![]() ![]() ![]() When shooting in either version of ProRes, the dynamic range is quite strong. Below, we’ll see how it impacts the image, and whether the tradeoff is worth it. This file size difference is to be expected, as you’re capturing so much more data with ProRes. The HEVC recording (in HD) is just 22mb, nearly 1/6th that of ProRes. HEVC Log.īoth versions of ProRes are almost identical in size at just over 120mb. They were shot in this order (top to bottom): 1. The 3 highlighted clips below are each exactly 6 seconds in length. ProRes File Sizeīefore I get to the visual comparison, let’s briefly look at the file size difference between each recording format. Still, some projects need to be 4K for one reason or another, so definitely keep this in mind. By shooting in HD, a bit of the harsh digital edge is naturally lost – which I kind of like. The iPhone in is so sharp in 4K that it often needs to be softened in post to look its best. I’ve never been one to chase the most resolution, and often prefer to work with 2K cameras anyways when shooting digitally. With larger phone capacities, you can record in 4K too.įor some this may be a big factor, but again for me, it’s really not a deal breaker. In Log you can shoot up to 4K resolution, whereas with ProRes you are limited to 1920 x 1080 HD on the 128gb models. Resolution is another limitation of ProRes recording on Filmic Pro worth noting. Seeing contrast and color balance helps me make critical decisions about camera placement, framing, and lighting.Īnd as we’ll explore soon, there is no loss of dynamic range when shooting ProRes. I actually prefer not to shoot in Log on the iPhone, as I don’t like monitoring with flat colors. One important thing to note: There is no ability to shoot in Log color space while recording to ProRes on Filmic Pro. I then compared those against shots captured in Log / HEVC at the highest bitrate (Filmic Extreme). ProRes 2020įilmic Pro gives you the option to record in either 709 or 2020 color space when recording to ProRes.ħ09 is of course what most filmmakers are already well versed in, whereas ProRes 2020 is newer and more specifically optimized for an HDR workflow.įor the purpose of this quick test, I captured a handful of shots in ProRes HQ using both 7. To put the new ProRes recording feature to the test, I shot a few side by side comparisons with each setting. This is a massive achievement that can benefit not only your production workflow, but your post-pipeline too. It creates the flattest possible starting point to maximize dynamic range, much like any dedicated cinema camera would.īut only more recently has it become possible to record ProRes internally on the iPhone with Filmic Pro. Recently I shared this test shoot where I compare the iPhone to an Arri Alexa, and today I want to share another experiment.įilmic Pro has offered Log recording for a long time, which is a favorite feature of many filmmakers. I’ve been having fun experimenting with Filmic Pro and trying to really push the iPhone to its limits. Both formats have their pros and cons, and it’s important to know how to best use each. Have you shot any LOG footage on your iPhone yet? If so let us know in the comments below.Thanks to Filmic Pro, the iPhone is capable of recording in both Log (HEVC) and ProRes 422 HQ. We hope you like them and look forward to seeing your work. These LUTs will work with any smartphone footage shot in log or flat with the FiLMiC Pro app (not just the iPhone). This includes Adobe Premiere, Davinci Resolve, FCPX, LumaFusion and more.įor more info and to purchase LUTs please visit:Īnd YES, Android users. These LUTs work with most popular editing, color and FX apps that allow importing of 3D LUTs with the. Log to Walk of Fame (warm punchy Hollywood)Ģ. Log to Summer Sequel (orange & teal Hollywood)Ĥ. Log to Robots Are Blue (sci-fii bluish vibe)ģ. Log to Nebraska (black & white film look)Ģ. These LUTs have been specifically created for use with FiLMiC Pro and their LOG or flat profile.ġ. Working with LOG can definitely be tricky, so it's often best to start with a LUT. ![]() Shooting LOG footage on the iPhone with the FiLMiC Pro app is a lot of fun, but color correcting and grading it - not so much. Lots of A-List guys experimenting with iPhone films these days (Michel Gondry, Steven Soderburgh, etc.).Īnyway, back to our new LUTs. We definitely live in the future.ītw, have you seen the Zack Synder iPhone short film? He just released it last week. The codec is 8 bit and the color space is 4:2:0 - and that is absolutely true - BUT, you can still achieve really amazing results with a camera you have in your pocket most of the day. It turns your iPhone into a quasi-professional cinema camera. If you follow iPhone filmmaking at all then you've more than likely heard of the awesome app called FiLMiC Pro. We've partnered with The iPhoneographers to introduce our first LUT packs. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |