Joey Helms, a filmmaker, has created a fantastic example of cinematic iPhone 14 Pro videography, complete with a tutorial video on how to do the same.
While Helms does use two add-ons, this is not the most common technically shot on iPhone, but involves a complete film crew and tens of thousands of dollars in lighting and cinema kit footage.
Instead, as he recounts in a much-requested follow-up video, he mostly used only a gimbal and a low-cost variable neutral density filter.
Helms is an extremely talented videographer and editor, and he admits that while the shoot may have been low on accessories, it was big on time. He said that his last cut usually takes 1 to 5 percent of footage he shot, and im certain he spends a lot of time in the edit too, but it does show what can be done with enough effort and skill.
The video depicts a 2m 15s adventure into Chicago.
He initially said little about it.
ProRes and Cinematic Mode Filmed in Chicago on the new iPhone 14 Pro. Edited in Final Cut Pro X and graded with Dehancer Pro.
He asked viewers if they wanted a tutorial video about how it was created and edited, and that received a resounding yes. That video is now 15 million seconds.
First up, he says it is vital to keep both focus and exposure at bay so neither changes during the clip. This is one of the most effective opportunities that someone is just shooting phone footage on auto. He also recommends under-exposing by two-thirds of a stop or a full stop, as the sensor tends to overexpose.
If you like to control shutter speed, then you may need to make sure you use a third-party camera app. Helms uses Filmic Pro, and shoots at 24 frames. This is the cinema standard, as it creates a very natural-looking movement.
You''ll generally want to employ the 180-degree shutter angle rule, which is not a technical way of saying that at 24 frames, you want a shutter speed of 1/48th of a second with 1/50th of a second close enough.
Normally it will be too bright to shoot at this speed in daylight, so youll need a variable ND filter to reduce the light as required. If you already have an ND filter for a special camera, there are various ways to get this attached to an iPhone, and if you do not, the simplest option is a low-cost clip-on unit. This is the one Helms uses.
The DJI Osmo Mobile 6 gimbal has been developed, but it is not because he has it.
Helms shoots in ProRes, which he warns is to generate astounding files. He does this to give him maximum flexibility for color grading in the edit.
He does a lot of making occasional use of a few other techniques, discussed in the video, but the gimbal and the variable ND filter are the keys.
Helms talks you through the kinds of shots he takes, including careful use of Cinematic mode. Then he does the same for the edit, with particular attention to sound design. I understand from my own very limited experience that audio is at least as important as video, and sound design makes a big difference. He also believes that he spends hours looking for appropriate backing music.
Personally, I''m not sure whether or not his footage is more motivated or intimidated! It does certainly demonstrate the potential of the cinematic iPhone 14 footage you can create, but also sets an unusually high bar. In the comments, please ask whether or not it has a motivation or a deter.