Camera Obscura: “Adapt What You Learn, and Make It Uniquely Yours” with Ben Cantrell
Ben Cantrell is a husband, father, commercial filmmaker, musician, and skateboarder. Based in Augusta, GA.
LBB> What is your niche craft obsession?
Ben> Film print emulation (FPEs)
LBB> Where/when/how did you first come across this thing?
Ben> I discovered a DIY approach to film print emulation (FPE) early in my filmmaking journey back in the early 2000s. As a teenager, I was captivated by the look of 16mm film—especially in skate videos, which often blended 16mm film with Sony VX1000 footage. In 2004, I bought my own VX1000 and dove into colour grading using the 3-Way colour corrector and curves in Final Cut Pro. By lifting the shadows, pulling down the highlights, and tinting the midtones, I could give my footage a filmic quality and texture.
As technology advanced and DSLRs became the norm, I started experimenting with film grain overlays and LUTs (Look Up Tables) to create even more authentic film-like results. The higher resolution and expanded dynamic range of these cameras opened up a world of new possibilities for achieving that cinematic look.
My first pro camera: Sony VX1000 16mm
LBB> Was it an obsession straight away or something that has evolved over the years?
Ben> I've always been somewhat obsessed with achieving that filmic look—it started as something I stumbled upon, but over time, my approach has evolved significantly, largely thanks to advancements in software. Today, I use node-based colour grading in DaVinci Resolve.
This node-based approach offers a flexible, non-destructive workflow, allowing for precise, modular adjustments that are ideal for crafting nuanced and customisable looks.
LBB> What are the most interesting debates or conversations you are having around this obsession?
Ben> Film advocates argue that real film brings an unmatched depth and tactile quality—the grain, the smooth highlight roll-off, that organic feel you just can’t fully replicate with digital. However, FPE comes close, capturing a similar aesthetic while offering greater flexibility in post and staying within budget. It’s about finding what best aligns with a project’s vision, budget, and creative intent.
At its core, film remains the gold standard for achieving the ultimate cinematic look, but shooting on film can be costly and demands a specialised crew to manage its unique workflow.
LBB> How widespread do you think this obsession is with your peers?
Ben> While 'obsession' might be a strong word these days, achieving a filmic look is certainly top of mind for many directors and editors. Modern cinema cameras now provide a more film-like aesthetic straight out of the box, so when we capture, we already have a look in mind and know how to light scenes to complement the grade.
One of my favourite directors of photography right now is Andrew Wehde. His approach to filming 'The Bear' was particularly inspiring to me. By pushing the ARRI Alexa Mini LF’s ISO to 3200, he introduced texture to the shadows and highlights, creating an out-of-the-box graininess that added depth to the footage.
LBB> Can you share any examples of work where that obsession really came to the fore and elevated the final production? Can you tell us about it and share links if possible?
Ben> Early personal film Inspiration:
Transworld Skateboarding: 'Sight Unseen' (2001)
Current inspirations using FPE:
'The Bear'
Personal work and FPE example:
LBB> For anyone just getting into your field, what advice would you share to help them get their head around this particular thing?
Ben> When you come across content that inspires you, take the time to dive into what it took to achieve that look. Ask yourself: What camera did they use? Who was the DP? Who handled the colour grading? Study their approach and experiment with implementing their techniques into your own work. Don’t hesitate to reach out to the DP or colourist—many are open to sharing insights and techniques. And above all, experiment. Adapt what you learn, and make it uniquely yours.
