WEBVTT 00:00:00.000 --> 00:00:02.500 Where's Andy? Hello? 00:00:04.000 --> 00:00:08.000 It appears that Andy is out on an on-location shoot. 00:00:09.500 --> 00:00:14.500 Who's gonna help me shoot this video? So if I want to make a Mac Address video, I'm on my own. 00:00:14.500 --> 00:00:18.500 Where are the cameras? I'm gonna have to take in the mall. 00:00:19.500 --> 00:00:21.000 Oh, look a camera! 00:00:24.000 --> 00:00:32.000 So what can I shoot with? It does support ProRes. 00:00:36.000 --> 00:00:39.000 iPhones are the best smartphones for shooting video, 00:00:39.000 --> 00:00:44.000 but they're no proper video camera, which has built-in ND filters, loads of buttons and controls, 00:00:44.000 --> 00:00:49.000 as well as audio inputs. So if I want to do this in any way properly, 00:00:49.000 --> 00:00:51.000 I'm gonna need some things. 00:00:52.000 --> 00:00:56.000 What I have here are some mounts for putting the iPhone on a tripod, 00:00:56.000 --> 00:01:02.000 a very underrated use case, or you could use something like this DigiOM5, 00:01:02.000 --> 00:01:06.000 which is a gimbal to make smooth handheld shots. 00:01:06.000 --> 00:01:09.000 Audio is another really important part of shooting a video on an iPhone, 00:01:09.000 --> 00:01:12.000 and so you're gonna need some sort of external microphone 00:01:12.000 --> 00:01:16.000 to help up the production game. You could use something like this Rode microphone 00:01:16.000 --> 00:01:19.000 and hook it up through a dongle. 00:01:19.000 --> 00:01:23.000 Also, there's the app. You can use the camera app and it'll shoot in ProRes, 00:01:23.000 --> 00:01:27.000 but you have no control over white balance or audio or anything like that. 00:01:27.000 --> 00:01:30.000 An app that many people recommend is Filmic Pro. 00:01:30.000 --> 00:01:33.000 What equipment I use depends on the type of shot I'm making. 00:01:33.000 --> 00:01:39.000 Perhaps the easiest example to make would be using this DigiOSmo image stabilizer. 00:01:43.000 --> 00:01:47.000 I'm ready to shoot something, something. What do I have to shoot again? 00:01:50.000 --> 00:01:56.000 The camera updates to the iPhone 13 are mighty impressive. 00:01:56.000 --> 00:02:00.000 The wide camera lets in more light with an f1.5 aperture. 00:02:00.000 --> 00:02:04.000 The telephoto lens zooms farther now at three times, 00:02:04.000 --> 00:02:09.000 which might be a bit too much. And the ultra-wide now has autofocus, 00:02:09.000 --> 00:02:16.000 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, 00:02:16.000 --> 00:02:23.000 and it makes these models so heavy too. Nevertheless, put together, these three lenses offer the perfect variety of focal lengths 00:02:23.000 --> 00:02:27.000 for shooting quick video sequences. But this is still a phone, 00:02:27.000 --> 00:02:33.000 and having to faff with a touchscreen to adjust controls and start video feels a little unnatural. 00:02:33.000 --> 00:02:38.000 And don't forget those apps. Filmic Pro can be a bit of a fickle app. 00:02:38.000 --> 00:02:42.000 I've had it not save files on occasion, but it does give you a lot of control, 00:02:42.000 --> 00:02:45.000 like pulling a smooth rack focus. 00:02:45.000 --> 00:02:50.000 Perhaps the most compelling reason to shoot professionally with an iPhone is the discretion. 00:02:50.000 --> 00:02:54.000 If, unlike me, you stay away from sturdy looking tripods and microphones, 00:02:54.000 --> 00:03:00.000 people will think you're just another influencer making a TikTok or YouTube video. 00:03:03.000 --> 00:03:07.000 Ingesting footage, meaning getting it off a phone and into a computer, 00:03:07.000 --> 00:03:13.000 is the big weakness to Apple's professional camera workflow on the iPhone 13 Pro. 00:03:13.000 --> 00:03:20.000 Because in 2021, the iPhone, through lightning, does not support USB 3 speeds. 00:03:20.000 --> 00:03:28.000 That's right, this iPhone Pro can only quickly transfer files using technology from 20 years ago. 00:03:28.000 --> 00:03:33.000 If you have network storage like we do here, you can try and get faster speeds through Wi-Fi, 00:03:33.000 --> 00:03:38.000 but that's unlikely, because in my test, it took almost four times longer. 00:03:38.000 --> 00:03:45.000 So hopefully all this extra data is worth it. Because there's only one person for whom ProRes actually matters, the editor, Hoffman. 00:03:45.000 --> 00:03:50.000 My expectation is too high. If you were to give me a blind test, I wouldn't be able to tell, 00:03:50.000 --> 00:03:56.000 unless I really have to pixel peep, and that's the issue. Especially with the substantial amount of storage that you need for ProRes, 00:03:56.000 --> 00:04:04.000 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. 00:04:04.000 --> 00:04:09.000 At 700 megabits per second, the tiny iPhone records a massive output. 00:04:09.000 --> 00:04:13.000 One of the benefits you get is with color resolution. 00:04:13.000 --> 00:04:17.000 ProRes has a 422 chroma subsampling. 00:04:17.000 --> 00:04:21.000 That means you get one color pixel for every two black and white pixels. 00:04:21.000 --> 00:04:27.000 The HEVC codec has half the color resolution, with color spread over four black and white pixels. 00:04:27.000 --> 00:04:32.000 I was surprised by how nice the color looks when you're shooting under office lights. 00:04:32.000 --> 00:04:35.000 I was able to correct it and give it a lot more natural look. 00:04:35.000 --> 00:04:40.000 It's not all perfect though, because despite the increases in color resolution, 00:04:40.000 --> 00:04:46.000 when we intentionally shot some footage with the wrong white balance, we couldn't fix it. 00:04:46.000 --> 00:04:50.000 It just doesn't want to balance even when I click the white swatch right here. 00:04:50.000 --> 00:04:54.000 Just a little disappointed, but it is a very extreme test. 00:04:54.000 --> 00:04:57.000 The next benefit comes with motion and performance. 00:04:57.000 --> 00:05:01.000 ProRes is what's known as an intra-frame codec. 00:05:01.000 --> 00:05:05.000 This means that every frame is written as a whole entire frame. 00:05:05.000 --> 00:05:10.000 That's different from the video you're watching right now, which is encoded using an inter-frame codec. 00:05:10.000 --> 00:05:17.000 These codecs contain a long group of pictures from which only the changes in the group are actually saved. 00:05:17.000 --> 00:05:20.000 It's very efficient, but also very hard to edit, 00:05:20.000 --> 00:05:26.000 because any cuts you make require the computer to do intensive calculations just to show the frame. 00:05:26.000 --> 00:05:29.000 So ProRes is so much easier to edit with. 00:05:29.000 --> 00:05:33.000 One thing I have noticed so far is that Premiere hasn't crashed. 00:05:33.000 --> 00:05:36.000 What? Not a single time. 00:05:36.000 --> 00:05:39.000 There is no need to restart Premiere to get things working again. 00:05:39.000 --> 00:05:42.000 Everything has just been smooth in full resolution. 00:05:42.000 --> 00:05:48.000 In a professional editing environment, that's a pretty big deal, because Premiere always crashes. 00:05:50.000 --> 00:05:56.000 ProRes on the iPhone 13 Pro doesn't bring the huge quality increase I was hoping for, 00:05:56.000 --> 00:06:01.000 but it does mean that you're getting the absolute highest quality the phone can give, 00:06:01.000 --> 00:06:07.000 which kind of shows that there are limits to these lenses, sensors, and expectations. 00:06:07.000 --> 00:06:11.000 But in a professional environment like ours here at LMG, 00:06:11.000 --> 00:06:16.000 we might need to use an iPhone to shoot in a tight space, or because we need to be discreet. 00:06:16.000 --> 00:06:21.000 And when we use it, we'll shoot in ProRes, because why not? 00:06:21.000 --> 00:06:26.000 We can. Also, what I learned in this piece is that I really hate self-shooting. 00:06:26.000 --> 00:06:32.000 It's really anxiety inducing a royal pain and takes so much longer just to get the shot. 00:06:32.000 --> 00:06:35.000 It really makes me appreciate having a shooter. 00:06:35.000 --> 00:06:38.000 Andy, you're back! 00:06:38.000 --> 00:06:43.000 I missed you so much! Shooting on my own is so hard. 00:06:43.000 --> 00:06:48.000 Don't leave me again. I really did miss Andy. 00:06:48.000 --> 00:06:53.000 Oh, it looks like Hoffman has edited the video and we can watch it now. 00:06:53.000 --> 00:06:57.000 Well, let's see how this iPhone video turned out. 00:06:57.000 --> 00:07:01.000 Where's Andy? Hello? Thanks for filming this Mac Address. 00:07:01.000 --> 00:07:07.000 You're welcome. If you think that Andy should shoot Mac Address videos from here on out, give this video a like. 00:07:07.000 --> 00:07:10.000 And if you think I'm better off without him, why not subscribe? 00:07:10.000 --> 00:07:15.000 Now, I'm curious how long it took you to figure out that this video was being filmed a little bit differently. 00:07:15.000 --> 00:07:17.000 Put your answer in the comments below.