Looks like video to me, like all the RED cameras. I want to see some demos from the new 8k Panavision or 65mm Alexa.

While I appreciate and understand a lot of his point of view, the fact is he is the CEO of the last standing motion picture film company and as he said in the article they were bankrupt just a few years ago. Now I think its absolutely awesome that film is making a comeback and that people are shooting on it. I agree with a lot of what is said, but I think there is a very negative heavy handed spin to this article that basically trashes anyone and everyone who is shooting digital.

Now as an obviously biased business man who's goal is to sell film, that may be his prerogative but I would hope that No Film School would offer some counter points and balance the argument. Especially since the main argument of the article is moot given the VAST majority of films have been scanned into digital format for finishing and distribution. This means that while the image may resemble the characteristics of film and have the beauty of it, its still just a grid of pixels for the audience. There are almost no film houses left that still project prints.

There are many "filters" you can simulate well in post, but a few that are critical to use on location. A good set of NDs or a variable ND. A Circular Polarizing Filter is a must in many situations. And for some things a graduated ND can be super handy. Some sensors are also very vulnerable to IR when using ND filters so an IR cut filter is required.

These are all about controlling the light coming into the sensor and will give you a clean image to work with in post. As mentioned above, always plan your colors and lighting appropriately.

Honestly just the thought of shooting on film gives me anxiety. I would love to do it and I think it would hone my craft but its still terrifying after shooting digital since I bought my first XL-1.

Great setups and examples of how simple it is to get some phenomenal lighting. This kind of stuff is fantastic for interviews and documentary work. Even in narrative film making knowing how to get so much use out of one good light source is invaluable.