With the untimely passing of Paul Walker midway through the production of Furious 7, now in theaters, it was questioned for months how they would replace the unfinished shots needed with the star. Many stories were circulated including the complete scrapping of the film, but with the help of CGI and Paul's brothers Cody and Caleb Walker they were able to finish the movie and fill in the gaps that Paul had not yet finished.

For film photographers, digitizing film is arguably the most important part of the workflow. For me, there is no longer a debate of what is the best approach. Using a digital camera to digitize film is the only way.

As 2013 comes to an end, many of us are starting to think about fresh starts and goals for the New Year. For most, 2014 will mean expanding and upgrading gear or even taking a leap of faith. Personally, I’ve taken a very counter-intuitive leap of faith. I sold the most expensive video asset that I've ever had: My RED Scarlet.

Are you a film photographer who wants to explore the final (original?) modern frontier of film? Are you a digital photographer who wants a dramatically different experience? Say hello to the Intrepid.

Have you ever wanted to shoot medium format but don’t know where to start? Have you been wanting to try shooting film but 35mm doesn’t seem like it’ll be enough? The RB is here to help.

For some, the “magic” of film, medium format especially, or the benefit of full frame digital is all hype. Is it really just hype or can you tell a difference?

I used to believe that film photography was a dying medium, but now, I am not so sure. One thing I am certain about is that Kodak and Fujifilm are making it difficult for film to come back.

Our DSLRs have confused us. We obssess over the wrong things. Sharpness at 400%; bokeh characteristics of lenses produced from what-must-surely-be prancing magical unicorns; high speed burst frame rates that make cameras sound like gatling guns; 4k resolution to shoot better cat videos; 100 auto focus points that still won’t focus on what we need them to; and noise performance at 400,000 ISO. Absolutely none of these will make your photographs better. Shooting film will though, here's why.

Whether you work with still or moving images, there’s an art to telling a story with pictures. As a movie director whose preferred medium is analog film, Christopher Nolan’s shared experience with the evolution of his own creative process is sure to resonate with photographers.

Even after its death, if was there ever one film stock that was the color film, it would have to be Kodak's Kodachrome The last roll was famously given to Steve McCurry, who essentially built his career with the film. To say that was a sad moment for lovers of film would be a gross misrepresentation. This was something that was lost. It would – could – never come back. Or could it? A recent conversation between The Kodakery and a number of Kodak executives including Kodak CMO Steven Overman lead to a glimmer of hope for the resurrection of everyone's favorite color film.

Yes, it’s true. A medium format point and shoot camera actually exists. I wasn’t really into it at first, but have completely fallen in love with it after a few outings. It may well be the only camera I never sell.

Until recently, the last time I shot an entire roll of film was on a Canon EOS 5, sometime in the mid-2000s. Last month, I put a roll of black-and-white film through my mother’s old Olympus Trip 35, and the results sparked some strong emotions.

Medium format film has seen a real resurgence in recent years, and with the right camera, you can create negatives that are far bigger than even the most expensive digital cameras. This neat video takes a look at one such camera, the Fuji GW690 II, affectionately known as the "Texas Leica," and the impressive images you can create with it.

For those shooting and scanning 35mm, scanning can be slow and painful. That is, until now.

So many of us photographers seem to have an insatiable appetite for camera gear. For some, it’s G.A.S. (gear acquisition syndrome), while others are honing their photographic experiences into a seemingly futile and almost never-ending quest to trade up to the perfect camera. For a rare few, they have found their gear and are sticking to it.

"How much detail can you really get out of 35mm scans?" That is the question that has long been up for debate among film photographers, and I believe we now have an answer.

Some photographers like that soft, ethereal feel as they specifically seek out types of plastic to stick in front of the lens, or even go so far as to buy defocus control lenses and LensBabies that will allow them to distort an otherwise true image. That has its value. But this isn’t for that. This is the new go-to guide for absolutely everything to know about how to get your images to be tack sharp. Get ready to dive in: this is a no-questions-left-behind study on sharpness.

One of the worst experiences any photographer can go through is breaking a piece of gear beyond repair. The question is, however, at what point is "broken" too broken to use?

In the film world, it doesn’t take long before you start to get hooked on the idea of shooting medium format. Why, you ask? By this time, no reason whatsoever.

The film community is a pretty friendly place. I've made a lot of good mates all over the world since launching my film photography podcast, "Matt Loves Cameras," three years ago.

We all knew that this day would come and it may change the way we look at cinematography forever. It is pretty amazing to think that this entire feature length movie was created on nothing more than a humble iPhone.

Given the growing interest in film photography, should Canon and Nikon consider making brand new versions of the AE1 or FM2 for today’s retro enthusiasts?

Film continues to enjoy a steady resurgence, and one of the most intriguing ways to differentiate it from working with digital is to pick up a 645 medium format camera, which produces negatives far bigger than even the most expensive digital medium format cameras. One of the best such options is the Mamiya 645 AFD, and this great video review takes a look at the camera after running 250 rolls of film through it.

The film look is currently enjoying a resurgence, and with that have come many preset packs and the like. While some of those are great, practicing how to create the look from scratch is a good way to learn to be a better editor. This helpful video will show you how to do just that.