Reflecting on coming back to 35mm celluloid for The Magnificent Seven , Fiore concludes, "The sheer depth, range, vibrancy and tonality of color you get from shooting on negative was a satisfying shock. The image is less clinical than digital - there are no hard edges, the colors blend smoothly, and there's a visually pleasing contrast curve from highlight to shadow. Film loves the warm light of the golden hours too. Furthermore, when you shoot with a film camera, as opposed to digital, you have fewer cables, no umbilical cord to a DIT, no one telling you the exposure, nor what the video signal looks like. Shooting on film puts the control and responsibility back into the hands of the cinematographer. Simple as that."