![]() ![]() With all that gear and production support, which aspects of the event really matter to you, the iPhone-curious filmmaker? What can you learn, and which aspects can you safely ignore? We greedily soaked up all the details in the behind-the-scenes video, and made a hundred tiny calculations about which aspects of this lavish production actually mattered to the question of the iPhone 15’s validity as a professional camera, and which did not. In the filmmaking community, it was the mic drop of the year. It was an odd feeling to scrounge for the adapter plates required to mount a $3,000 DV camcorder purchased at Circuit City to a Fisher dolly that literally has no purchase price.Īpple, of course, has no burden of best-practices logic for their decision to shoot their “Scary Fast” event on iPhone - it’s a marketing ploy, a cool stunt, and a massive flex. I’ve been on a lot of productions like this, having played an active role in the DV filmmaking revolution of the late ’90s-to-early-2000s. ![]() “Shot on iPhone” doesn’t promise “and you can do it too” any more than Stanley Kubrick lighting Barry Lyndon with candlelight means anyone with candles can make Barry Lyndon.īut when the camera is the least expensive piece of gear on the set after clothespins and coffee, it does feel strange. These LUTs work well in Blackmagic Camera or even on an external HDMI monitor.Īt this point, some folks felt differently about what was implied by “Shot on iPhone.” There have been bad takes on this, and good takes on those bad takes.Īnyone who knows the tiniest bit about video production knows that the camera is a small, but important, but small, part of the overall production picture. I already can’t imagine shooting without them. They add an informative False Color overlay to the Shoot/Grade LUTs, making sure you always nail your exposure. The real stars of this update though are the FC LUTs. With my LUTs, you can shoot with the same LUTs you grade under later, for a truly professional (no joke!) workflow. ![]() The Blackmagic Camera app allows you to load any LUTs you want and preview through them without baking them into your footage. The Prolost ACES LUTs convert Apple Log to either ACEScc or ACEScct log, allowing you to grade your iPhone footage alongside any other professional camera, and output them all through the same pipeline. This is usually some kind of wide-gamut, log format, such as Davinci Wide Gamut/Intermediate, or one of the ACES log spaces. Bring Apple Log into an Existing WorkflowĬolor work is often done in an intermediate color space. The key is color correcting under the LUT. Many other systems work like this, including LumaFusion, which ships with Prolost Apple Log LUTs. ![]() Colorista (set to Log mode) does its work on the native Apple Log pixels, and the LUT converts the result to look nice on video. That’s what you see me doing in the video above. The Prolost iPhone LUTs convert Apple Log to various other color spaces, and support three kinds of workflow: Grade Under a Display Transform LUTĪpple Log is a totally decent color space to work in, so color correcting Apple Log can be as simple as applying Magic Bullet Colorista and choosing one of my Monitor & Grade LUTs. Creative LUTs are great, and by all means support the folks making them - but that’s not what my iPhone LUTs were or are. My day job is, in part, helping make color tools like Magic Bullet Looks, which can do so much more than any LUT. There’s been a bit of a gold rush of people hawking creative LUTs that apply a particular “look” to iPhone Log footage. I’d had some time to process my Peru deadlock, and decided to stop judging my own creative impulses, and let inspiration guide me in which camera I pulled out. Made in TaiwanĪ month later, I took a family trip to Taiwan, one of my favorite places in the world. Photography, for me, is made up of a lot of habits, and shooting iPhone video with aesthetic intent is just not yet baked into my travel muscle memory. Like a squirrel in the middle of the street, drawn in two different directions at once, I creatively froze. I told my phone to shut up, and proceeded to shoot very little with it - or my Sony. “Think of the fun you’ll have color grading me!” Meanwhile, my iPhone 15 Pro Max was calling to me with its ProRes Log video mode. I lugged it around for a few days, but wasn’t really feeling it. But sometimes FOMO gets me and I pack three zooms.įor my trip to Lima, I brought my Sony a7RIV with the uninspiring-but-compact Sony 35mm F2.8 prime. I always have a moment when packing for a trip: Which camera to bring? Which lenses? I know I’m always happier when I pack less, like just a single prime lens. ![]()
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