Camera Dojo

CineStill 800T: shooting film at night, settings, look and price

The short answer

CineStill 800T is an ISO 800 color negative film balanced for 3200K tungsten light, based on Kodak Vision3 500T cinema film with the remjet backing removed so any C-41 lab can develop it.

In the 112 opinions collected here, mostly from owners and reviewers who used the film, it is the color film people reach for at night, under neon and in tungsten-lit rooms, prized for fine grain at ISO 800 and, by many, the red glow around lights. The complaints are a blue cast in daylight without an 85 filter, light leaks and static marks, and the price: $17.00 to $19.95 for a 36-exposure 35mm roll at US shops (October 28, 2026).

Box speed
EI 800 at 3200K tungsten
Process
C-41 (ECN-2 possible)
Formats
35mm and 120
35mm roll
$17.00-19.95
See sample photosWhat shooters say

Built from 112 opinions from 26 pages and videos. Not yet tested by Camera Dojo. Updated .

A CineStill 800Tungsten 35mm film cassette with its red and black label, standing on a plain white background
Photo: El Grafo, CC BY-SA 4.0

The short version

Both signatures come from how it is made. With no remjet or anti-halation layer, bright points bloom into red or orange halos, which many owners love on night streets and a few find too strong in sun. And because it is balanced for tungsten bulbs, daylight frames turn cool and teal unless you add an 85 filter or rate the film at EI 400 to 500, as CineStill suggests.

It is also a fussier film than most. CineStill says 800T is more sensitive to light leaks and static than most films and especially sensitive to airport X-ray, and several owners say lab scans need color work. Kubus Photo, a Brooklyn lab that has developed it since launch, suggests learning on more forgiving stocks such as Kodak Portra 400 or Kodak Gold 200 first.

Good fit if

  • You shoot at night: city streets, neon signs, concerts, bars and tungsten-lit rooms.
  • You want a cinematic look with red glow around lights straight from the negative.
  • You need ISO 800 color film you can push to 1600 or 3200 when the light drops.
  • You scan your film and don't mind adjusting color afterward.
  • You shoot 120 and want the glow toned down: CineStill says halation is much weaker in medium format.

Think twice if

  • You mostly shoot in daylight and won't carry an 85 filter. CineStill 400D is the daylight-balanced sibling.
  • You want natural low-light color with no halation. Kodak Portra 800 is the alternative that Analog.Cafe and Kubus Photo point to; see Portra 400 vs 800.
  • You shoot a lot on a budget: Kubus Photo says it costs three times as much as consumer color negative film.
  • You are new to film and want predictable results from every roll.
  • Your camera's light seals are old or you shoot with a fast motor drive in cold, dry air.

Photos shot on CineStill 800T

Photos shot on CineStill 800T in 35mm and 120, shared under free licenses on Wikimedia Commons.

What owners and reviewers say, topic by topic

We sorted 112 opinions about the 800T from 26 pages and videos on 17 websites and channels. Each row shows how many people raised a topic and how many of them were positive. Open a row to read short quotes, each linked to its source.

Reddit, Photrio, DPReview, B&H reviews and Facebook groups could not be read, so the opinions come from photographers' blogs and their comment threads, editorial reviews (Analog.Cafe, EMULSIVE, The Phoblographer), one Brooklyn lab's guide and five YouTube reviews. Analog.Cafe and EMULSIVE supply the most voices, and the lab quoted develops the film for customers.

  1. Color33% positiveof 18

    Mixed, and it depends on the light. Under tungsten and neon, reviewers like the color: The Phoblographer likens it to Portra 400 NC and one side-by-side found it more vibrant than Fuji 800. Most mixed notes describe daylight without a filter, where frames go blue, teal or faintly green; a few owners got near-normal color anyway.

  2. Halation and glow46% positiveof 13

    Split. Many owners treat the red glow as the point of the film and use it on purpose for night cityscapes; others call it neutral or simply unavoidable. Two find it unwanted, especially on sunny days and around bright light sources.

  3. Low light and night100% positiveof 11

    Every mention is positive, and it is the main reason people buy it: night streets, neon, concerts and dim interiors at workable shutter speeds without pushing.

  4. Overall look73% positiveof 11

    Mostly positive. Owners and video reviewers describe a cinematic, cool-toned look unlike other stills films, and two argue it works in daylight street scenes too. The mixed notes are about the teal or grey daylight look, and one owner who likes the brand says he rarely makes 800T work.

  5. Grain70% positiveof 10

    Mostly positive. Reviewers call it the finest-grained ISO 800 film they have seen, and one side-by-side found it much less grainy than pushed Portra 400. Two dissent: one owner got more grain than expected and used noise reduction, and a video reviewer found it heavy. Underexposure is what brings the grain out.

  6. Consistency0% positiveof 10

    The weakest topic, with no positive mentions. Owners report light leak streaks on the first frames, red static marks, purple dots and rolls with many discards. A lab finds it slightly more sensitive to tired C-41 chemistry, and camera light seals matter.

  7. Skin tones78% positiveof 9

    Mostly positive. Owners and reviewers praise accurate, natural skin with a cinematic warmth under tungsten and mixed indoor light. The one negative comes from a lab: unfiltered daylight portraits pick up a blue cast that looks cold and unflattering.

  8. Price and availability13% positiveof 8

    Mostly negative. Owners and reviewers call it expensive, with a lab putting it at three times the price of consumer color film, and several say it sells out quickly. One owner says the look is worth every penny. In October 2026 US shops listed it at $17.00 to $19.95 for 35mm.

  9. Scanning and printing14% positiveof 7

    Mostly mixed. The negatives take heavy edits well, but owners say lab scans often look off until color and curves are adjusted, halation is tricky to edit, and automatic scanner corrections can fight the intended look.

    • “a lot of the time, this film doesn't look very good right out of the scanner”

      Joe, The Resurrected Camera 2014-12Owner

    • “Halation and color balance can sometimes be tricky to edit”

      Kelsey Smith PhotographyOwner

    • “While it is certainly possible to fix the photos taken without the filter using software, the job isn't always simple or fast”

      Dmitri, Analog.Cafe 2021-12Owner

    • “Auto-correction algorithms can fight against the intended look.”

      Kubus Photo Service 2026-01Hands-on review

  10. Exposure latitude67% positiveof 6

    Mostly positive. Owners call it forgiving, with shadow and highlight detail that holds up better than most color films, and a video reviewer liked frames three stops over. The weak side is underexposure, which turns grainy, so The Phoblographer suggests overexposing a little.

    • “it does not like being underexposed at all and gets very grainy when it does”

      Tanya Alexis, Shoot It With Film 2018-07Owner

    • “This film has one of the best latitudes I've ever seen”

      Joe, The Resurrected Camera 2014-11Owner

    • “The shadows and highlights will retain more detail than most colour films, and the results maintain medium contrast across the frame.”

      Dmitri, Analog.Cafe 2023-10Owner

    • “you may want to overexpose it a bit to expose for the shadows and develop for the highlights”

      Chris Gampat, The Phoblographer 2015-05Hands-on review

  11. Pushing and pulling100% positiveof 5

    All positive. Owners push it to 1600 or 3200 and accept more grain, and one rated it near 1600 with normal development. Labs are a little more cautious: Kubus Photo calls one stop reasonable and two stops very contrasty.

  12. Sharpness and detail100% positiveof 4

    All four mentions are positive: well detailed, holding fine detail in big enlargements. Few sources discuss sharpness on its own.

PositiveMixedNegative

What does CineStill 800T look like?

Under the light it was made for, tungsten bulbs at about 3200K, CineStill 800T gives natural color, skin tones reviewers keep praising and fine grain for an ISO 800 film. The Phoblographer compared its color to Kodak Portra 400 NC, and Analog.Cafe, after six years with it, says it appears to be the finest-grained ISO 800 film, likely surpassing Portra 800.

The signature is the glow. Motion picture film carries a remjet backing that cuts halation; CineStill removes it so the film can run in C-41, and with no anti-halation layer, bright points bloom into red or orange halos around street lights, neon signs and other bright light sources. CineStill says the effect is much weaker in 120 because of the larger negative.

Other light sources keep their own color. Kubus Photo notes that tungsten reads warm, sodium vapor goes green-orange and LEDs and fluorescents show their actual color temperature, which separates the colors in a night scene. In daylight without a filter the whole frame turns blue or teal, most visibly on greens and browns, Analog.Cafe found.

Not everyone wants the cast corrected: a Casual Photophile writer compared unfiltered daylight frames to Portra's pastels with a grey, desaturated feel, and a reader on The Resurrected Camera likes the blue in some scans.

Sources: thephoblographer.com, analog.cafe, cinestillfilm.com, cinestillfilm.com, kubusphoto.com, analog.cafe, casualphotophile.com, resurrectedcamera.wordpress.com

How to shoot CineStill 800T at night

Night is where 800T earns its price. These are the habits CineStill, labs and owners describe for street, neon and indoor work.

  1. 1

    Rate it at 800, or a little lower

    CineStill says it performs best at EI 800 in tungsten light with normal C-41 development, and puts the ideal rating between 400 and 800. Kubus Photo rates it 500 to 800 for better shadow detail.

  2. 2

    Meter a mid-tone, not the lights

    Kubus Photo says the meter aims for middle gray, which often blows the bright lights and blocks the shadows. It suggests spot metering something that should be middle gray, such as a lit wall or the ground under a street light, and locking exposure there. Indoors under even tungsten light, it says to set 800 and trust the meter.

  3. 3

    Don't underexpose

    Shoot It With Film says underexposure brings out a lot of grain, and one My Favourite Lens reviewer, who got more grain than he expected, ran noise reduction on his scans. The Phoblographer suggests overexposing a little to hold the shadows.

  4. 4

    Use a fast lens

    Kubus calls the film fast enough for available light with f/2 or faster lenses. A Shoot It With Film writer kept a workable shutter speed in a very dim space without pushing.

  5. 5

    Decide what to do with the glow

    CineStill says a diffusion filter, less exposure or throwing highlights out of focus tames it; Analog.Cafe says keeping bright lights out of the frame is the only way to avoid it.

  6. 6

    Push when the light runs out

    Shoot the whole roll at 1600 and ask the lab for a one-stop push. CineStill's own chart goes to EI 3200; the table below has the ranges.

Sources: cinestillfilm.com, kubusphoto.com, shootitwithfilm.com, myfavouritelens.com, thephoblographer.com, shootitwithfilm.com, cinestillfilm.com, analog.cafe

Can you shoot CineStill 800T in daylight?

Yes, but plan for the color. Balanced for 3200K bulbs, 800T turns blue or teal in sun and shade. CineStill recommends an 85 filter and/or rating the film at EI 400 to 500.

Sources differ on how much light the filter costs. Kubus Photo says an 85B takes about two-thirds of a stop, for an effective speed near ISO 500, and Shoot It With Film meters at 400 with an 85B. Analog.Cafe prefers an 85C warming filter and found it needed no exposure change.

Without a filter, warmth can go back in at the scan. CineStill says that is not difficult and that overexposing reduces the editing; Analog.Cafe found it possible but not always quick, which is why it recommends the 85C. Some owners keep the cast on purpose, and an EMULSIVE reviewer argues 800T is not only a neon-and-night film.

Ways to shoot CineStill 800T in daylight
MethodHowTrade-off
85 or 85B filterFilter on the lens, meter at about 400 to 500About two-thirds of a stop lost (Kubus Photo); corrects the blue cast
85C filterWarming filter on the lens, box speedAnalog.Cafe needed no exposure change
No filter, EI 400 to 500Rate it slower, as CineStill suggestsCool cast to correct in the scan, or keep
No filter, EI 800Shoot at box speedBlue-teal cast to fix in the scan, with no extra exposure to ease the edit

Kubus Photo calls unfiltered daylight 800T an expensive mistake if you aren't expecting the blue cast. For regular daytime shooting, CineStill 400D is the daylight-balanced version.

Sources: cinestillfilm.com, kubusphoto.com, shootitwithfilm.com, analog.cafe, cinestillfilm.com

Pushing and pulling CineStill 800T

It pushes well, and owners shoot it at EI 1600 or 3200 when the light drops. CineStill says it can be push processed up to three stops without base fog problems, and every owner and reviewer opinion collected here that mentions pushing is positive.

Labs are more cautious than the box. Kubus Photo calls a one-stop push to 1600 reasonable, with more contrast and grain and shadows that block up faster, and finds two-stop pushes to 3200 very contrasty. At the other end, Analog.Cafe pushed a roll to EI 6400 and liked the results, and a pull to EI 320 looked virtually the same as box speed.

Shoot the whole roll at one rating and tell the lab how many stops to push. Our guide to pushing and pulling film covers the basics.

CineStill's exposure ranges for 800T by development
DevelopmentExposure index range
Normal (no push)EI 200-1000
Push 1 stopEI 800-2000
Push 2 stopsEI 1250-3200
Push 3 stopsEI 1600-3200, with added contrast

Some retailer pages still carry CineStill's older copy (rated ISO 200 to 2000, pushed to 3000); the current CineStill product page shows the ranges above.

Sources: cinestillfilm.com, cinestillfilm.com, kubusphoto.com, analog.cafe, filmsupply.club

Developing and scanning CineStill 800T

Any lab that runs C-41 can develop it, and so can home C-41 kits. CineStill's CS41 two-bath powder kit lists at $31.99 for 24 rolls, about $1.33 a roll in chemistry ($31.99 / 24), and The Darkroom, a US mail-in lab, lists film developing by mail starting at $14 (October 2026). See how to develop film at home and what developing costs.

ECN-2 works too: CineStill says full ECN-2 or its CS2 kit gives a flatter, lower-gamma negative that some people like for scanning, but its color curves don't suit RA-4 darkroom printing. CineStill recommends C-41 for most users. Fresh chemistry matters: Kubus Photo finds 800T slightly more sensitive to exhausted C-41 chemistry than some other C-41 films.

Scans are the other common complaint: owners say lab scans often look off until color and curves are adjusted. Kubus Photo says automatic corrections can fight the film's intended look, so ask the lab to go light on them. The negatives take heavy edits well thanks to fine grain and medium-low contrast, Analog.Cafe says, and they dry flat, which makes scanning at home easier.

The look also depends on the scan: Unique Photo notes that halation intensity varies with the scene, lens, exposure and scanning interpretation.

Sources: cinestillfilm.com, cinestillfilm.com, thedarkroom.com, kubusphoto.com, analog.cafe, uniquephoto.com

CineStill 800T vs CineStill 400D

CineStill 800TCineStill 400D
Color balanceTungsten, 3200KDaylight, about 5500K
Box speedEI 800ISO 400
HalationStrong red glowPresent but subtle, per Brooklyn Film Camera; Kubus Photo says it is the same effect
In daylightNeeds an 85 filter or EI 400 to 500No filter needed
StaticCineStill calls it more prone than most filmsHas an anti-static lubricant coating, per CineStill
ProcessC-41C-41
Best forNight, neon, tungsten interiorsDaylight, golden hour, mixed light

Pick the CineStill 800T if

  • You shoot mostly after dark or under tungsten bulbs.
  • You want the strongest red glow.
  • You need speed: 800 at box speed, pushable to 3200.

Pick the CineStill 400D if

  • You shoot mostly in daylight and don't want to carry a filter.
  • You want the CineStill look in daylight, with halation Brooklyn Film Camera calls subtler.
  • You wind fast or with a motor drive in cold, dry weather, when static is a risk.

Sources: kubusphoto.com, brooklynfilmcamera.com, cinestillfilm.com, cinestillfilm.com, analog.cafe

What a roll of 800T costs

New 36-exposure 35mm rolls cost $17.00 to $19.95 at the US shops below, and 120 rolls $17.95 to $18.00. B&H and Adorama could not be checked, so they aren't listed.

  • Bellows Film Lab (Miami)

    New, 35mm, 36 exposures, 1 roll

    $17.00

    See listing

  • CineStill (maker's store)

    New, 35mm, 36 exposures, 1 roll

    $17.99

    See listing

  • Unique Photo

    New, in stock, 35mm, 36 exposures, 1 roll

    $17.99

    See listing

  • Film Supply Club

    New, 35mm, 36 exposures, 1 roll

    $17.99

    See listing

  • Treehouse Analog Selects (Honolulu)

    New, 35mm, 36 exposures, 1 roll

    $19.95

    See listing

  • Treehouse Analog Selects (Honolulu)

    New, 120, 1 roll

    $17.95

    See listing

  • CineStill (maker's store)

    New, 120, 1 roll

    $17.99

    See listing

  • Unique Photo

    New, in stock, 120, 1 roll

    $17.99

    See listing

  • Film Supply Club

    New, 120, 1 roll

    $17.99

    See listing

  • Bellows Film Lab (Miami)

    New, 120, 1 roll

    $18.00

    See listing

Prices checked on October 28, 2026. They move every week, so treat them as a range, not a quote. Unique Photo drops to $16.99 a roll for 20 or more rolls of 35mm, and to $16.95 (10+) and $15.99 (20+) for 120. CineStill limits orders to 20 rolls per customer, citing limited supply. At $17.99, a 36-exposure roll works out to about 50 cents a frame ($17.99 / 36) before developing.

Technical data

Film

Type
Color negative motion picture emulsion, no remjet backing
Speed and balance
EI 800 under 3200K tungsten light
Base
Acetate
Based on
Kodak Vision3 500T 5219, which Kodak rates at EI 500
Anti-halation layer
None, hence the red glow
Process
C-41 recommended; ECN-2 or CS2 kit gives a lower-gamma negative

Exposure (CineStill)

Best rating
EI 800 in tungsten light, ideal range 400 to 800
No push
EI 200-1000
Maximum push
3 stops, to EI 3200, with added contrast
Daylight
85 filter and/or EI 400-500

Formats

35mm
36 exposures, DX-coded steel cassette
120
Factory spool with moisture-activated seal
4x5 sheets
Only a limited run from the 2016 Indiegogo campaign

Storage and travel

Storage
Refrigerate at 13 C (55 F) or lower in the sealed package
Shoot within
6 months of purchase
Expiration
Two years from manufacture, printed on the box
Airport
Ask for a hand check; especially sensitive to X-ray

History

Beta test
Late 2012
Release as 800T
2013
120 version
About 2017, per The Phoblographer
Trademark
800T is a registered CineStill trademark

Video reviews worth your time

  • Cinestill 800T Review at Night

    Willem Verbeeck, 2020

    The reviewer enjoyed shooting CineStill 800T at night, praising its high sensitivity and distinctive tungsten color balance despite its high cost and scarce availability.

    • 0:52 Loading the CineStill 800T medium format film into a camera magazine.
    • 1:23 Taking a four-second long exposure shot of a storefront at night.
    • 5:48 Setting up a photograph of an illuminated gas station scene.
    • 8:40 Framing a large industrial building using a 65mm lens.

  • Cinestill 50D & 800T Review

    NegativeFeedback, 2017

    CineStill 800T delivers vibrant colors and a refreshing look with good grain performance, though the distinctive red halation around bright light sources might not suit every photographer.

    • 0:11 Host introduces CineStill 50D and 800T film rolls
    • 0:34 Loading 35mm CineStill film into a point-and-shoot camera
    • 3:45 Switching to CineStill 800T film at the climbing gym
    • 4:45 Loading medium format CineStill 800T into a Pentax 67

  • Is CineStill 800T worth the hype? TOKYO Night Film Photography

    TKNORTH, 2023

    The reviewer considers CineStill 800T a unique and fun film stock for low-light night photography, though its high price tag and susceptibility to static marks require careful shooting.

    • 0:22 Title screen introducing the CineStill 800T Tokyo vlog.
    • 1:00 Sample photos taken with Kodak ColorPlus 200 film.
    • 1:50 Explaining CineStill 800T features while holding the box.
    • 3:23 Time-lapse transition from dusk to night in Tokyo.

  • Is CineStill 800T Worth All The Hype?

    Analog Resurgence, 2022

    CineStill 800T is a unique and popular film stock that excels in low-light night photography, but its high price, prominent grain, and cold color cast make it less versatile for general daylight shooting.

    • 01:12 Explanation of Remjet removal on cinema film stock
    • 02:27 Comparison of color temperature scale and tungsten lighting
    • 03:48 Comparison of ECN-2 versus C-41 film development processes
    • 05:58 Using an 85B orange filter to correct color temperature

  • WHAT IS CINESTILL 800T FILM? (The best way to shoot it)

    Cvatik, 2021

    CineStill 800T brings a unique cinematic motion-picture aesthetic with distinctive halation highlights to 35mm night photography.

    • 00:02 CineStill 800T film canister and box display
    • 00:15 Explanation of Kodak Vision3 origin
    • 00:44 Diagram illustrating halation and remjet layer function
    • 01:40 Night photoshoot demonstration with model and sample shots

Questions people ask about the 800T

Is CineStill 800T C-41?

Yes. CineStill removes the remjet backing from the cinema film it starts with, so any lab that runs standard C-41 can develop 800T, and so can home C-41 kits such as CineStill's CS41. It can also go through ECN-2 or CineStill's CS2 kit for a flatter, lower-gamma negative, but CineStill recommends C-41 for most users.

Sources: cinestillfilm.com, cinestillfilm.com

Can I shoot CineStill 800T during the day?

Yes, with a correction. Because it is balanced for 3200K tungsten light, daylight frames come out blue or teal. CineStill recommends an 85 filter and/or rating the film at EI 400 to 500, and Kubus Photo says an 85B costs about two-thirds of a stop. Some owners skip the filter and correct or keep the cool look in the scan.

Sources: cinestillfilm.com, kubusphoto.com, analog.cafe

Does CineStill make 800T in 120?

Yes. CineStill's film-family guide lists 120 for all four of its stocks (800T, 400D, 50D and BwXX). The 800T 120 version followed the 35mm film, around 2017 according to The Phoblographer. A 120 roll of 800T costs $17.95 to $18.00 at US shops (October 28, 2026), and CineStill says halation is much weaker in medium format. Sheet film was only a limited 4x5 run from its 2016 Indiegogo campaign; see [35mm vs 120 film](/film/35mm-vs-120-film/).

Sources: cinestillfilm.com, thephoblographer.com, treehouse-shop.com, bellowsfilmlab.com, cinestillfilm.com

How many photos are in a roll of CineStill 800T?

A 35mm roll has 36 exposures in a factory-spooled steel cassette. At $17.99 that is about 50 cents a frame ($17.99 / 36) before developing. CineStill lists the cassettes as DX-coded; early rolls were not, and some retailer pages still say non-DX. A 120 roll's count depends on your camera's frame size.

Sources: cinestillfilm.com, uniquephoto.com, thephoblographer.com

What ISO should I shoot CineStill 800T at?

EI 800 under tungsten light: CineStill says that is where it performs best with normal C-41 development, and it puts the ideal range at 400 to 800. Kubus Photo rates it 500 to 800 for better shadow detail. In daylight, rate it at 400 to 500 or use an 85 filter, and in dim scenes you can shoot it at 1600 or 3200 and have it pushed. More in [film ISO explained](/film/film-iso-explained/).

Sources: cinestillfilm.com, kubusphoto.com, cinestillfilm.com

Why does CineStill 800T have red halos around lights?

Motion picture film carries a remjet backing that reduces halation. CineStill removes it so the film can run in C-41, and with no anti-halation layer, bright points bloom into red or orange halos. Less exposure, a diffusion filter or out-of-focus highlights reduce it, and it is much weaker in 120, but it can't be removed.

Sources: cinestillfilm.com, cinestillfilm.com, cinestillfilm.com, analog.cafe

Is CineStill 800T just Kodak Vision3 500T?

It started that way. Wikipedia and Analog.Cafe describe it as Kodak Vision3 500T with the remjet removed, and CineStill says 800T was originally based on a 500-speed motion picture film that it converted for still photography. Kodak rates the original 5219 at EI 500; CineStill rates 800T at EI 800 in C-41. Rebranded Vision3 with the remjet left on has no halation, but not every lab will take it.

Sources: en.wikipedia.org, analog.cafe, cinestillfilm.com

What happened to my CineStill 800T photo?

The usual causes owners report are light leak streaks on the first frames, red or pink static sparks from fast winding in dry air, a blue or teal cast from daylight without a filter, and small purple dots on some frames. CineStill says 800T is more sensitive to light leaks and static than most films, and that it replaces rolls customers believe are defective.

Sources: cinestillfilm.com, myfavouritelens.com, cinestillfilm.com, shootitwithfilm.com

What people compare it with

  • Kodak Portra 800

    Daylight balanced with no halation, more traditional color and better shadow detail, according to Kubus Photo, which adds that it handles mixed light less gracefully than 800T handles tungsten. Analog.Cafe names it the fast color film to use if you don't want the glow.

  • CineStill 400D

    The daylight-balanced sibling at ISO 400, so no filter is needed in sun. Brooklyn Film Camera calls its halation subtle next to 800T's, while Kubus Photo says it is the same effect.

  • Kodak Portra 400, pushed to 800 or 1600

    Kubus Photo's cheaper low-light route: more traditional color, more grain and contrast, and no halation. A Shoot It With Film comparison found pushed Portra 400 and 800T both worked in low light.

  • Reflx Lab 800

    Another tungsten film converted from Kodak Vision3 500T, sold as Reflx Lab 800T until CineStill asked for a name change in 2023. People compare it as a lookalike; its price wasn't checked.

Every source behind this page

Read them yourself. How we pick and count them is in our methodology.

Show all 45 sources

Manuals and references 19

Editorial reviews 13

Independent blogs 8

Video reviews 5