![]() ![]() Lets look at some of the great apps and new techniques using smart phones and tablets in making movies. Thankfully, I have access to top quality tools, so I’ll stick with a real Digital Cinema camera, (thank you very much ) but having an internet-connected computer in your pocket, which is essentially what a smart phone is, can be very helpful to a Filmmaker in a huge variety of ways. The iPro handle can attach to either side of the case and serves as both a tripod mount and a case for all the lenses. Offering 2x Extenders, Wide Angles, Macros, and Fisheye Lenses, it uses a bayonet mount to securely fasten onto the included iPhone custom case. Longtime Friend of DCS, Schneider Optics has even come up with the iPro Interchangeable Lens Kits specifically designed for the iPhone. More than one feature has been created this way, and there is now an entire film festival devoted to this kind of movie short subject called the Rev Up Cell Phone Film Festival.Įlectronics manufacturer, Acer has just announced their new Liquid S2 which will feature the first 4K Camera in a smartphone, and Apple is widely expected to announce major new smartphone technology at their September 10th press conference. Filmmakers will tend to use whatever they have access to in order to tell their stories, so we are bound to see more mobile device acquisition. Still, you can make a movie on a iPhone, or other brand, and the cameras in these phones just keep getting better and better. This ignores the fact that working with lesser tools takes more time on set and in Post to get similar results, and that these kinds of adjustments may work in a controlled studio situation, as here, but could be much more troublesome on location. They seemed to feel, (and I can see their point,) that if word gets out that you can shoot acceptable footage with a tool as inexpensive as an iPhone, other Producers will make that the benchmark for what we are allowed to work with. There were those in the very prominent audience, however, who were angered at the Producers. It was enlightening, and I think it made the Producers’ point that a great DP, who knows his craft and the limitations of his tools, can make any camera look good even an iPhone. Having a lot of experience shooting both RED and Alexa, I was able to pick those two out pretty easily, but like most of the crowd, I was guessing at the rest (and remember, this included one of the arguably best Digital Cinema cameras ever produced, the F65, along side an iPhone!). The lights came up after the screening and the audience was quizzed, both verbally, and asked to match on a paper survey which takes, listed as “A” through “E,” were shot with each camera. ![]() I was honored to be in attendance with many distinguished DPs and leading Cinema Technology executives at the Los Angeles premiere of the footage, screened in 2K at Hollywood DI. According to the documentary’s Producers, Zacuto’s Steve Weiss and Jens Bogehegn, the test was designed to show that it was the talent of the Cinematographer that really determined the quality of footage, more so than the tools they were using. Detailed notes were taken of the additional resources needed to make the best looking shots, both on the set and in color correction. The idea was to help compensate for any weaknesses of the lesser quality cameras which generally needed more exposure and less contrast in the lighting. The cameras ran the gamut of cost and quality, from a Sony F65, Alexa, RED Epic, as well as Canon and Panasonic HDSLRs interestingly, they also included an iPhone.ĭifferent Cinematographers who had experience and were comfortable working with the various cameras were allowed to do a little relighting for each shot. The program was set up as a “blind” test, where a particular shot was done with a variety of cameras, then projected back to back without revealing which camera had shot which takes. ![]() My friends at Zacuto took some flack last year as they showed documentary coverage of a Camera Evaluation project they organized and sponsored under the supervision of longtime DCS member, the renowned DP, Bruce Logan, ASC. Photo by Mark Forman - Lighting by iPhone ![]()
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