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Where's Andy? Hello?

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It appears that Andy is out on an on-location shoot.

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Who's gonna help me shoot this video? So if I want to make a Mac Address video, I'm on my own.

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Where are the cameras? I'm gonna have to take in the mall.

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Oh, look a camera!

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So what can I shoot with? It does support ProRes.

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iPhones are the best smartphones for shooting video,

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but they're no proper video camera, which has built-in ND filters, loads of buttons and controls,

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as well as audio inputs. So if I want to do this in any way properly,

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I'm gonna need some things.

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What I have here are some mounts for putting the iPhone on a tripod,

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a very underrated use case, or you could use something like this DigiOM5,

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which is a gimbal to make smooth handheld shots.

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Audio is another really important part of shooting a video on an iPhone,

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and so you're gonna need some sort of external microphone

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to help up the production game. You could use something like this Rode microphone

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and hook it up through a dongle.

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Also, there's the app. You can use the camera app and it'll shoot in ProRes,

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but you have no control over white balance or audio or anything like that.

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An app that many people recommend is Filmic Pro.

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What equipment I use depends on the type of shot I'm making.

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Perhaps the easiest example to make would be using this DigiOSmo image stabilizer.

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I'm ready to shoot something, something. What do I have to shoot again?

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The camera updates to the iPhone 13 are mighty impressive.

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The wide camera lets in more light with an f1.5 aperture.

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The telephoto lens zooms farther now at three times,

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which might be a bit too much. And the ultra-wide now has autofocus,

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which can pull incredibly close macros. It's why the module is now so big that it spends halfway across the back of a small 13 Pro,

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and it makes these models so heavy too. Nevertheless, put together, these three lenses offer the perfect variety of focal lengths

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for shooting quick video sequences. But this is still a phone,

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and having to faff with a touchscreen to adjust controls and start video feels a little unnatural.

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And don't forget those apps. Filmic Pro can be a bit of a fickle app.

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I've had it not save files on occasion, but it does give you a lot of control,

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like pulling a smooth rack focus.

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Perhaps the most compelling reason to shoot professionally with an iPhone is the discretion.

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If, unlike me, you stay away from sturdy looking tripods and microphones,

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people will think you're just another influencer making a TikTok or YouTube video.

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Ingesting footage, meaning getting it off a phone and into a computer,

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is the big weakness to Apple's professional camera workflow on the iPhone 13 Pro.

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Because in 2021, the iPhone, through lightning, does not support USB 3 speeds.

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That's right, this iPhone Pro can only quickly transfer files using technology from 20 years ago.

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If you have network storage like we do here, you can try and get faster speeds through Wi-Fi,

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but that's unlikely, because in my test, it took almost four times longer.

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So hopefully all this extra data is worth it. Because there's only one person for whom ProRes actually matters, the editor, Hoffman.

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My expectation is too high. If you were to give me a blind test, I wouldn't be able to tell,

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unless I really have to pixel peep, and that's the issue. Especially with the substantial amount of storage that you need for ProRes,

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it makes it a lot more expensive. Just look at this chart to see the bitrate differences over other professional codecs we use here at LMG.

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At 700 megabits per second, the tiny iPhone records a massive output.

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One of the benefits you get is with color resolution.

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ProRes has a 422 chroma subsampling.

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That means you get one color pixel for every two black and white pixels.

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The HEVC codec has half the color resolution, with color spread over four black and white pixels.

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I was surprised by how nice the color looks when you're shooting under office lights.

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I was able to correct it and give it a lot more natural look.

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It's not all perfect though, because despite the increases in color resolution,

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when we intentionally shot some footage with the wrong white balance, we couldn't fix it.

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It just doesn't want to balance even when I click the white swatch right here.

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Just a little disappointed, but it is a very extreme test.

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The next benefit comes with motion and performance.

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ProRes is what's known as an intra-frame codec.

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This means that every frame is written as a whole entire frame.

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That's different from the video you're watching right now, which is encoded using an inter-frame codec.

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These codecs contain a long group of pictures from which only the changes in the group are actually saved.

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It's very efficient, but also very hard to edit,

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because any cuts you make require the computer to do intensive calculations just to show the frame.

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So ProRes is so much easier to edit with.

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One thing I have noticed so far is that Premiere hasn't crashed.

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What? Not a single time.

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There is no need to restart Premiere to get things working again.

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Everything has just been smooth in full resolution.

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In a professional editing environment, that's a pretty big deal, because Premiere always crashes.

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ProRes on the iPhone 13 Pro doesn't bring the huge quality increase I was hoping for,

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but it does mean that you're getting the absolute highest quality the phone can give,

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which kind of shows that there are limits to these lenses, sensors, and expectations.

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But in a professional environment like ours here at LMG,

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we might need to use an iPhone to shoot in a tight space, or because we need to be discreet.

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And when we use it, we'll shoot in ProRes, because why not?

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We can. Also, what I learned in this piece is that I really hate self-shooting.

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It's really anxiety inducing a royal pain and takes so much longer just to get the shot.

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It really makes me appreciate having a shooter.

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Andy, you're back!

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I missed you so much! Shooting on my own is so hard.

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Don't leave me again. I really did miss Andy.

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Oh, it looks like Hoffman has edited the video and we can watch it now.

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Well, let's see how this iPhone video turned out.

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Where's Andy? Hello? Thanks for filming this Mac Address.

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You're welcome. If you think that Andy should shoot Mac Address videos from here on out, give this video a like.

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And if you think I'm better off without him, why not subscribe?

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Now, I'm curious how long it took you to figure out that this video was being filmed a little bit differently.

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Put your answer in the comments below.