CineStill 800T Review: The Tungsten Night Film with Iconic Red Halation
The film photography community is divided on CineStill 800T. Some call it the only tungsten-balanced color film accessible to still photographers, perfect for neon-lit night streets. Others won't touch it because of the halation effect, light leak issues, and premium pricing for what's essentially repackaged cinema stock.
Verdict (TL;DR)
CineStill 800T is a tungsten-balanced ISO 800 color negative film with distinctive red halation, fine grain, and exceptional dynamic range, best for night photography, neon-lit urban scenes, and mixed artificial lighting where its cinematic rendering shines.
Who it's for
Night photographers, street shooters, and concert photographers who want cinematic tungsten color balance and dramatic halation effects without ECN-2 processing complexity.
CineStill 800T Background
Brothers Wright introduced CineStill 800T back in 2012 as the first motion picture film that's actually pre-processed for C-41 development. It's based on Kodak Vision3 500T 5219, but here's the twist: they removed the remjet anti-halation layer, which makes it C-41 safe and creates that signature red halation around bright lights everyone either loves or hates.
The film's rated at ISO 800 (versus Vision3's native 500) because C-41 processing bumps up the contrast. You can grab it in both 35mm and 120, and it delivers impressively fine grain with a massive 10+ stop dynamic range. The tungsten balance sits at 3200K, and you can push it all the way to 3200 if needed. It's achieved cult status among night photographers for good reason.
The Film Look, Accessible Now
Understanding what makes CineStill 800T special (tungsten balance, dramatic halation, fine grain) separates true film appreciation from casual shooting. At Daydream, we've studied these characteristics to build our Nightcall preset with authentic tungsten white balance, bold red halation, and cinematic bloom. Use Daydream for free, no subscription or ads.
CineStill 800T Image Characteristics
Color & Tone
The film renders cool and muted overall since it's balanced for tungsten lighting at 3200K. Under tungsten and sodium vapor street lights, you'll get accurate golden-orange tones that look natural and warm. Skin tones stay surprisingly natural with a peachy warmth, even when you're shooting in mixed artificial lighting.
Shoot it in daylight without correction and you'll get a strong teal-blue cast - that's the tungsten balance doing its thing. Some photographers embrace this creatively, while others throw on an 85B filter and rate it at ISO 500. Under artificial lights though, this film really shines: neon signs pop with electric reds, blues, and greens, while mixed city lighting becomes cohesive and cinematic.
Contrast & Dynamic Range
You're looking at medium-low contrast with an exceptional 10-12 stop dynamic range. That wide latitude is forgiving when you mess up your exposure and handles high-contrast night scenes beautifully, preserving detail in both neon highlights and deep shadows.
The film handles overexposure extremely well—you can push it +2 stops and still get usable results. Underexposure is less forgiving though, giving you muddy shadows and increased grain. Colors stay pretty stable across the range, though underexposed shadows will show a slight blue cast.
Grain & Sharpness
The grain is impressively fine for ISO 800—honestly the finest of any 800-speed color negative out there. It's finer than Portra 800 or Fuji Superia 800, rivaling some ISO 400 films. In 35mm the grain is visible but pleasing, while in 120 it nearly disappears.
Sharpness is excellent thanks to its cinema film heritage. Push it to 1600 or 3200 and the grain increases but stays controlled, adding a gritty character that actually works for night photography.
Unique Characteristics & Quirks
The defining characteristic here is halation—that red-orange glow around bright lights that comes from removing the remjet layer. Street lights, neon signs, and car headlights all develop these dreamy red halos that are most dramatic around point lights against dark backgrounds. Some photographers absolutely love it, others find it distracting. You can't eliminate it, only minimize it.
The film's also prone to light leaks and static discharge. Without that remjet protection, it's sensitive to light piping through the canister slit, especially on those first few frames. Load and unload in subdued light and keep the canister in its plastic container. In dry climates, static discharge can show up as pink lightning artifacts across your frames.
How to Shoot CineStill 800T: Night Photography, Street Photography, and Concert Photography
Box Speed, Pushing & Pulling
It's rated at ISO 800, though many photographers rate it at 500-640 to avoid underexposure issues. Since it handles overexposure beautifully, err on the side of more exposure. Pushing to 1600 (+1) yields excellent results with increased grain and contrast, while pushing to 3200 (+2) shows noticeable grain and shadow loss but still looks cinematic for night work.
Pulling to 400 or 200 produces lower contrast, which can be useful for high-contrast scenes. The wide latitude means you can honestly shoot anywhere from 400-1600 without changing your development.
Ideal Lighting & Metering
This film loves tungsten and mixed artificial lighting - think sodium vapor street lights, neon signs, tungsten interiors, and fluorescent spaces. Meter for midtones or overexpose by +1/2 to +1 stop to get good shadow detail. The wide latitude lets you go +2 stops over without blowing highlights, but underexposure beyond -1 stop will muddy your shadows and increase grain.
Spot meter on midtones like skin, a gray wall, or pavement - not the lights themselves. Let those lights bloom naturally since the halation is part of the whole aesthetic. In daylight, throw on an 85B filter and rate it at ISO 500 for neutral balance, or just embrace that blue cast.
Best Cameras for CineStill 800T: Leica M6, Contax T2, and Pentax 67
The fine grain and high speed make this film versatile across formats. For 35mm night street work, pair it with fast lenses (f/1.4-f/2.8) for handheld low-light shooting. A Leica M6, Contax T2, or any SLR with a bright viewfinder works beautifully. That ISO 800 speed lets you shoot handheld at 1/60s or faster even in dim conditions.
In medium format, the film truly shines. A Pentax 67, Hasselblad 500, or Mamiya 7 will deliver stunning sharpness with nearly invisible grain. Even in point-and-shoots, the wide latitude forgives imprecise metering. Newer rolls come with DX coding too.
Scanning & Post-Processing CineStill 800T
Most labs handle this film well with standard C-41 processing, though the tungsten balance can sometimes confuse auto-scan algorithms. Home scanning gives you more control over the final look. The film dries flat and is easy to scan, with a standard orange base that most scanners handle without issues.
The medium-low contrast and fine grain give you excellent latitude in post-processing. You can push contrast, shift colors, and adjust white balance significantly without things falling apart. That fine grain holds up beautifully when you apply sharpening. Just remember: the halation is baked in and can't be removed in post.
When CineStill 800T Shines: Night Photography and Urban Photography
Best for: Night street photography, neon-lit urban scenes, concert photography, night portraits, automotive at night, tungsten interiors, twilight and blue hour.
Struggles with: Daylight without filter (blue cast), bright sun (too fast), static discharge, light leaks on first frames, high cost limiting experimentation.
If you need:
- •Daylight balance → CineStill 400D or Portra 400
- •No halation → Portra 800 or Vision3 500T
- •Cheaper night film → Lomography 800
CineStill 800T vs Portra 800, CineStill 400D, and Kodak Vision3 500T
When you're comparing CineStill 800T to alternatives like Portra 800 (high-speed workhorse), CineStill 400D (daylight halation), or Vision3 500T (the unmodified cinema stock), each has its place. Portra 800 gives you warmer colors, finer grain, no halation, and daylight balance. The 400D provides that halation effect in daylight but at a slower ISO 400. Vision3 500T is significantly cheaper but requires ECN-2 processing.
CineStill 800T sits in the sweet spot with tungsten balance, halation, and C-41 convenience. Choose 800T for night photography where you want that halation effect. Go with Portra 800 for cleaner high-speed work. Pick 400D if you want halation in daylight.
* Prices as of December 2025, always fluctuating. Check current suppliers.
| Film | Why choose it | Where it loses vs CineStill 800T | Typical price* |
|---|---|---|---|
| Portra 800 | Finer grain, warmer colors, no halation, more versatile for all lighting | No tungsten balance, no halation effect, less cinematic night rendering | $12-15/roll |
| CineStill 400D | Daylight-balanced with halation, wider availability, anti-static coating | Slower ISO 400 limits low-light capability, different color palette | $13-16/roll |
| Kodak Vision3 500T | Much cheaper in bulk ($3-5/roll), same base stock, remjet intact (no halation) | Requires ECN-2 processing or home remjet removal, limited lab support | $3-5/roll bulk |
Digital Alternative: Nightcall Preset
When you can't load 800T but want tungsten balance, halation, and bloom, our Nightcall preset captures similar qualities. Modeled tungsten at 3200K, bold red halation, strong bloom. Available free in Daydream.
Is CineStill 800T Worth It in 2025?
You can find CineStill 800T in both 35mm and 120 formats. As of December 2025, expect to pay $17-25 for 35mm and $16-20 for 120. It's widely available from CineStill direct, B&H, Freestyle, and Analogue Wonderland.
At $17-25 per roll, it's worth it for night photographers who need that tungsten balance and actually value the halation effect. It's not worth it if you're shooting mostly daylight (grab 400D or Portra instead), if you dislike halation (Portra 800 is cleaner), or if you're on a tight budget (Lomography 800 is cheaper). Bottom line: this is the only accessible tungsten color film for still photographers, and that unique rendering justifies the premium price for night work.
Film's Timeless Look, Instantly Accessible
Film stocks like CineStill 800T represent specialized engineering: tungsten balance, removed remjet creating halation, fine grain at high speed. At Daydream, we've studied these films to build authentic emulations. We model tungsten color response, halation glow, cinematic bloom. Our app is free, no subscription or ads. Whether you shoot CineStill 800T, Daydream, or both, you're keeping film alive.
Frequently Asked Questions
Is CineStill 800T worth it in 2025?
At $17-25 per roll, worth it for night photographers who need tungsten balance and value halation for cinematic rendering. Not worth it for mostly daylight (use 400D or Portra), if you dislike halation (Portra 800), or tight budget (Lomography 800). If shooting neon-lit urban scenes regularly, unique rendering justifies premium price.
CineStill 800T vs Portra 800, which is better?
800T offers tungsten balance (3200K) for night work, distinctive red halation, cooler rendering. Portra 800 has warmer colors, finer grain, no halation, daylight balance, more versatile. Choose 800T for night under artificial lights with halation. Choose Portra 800 for cleaner high-speed work in any lighting.
Can you push CineStill 800T?
Pushes well to 1600 (+1) with excellent results, increased grain and contrast. Pushing to 3200 (+2) shows noticeable grain and shadow loss but remains cinematic. Pulling to 400 or 200 produces lower contrast, useful for high-contrast scenes. Best at box speed or slightly over.
What cameras pair best with CineStill 800T?
ISO 800 and fine grain make it ideal for 35mm with fast lenses (f/1.4-f/2.8) for handheld night work. Leica M6, Contax T2, Nikon FM2, Canon AE-1 work beautifully. In medium format, Pentax 67, Hasselblad 500, Mamiya 7 deliver stunning sharpness with nearly invisible grain.
How does CineStill 800T handle night photography?
Excels with tungsten balance for artificial lights, ISO 800 for handheld low light, wide dynamic range preserving neon highlights and deep shadows, distinctive halation creating cinematic glow. Meter for midtones or overexpose +1/2 to +1 stop. Handles mixed city lighting beautifully.
Does CineStill 800T scan well?
Scans well with standard C-41, though tungsten balance can confuse auto-scan algorithms. Most labs handle it fine with manual correction. Film dries flat, easy to scan. Standard orange base, most scanners handle without issues.
Why are my scans blue?
Blue cast is tungsten balance (3200K) working as designed. Renders tungsten lights neutral/golden-orange, daylight shifts blue-cyan. Creates warm-light-cool-shadow cinema aesthetic. Use 85B filter at ISO 500 for daylight, or embrace blue cast creatively.
What causes the red glow around lights?
Red-orange halation from removed remjet layer. CineStill removes this to make film C-41 compatible, allowing light from bright sources to reflect and create distinctive red halo. Most dramatic around point lights against dark backgrounds. Can't prevent except avoiding direct bright lights or pulling exposure.
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