THE SOURCE. 

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

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

READY TO MASTER THE CRAFT THAT ENDURES?

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

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

This masterclass was produced in collaboration with Kodak. 

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

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

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

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

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

THE DIGITAL REVOLUTION AND THE FEAR OF LOSS:

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

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

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

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

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

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

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

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

THE BRENDAN SWEENEY PHILOSOPHY OF FILM:

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

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

Film strips away that safety net.

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

Brendan filming in the desert | Courtesy of Brendan Sweeney

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

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

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

WHY FILM FEELS DIFFERENT:

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

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

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

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

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

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

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

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

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

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

THE “STORE 242” EXPERIMENT: MIXING MEDIA

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

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

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

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

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

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

THE FUTURE IS ANALOG (AND DIGITAL):

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

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

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

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

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

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

HOW TO START SHOOTING FILM TODAY:

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

Stefano Ceccarelli shooting stills photography | Courtesy of Brendan Sweeney

THE BOTTOM LINE:

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

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

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

STOP IMITATING THE LOOK, MASTER THE SOURCE. 

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

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

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

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

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

LIGHT. METER. EXPOSE. FILM.

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

How do I actually do it? 

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

THE FILMS THAT DEFINED 2025’S ANALOG LOOK

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

ONE BATTLE AFTER ANOTHER

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

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

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

SINNERS

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

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

BUGONIA 

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

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

DIE MY LOVE

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

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

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

JURASSIC WORLD REBIRTH

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

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

JIMMY & STIGGS

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

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

THE SMASHING MACHINE

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

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

MATERIALISTS

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

THE PHOENICIAN SCHEME

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

ROOFMAN

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

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

SENTIMENTAL VALUE

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

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

SPLITSVILLE

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

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

THE THEFT OF THE CARAVAGGIO

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

STOP IMITATING THE LOOK, MASTER THE SOURCE. 

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

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

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

THE BOTTOM LINE: 

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

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

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

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

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.

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…

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

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