Why I Still Shoot Film on Commercial Jobs

Clients ask about it on every pre-production call, usually with a polite scepticism. The honest answer has nothing to do with the look of the emulsion.

Thirty-six frames is a constraint, and constraint is the fastest way to force a decision. Digital lets me postpone every choice until the edit; film makes me make them in the room, while the subject is still there.

I still deliver digital alongside it. But the roll is where the picture usually is.