How straight 8's challenge can unleash creativity

With less than a month left to enter, straight 8 is calling on wannabe filmmakers, brave creatives and curious production teams to throw themselves into its industry-facing ShootOut competition.

Presented by Cinelab Film & Digital with additional support from the APA, shots, Kodak and MachineShop, straight 8 challenges entrants to make a two-and-a-half minute short film entirely in-camera on a single cartridge of Super 8 film.

No retakes. No editing. No safety net.

Every shot must be captured in sequence, with any visual effects, titling or trickery created practically during the shoot itself. Soundtracks are produced separately and ‘blind’, meaning filmmakers don’t see a single frame of footage until the film premieres publicly in Cannes and London.

This year’s ShootOut already includes teams from BBH, Born Social, DEPT Agency, Drool, Hereford College of Arts, Imagine This, MJZ, Mr+Positive, Neverland, New-land, Pulse Films, Raw London, Salt, Siren Music, Tarot, Uncommon Creative Studio and VCCP Girl&Bear.

If they can stare down the terror of a single Super 8 cartridge, maybe your team can too...

If you need any more inspiration, shots sat down with former participants and winners Freddie Powell from Drool, Trine Pillay from new—land, Peter Grasse from Mr+Positive, Helen Hadfield and Lucrezia Vittoria Camera from Snapper Films, and Olly Calverley from VCCP to find out what makes straight 8 such a uniquely thrilling creative challenge.

Above: Hush, by Directors Guild Helsinki, which took home Gold at last year’s straight 8 ShootOut.

straight 8 is a unique filmmaking challenge. Why do you keep coming back?

Freddie Powell, Drool: Our jobs are always in service of someone else. It's a huge breath of fresh air to just make film for film's sake. It's a joyful celebration of how much we all love film.

Trine Pillay, MD / EP, new—land: For that very reason, because it encourages unique creativity and helps filmmakers understand the need for exacting preparation in advance of filming. It’s a fantastic discipline when you’re starting your filmmaking journey.

Peter Grasse, Mr Positive: I made my first film from New Zealand over 15 years ago, and it was exhilarating from the start. So, when I started my own company in Japan and no longer needed to convince a boss, I was fully committed to the long haul.

I see it as an annual creative experiment to inspire young producers and give them a real taste of creative filmmaking beyond just meeting commercial client briefs.

Plus, I always enjoy screening the Mr+ straight 8 film festival. I believe this will be Mr+’s seventh film? The eighth will be a Mr+ masterpiece!!

Helen Hadfield and Lucrezia Vittoria Camera, Snapper Films: We love shooting on film, and the straight 8 challenge is such a fun way of celebrating that format. Its unique restrictions are what make the creativity flow!

Even if it doesn’t work out, it is an experiential learning curve. What’s not to like?

Olly Calverley, VCCP: It’s the ultimate filmmaker challenge, and headfuck. 

We get different people involved every year so as many people as possible can have that experience!

Above: Snapper Films’ Chicken that picked up Silver at the 2025 straight 8 ShootOut.

In your view, what's the single most important thing a straight 8 film, or filmmaker, needs?

TP: A clear singular storytelling vision.

FP: Courage. You don't know what you've captured, whether it'll work, or whether it's going to embarrass the hell out of you in front of an audience. But that's the best thing about it.

HH & LVC: A cool head, nerves of steel.

PG: Experience with making a straight 8 film is the most important thing. It's unfortunate when companies treat it as a "one and done" project. The process is far from easy, and benefits from knowing your craft.

OC: A sense of humour.

Above: VCCP’s Happy Ending earned Bronze in last year’s straight 8 competition.

Before you start rolling, what has to be right?

HH & LVC: The script - always!

PG: For commercial filmmakers, it's crucial to block out their schedule to avoid interruptions since the process demands intense focus. You need a detailed shot plan and must ensure everyone knows not to trigger the camera until everything is ready to roll.

You also need the right mindset. You're going to make mistakes, and some of the best innovations have come from refiguring those mistakes. Once a DOP made a mistake and thought we had to start again. Instead, we rewrote the script to capitalise on the error, which is the year we won the competition.

FP: A good crap-o-matic shot on your phone.

TP: Everything!

OC: Agreed, everything. Rehearse, rehearse, rehearse.

Above: Mr+Positive Tokyo’s Black Tears brought analogue energy to the straight 8 screen.

Looking back, which lessons stay with you from making a film this way?

OC: Simplicity of story.

FP: Don't attempt sync sound. Don't fight the limitations. Lean into the format.

PG: We've had many ideas that were too technically ambitious to execute within this medium. Last year's winner was a one-shot, which I found disappointing because it didn't highlight the true technical mastery of creating a straight 8 film.

A one-shot can be filmed multiple times with an iPhone monitor, and the best take is simply selected. That's not the art. The real craft lies in editing in-camera and matching the sound, that's the essence of straight 8.

HH & LVC: There are never enough backup plans, ever.

Above: Drool’s Outgrown was one of last year’s standout straight 8 entries.

Who should make a straight 8, and why?

TP: Everybody, but especially young filmmakers. For the very reason mentioned above, it’s a fantastic initial discipline to learn and take with you.

HH & LVC: Anyone who's curious to shoot on film and hasn't yet.

FP: Anyone yearning to express themselves through film and to hang out with other brave, joyful, creative and supportive people.

OC: Everyone who wants to learn the art of filmmaking in one contained hit. And likes a bit of jeopardy when it comes to screening night.