iPhone Cinematography

kerrigan said:
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Yes, sad but true. I tried posting on the D-Word site which was once very hip... now crickets. I need to find where the under 30 hangout.
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Which D-word site?

The younger generation makes more videos than the older ones, constantly making videos on TikTok or commenting, discussing other videos (obviously about stuff they like)...so that's where you'll find the most engagement about pretty much anything. Other social media, too.

But if you decide to post here, there will still be a few of us commenting and maybe that could be nice as well.
 
I've always enjoyed working on big films one week and small independent films the next. I once owned a Mitchell 35mm camera and a Bolex at the same time.

I was just looking at some of my old posts... I joined DVXUsers back in May 2009... I'm able to follow my evolution in video.

When DV first arrived, I shot a docudrama in Italy which aired on the Bravo Network at a time when they were only airing film. They were not aware we had shot in video.

My first test production with the iPhone was in 2019. I bought a $35 rig for my iPhone 6 and attached a Sony wireless mic system to the top. I used a then-new large diaphragm mic and one mic stand. That's it. I shot in available light and adjusted one practical to sidelight the interviewee's face. The mic placement sucked, but I thought the sound was interesting.
Here's a link: https://youtu.be/F-9zSEpeEak?si=7cm7vaSxSup8yRax

I just found a Facebook forum and met a guy who has already built an iPhone 15 rig with an external battery that powers both the SSD drive and the iPhone. I'll post again when I have more information.

Tomorrow I'm shooting a test video with the Blackmagic Cam App. It will all be handheld on a bus, on a subway, and inside a store. I did get permission to film inside the store.
 
kerrigan said:
When DV first arrived, I shot a docudrama in Italy which aired on the Bravo Network at a time when they were only airing film. They were not aware we had shot in video..
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That's very cool! I am curious though, since the early days of DV were 60i and I would think that frame rate would have been a straight up giveaway at the time that it was not film acquisition? Or did you do post-processing to give it the pulldown look? I was a big fan of the Filmlook process in the mid-90's for that sort of thing.

It was nice when the XL1 emerged with the 30p faux frame mode, which took the 60i curse off a little...and of course the namesake of this site changed things for good with true 24p (and filling the coffers at Filmlook since they held the patent on 24 frame video!)
 
kerrigan said:
I just found a Facebook forum and met a guy who has already built an iPhone 15 rig with an external battery that powers both the SSD drive and the iPhone. I'll post again when I have more information.
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Please keep us apprised! BTS photos and footage samples are always much appreciated

I'm not sure I really see the advantage of using a phone over a small camera. But obviously the iphone 15 can do a lot

Anyway, even if few or none of the folks on here have built the specific rig you're looking for, I'm sure they can give you great advice about designing it
 
CharlesPapert said:
That's very cool! I am curious though, since the early days of DV were 60i and I would think that frame rate would have been a straight up giveaway at the time that it was not film acquisition? Or did you do post-processing to give it the pulldown look?
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Great question Charles, Hope you don’t mind a long answer I’m taking the opportunity to write down some of memoirs of the past...

If I remember correctly deliverables at that time were film or Betacam.
Before the VX1000 was released in 1995, Sony lent me a demo camera for a camera course I was giving at The National Film Board Canada. The VX1000 blew me away, and I didn't want to give it back. Sony agreed to sell me the first camera in Canada, and within a month we were shooting in Italy.

The soundman was from Germany and he brought his whole kit. I travelled with just the camera & tripod, no lights.
I used a pro-mist filter and filmed in telephoto as much as I could to soften the background. I think the transfer to Betacam was done at the NFB... and because broadcasters were unfamiliar with DV at the time, it managed to pass as 16mm footage.
 
kerrigan said:
Great question Charles, Hope you don’t mind a long answer I’m taking the opportunity to write down some of memoirs of the past...

If I remember correctly deliverables at that time were film or Betacam.
Before the VX1000 was released in 1995, Sony lent me a demo camera for a camera course I was giving at The National Film Board Canada. The VX1000 blew me away, and I didn't want to give it back. Sony agreed to sell me the first camera in Canada, and within a month we were shooting in Italy.

The soundman was from Germany and he brought his whole kit. I travelled with just the camera & tripod, no lights.
I used a pro-mist filter and filmed in telephoto as much as I could to soften the background. I think the transfer to Betacam was done at the NFB... and because broadcasters were unfamiliar with DV at the time, it managed to pass as 16mm footage.
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I assumed VX1000!

Still interesting to me though, in that the look of DV wasn't really all that different than legacy formats at the time like Betacam and Digibeta--of course, a smaller sensor so even more depth of field to overcome. Perhaps the relative softness of the image helped with the sell as 16mm. As I said I would have thought the 60i look would have immediately flagged Bravo that it was shot on tape, regardless of techniques used. I was doing all the same things at the time on Betacam with the longer lenses and filtration etc, but if it wasn't Filmlooked it just looked like well-shot video.

I did enjoy shooting DV as it felt quite reminiscent of 16mm in its way (size of camera and yes something about the format). When I look back at the creative projects I did on it now, some pretty elaborate, it's a little odd looking to me now. I definitely enjoyed it more once we got to large sensors (with the awkward spinning adaptors in the interim, which we discussed in here recently).

I do feel like all those years of 2/3 and then 1/3 acquisition taught me some valuable techniques in lighting separation, how to create separation via planes of lighting, and being very careful with how subjects were placed against backgrounds. I think for those who have only come up in S35 and larger sensors with fast primes, the natural separation of depth of field manages a lot of that so there isn't necessarily as much attention paid to the background as there used to be.
 
Brilliant, Kim! I'll definitely enroll in the course. Since my last post, I've delved deeper into the subject and am excited by what I've found. I've always been an early adopter. I once taught cinematography at Concordia University in Montreal. However, when I made the switch to video, the department showed no interest in my research. I ended up teaching at the National Film Board of Canada and helping other cinematographers navigate the transition.

A few days ago, I launched iPhone-Cinematography.com. It's a website that will host links to videos and articles that I find interesting. I'm channeling all my efforts into exploring the iPhone ecosystem, much like I did years ago with another site dedicated to Sony video cameras. When I used to attend NAB, I had the privilege of accessing all of Sony's department heads.
 
Hey Doug, I just want to express my gratitude for all the content you've created over the years, from your books, videos & products. They've been a wonderful resource for me. I had the pleasure of meeting you at NAB at least once.

Now at 78, my FS7 sits in the basement, but my A7s II has a permanent spot on my office desk. However, as the years went by, partly due to my laziness, I found myself reaching for my iPhone for quick shots, whether it was for a still image or a video insert.

About three years ago, I'd planned to shoot an interview for a YouTube channel using my A7s II and prime lenses. Unfortunately, I wasn't feeling well that day. Instead of canceling, I decided to use my phone in 4K and a good external microphone. To my surprise, I was satisfied with the results and realized that this was now a viable option.

Many of the traditional venues I used to produce content for are disappearing. Yes, Netflix demands high standards, but the 4K capabilities of the iPhone are more than suitable for the web.

The old meets the new: My grandkids are both using their iPhones to create projects for school, and their films are often amazing.
An old dude like me can now hop on a bus to a gig rather than lugging around a van full of equipment.
It's all about being modular. I aim to keep it minimal when possible, shooting simply with the camera and SSD drive fitted together within a phone case (new cases are being produced now). I'll keep the cage in my backpack, ready to be used when I need to attach a wireless microphone or a shotgun (I'm still making use of all my old microphones).
 
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I think Doug's question is a good one. I can see the reasoning behind the minimal aspect when the system is stripped down, but once you decide to go a built-out route where the camera itself becomes a fraction of the total mass, I'm still trying to understand a compelling reason to stick with the phone, especially given the lensing limitations (it's improving, but still plenty of compromise especially on the telephoto end).

I also understand the allure of early adopting and trailblazing (although I gave up on that one myself some years ago). But that is more about a personal journey than practicality.

So to reiterate Doug's question: when you are shooting something that isn't run and gun and necessitates a fully built out rig, what are the strengths and weaknesses of using a phone vs a small mirrorless? Given that the difference between the two at this point is hardly about needing a "van full of equipment"...we are talking maybe a single additional bag or case of lenses/batteries/media.
 
Many new sites and forums have emerged lately, providing comprehensive lists of strengths and weaknesses.

Here are a few aspects that particularly capture my interest as a documentary filmmaker:
1. Always Ready: My daily routine involves charging my phone every night, ensuring it's readily available for up to 12 hours of active use each day.
2. Ease of Use: The iPhone's swift startup allows me to begin shooting within seconds if the need arises.
3. Portability: The iPhone, along with a 4 Terabyte SSD, can fit in my front pocket.
4. Compact Backpack Setup: Inside my backpack, I'll maintain a minimalist setup, including a small cage (the phone securely attaches via a magnet), a compact battery, an XLR converter with 48v support, a wireless microphone, and a lightweight tripod.
5. Transportation: There's a bus stop in front of my house, and being over 65 grants me the privilege of free public transportation throughout Montreal, eliminating parking hassles. I can even film within the Metro system.
6. Content Creation Freedom: With this setup, I can shoot content virtually anywhere, free from unnecessary complications.
7. Enhanced Interviews: Interviewees tend to feel more comfortable and open up easily with this setup. I position the phone on a small tripod beside me, maintaining uninterrupted eye contact with the subject. Occasionally, I verify framing by glancing at the image on my Apple Watch.
8. Efficient Data Management: No need for card downloading at the end of the day; I simply back up to a second hard drive.
9. Cost: I plan to update the iPhone every year if there's a major change.
 
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