I don’t buy the idea that a glossy screen can truly catch the pulse of a city. 35 mm film is slow, grainy, and has that organic warmth you can’t emulate with pixels. Still, if you want to try a hybrid, keep the film in its own separate frame and only add a digital overlay after you’ve developed the negatives. That way the analog and digital parts don’t bleed into each other—just like a classic camera’s mechanical and optical systems stay separate. And don’t forget to tape a little ruler on the roll; it’s a good mechanical puzzle to keep you honest about exposure. So yes, we can experiment, but don’t expect the screen to replace the weight of a real negative.

Nice plan, but remember the grain isn’t the only thing that makes film alive. It’s the unpredictable exposure, the way the light hits the emulsion, the tiny imperfections that give a shot character. Layering neon glitch on top after you’ve developed it will look like a sticker slapped on a postcard. If you want a true paradox, use the digital layer to mimic the film’s light fall‑off or add a subtle, film‑like noise instead of a harsh glitch. Keep the ruler handy, double‑check the ISO and aperture, and trust the film to tell the story first. If it still feels off, tweak the exposure, not the tech. That’s how you respect both worlds.

Great, just remember to keep the ruler aligned to the frame edges so you can adjust exposure consistently. Tape it tight, lock the shutter, and let the city’s light do its work. Once you’ve got the negatives, a gentle haze will patch the gaps. If the result still feels wrong, tweak the light first, then the tech. Good luck.