![]() So this time I could go there-and only I can tell you how happy it made me." I always wanted to shoot there but the producers would say no each time, because it's in the mountains and access is quite tricky. It's the place in France where I spent most of my holidays. I think that the most important thing for me was the locations we could access by using the iPhone. "We had a crew, so the production was still a bit heavy. "I learned that the picture looks good on a big screen," says Gondry. The polarizing filter prevented this problem-important given the film's exterior settings. Also, the compression can struggle with hot highlights. Smartphones generally control the amount of light by changing the time of the exposure, so bright, sunny exteriors can sometimes take on a Saving Private Ryan-style shutter effect. "If I work with a DP, I will trust that person, otherwise there is no point."īrunet used a stabilizer to obviate the need for a dolly track, and an adjustable polarizing filter to control exposure. "There's a strong bond and complicity that goes beyond the equipment," says Gondry. Gondry says that when it comes to imagery, the camera matters less than the human relationships. Michel Gondry made Detour, an endearing short, with director of photography Laurent Brunet. That was two years ago, and now the iPhones are even better." We made a DCP and projected it on the big screen, which was great. "The versatility and dynamic range looked very good, considering. "The iPhone delivered exactly what I expected it to," Snyder says. He made extensive use of the FiLMiC Pro image control app, as well as the Beastgrip Pro lens adaptor and rig system, DJI Osmo Mobile 3-axis gimbal stabilizers, and ExoLens by Zeiss. In terms of crew, supporting equipment and postproduction, Snyder approached the project as he would any other. He used the 1080p setting in order to facilitate high-speed capability, reasoning that images meant for viewing on a phone don't need more resolution anyway. Snyder, who worked as a director-cameraman for 11 years prior to his feature directing career, reconnected with his cinematography roots on the project. The resulting enigmatic short, Snow Steam Iron, was made in two days. I had an amazing experience, and as far as I'm concerned, as a tool, it works." "I realized that I had never done that, so I wanted to make a movie quickly in order to troubleshoot and relate to the issues. "In order to make the students really dig down and not worry about the gear, I wanted to make them shoot and edit one movie on their phones, to just make it cool with what they've got right now," says the director. Zack Snyder's curiosity was piqued when he was considering teaching a basic filmmaking class at ArtCenter College of Design in Pasadena. With the introduction of the iPhone 11 Pro-with its astonishingly good camera, along with the raft of ingenious apps and supporting gear like FiLMiC Pro, lens adaptors and stabilizers-has the camera phone become a legitimate professional motion picture camera? As always with filmmaking, it likely depends on the skills, experience and mindset of the person using it. For directors Zack Snyder, Michel Gondry and Sean Baker, shooting a movie on a camera phone has gone from a novelty to a practicalityĭirector Zack Snyder, filming Snow Steam Iron with an iPhone.
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