Still Waiting For All The Bits To Join Up, But At Least The First 4K Short Documentary Shot On iPhone 6S Is Here

A short documentary about a Haitian slum dweller working to brighten up his community, and help provide a brighter future for all residents of his hometown, titled ‘The Painter of Jalouzi’, was made by online media producer RYOT with Apple iPhone 6S smartphones and a whole lot of moviemaking technology bolted on to them.

It is a great little movie and an inspiring one, and it looks terrific in 4K resolution on my Apple iMac with Retina 5K display. It looks good on my aging non-Retina Mac Book Pro too, though that poor, hardworking little machine would bust its heart to play ‘The Painter of Jalouzi’ at 4K so instead I watched it in 1080p.

If I had one of the 4K television sets that are apparently proving so popular at our local home entertainment stores then it doubtless would look excellent on that as well. A 4K TV set features on our wishlist, but we’re not anywhere near as well-heeled as most other residents of these ‘burbs.

We’ll wait for a while, download 4K movies like this one from YouTube with my favourite movie downloader app, iSkysoft iMedia Converter Deluxe, watch them on our 5K iMac editing workstation and crunch them down to 1080p for repeat viewing on our HD TV sets around the house.

Watching movies shot in 4K at 4K may be around the corner but it will take its time getting here. In Australia at least. Like most cutting edge technologies, all the pieces haven’t been joined up yet.

Traditional broadcasters haven’t cracked 1080p broadcasting and are still stuck at 720p.

Our way too traditional National Broadband Network – once the envy of the world and Steve Wozniak in particular – has slipped down the global speed and capacity charts yet again.

Traditional homeowners in these parts still don’t seem to get the difference between 1080p, 720p and SD regardless of what gigantic TV set now graces their entertainment rooms or in some cases, multi-seat home theatres complete with every automated high tech mod con you can imagine.

Their kids, on the other hand, get it and how. They’re more than well up on 4K and, if Android fans, have had a 4K-capable smartphone for a while now. If iPhone aficionados, then they might have been cocooned in sleeping bags in the long line of pup tents I passed last time I was in the city walking past the Apple Store.

Walk into any café around here and everyone is staring into a current generation MacBook Pro with Retina display, except for some old fogey in a rumpled suit still hunched over a Dell. And me, whose budget is already way too stretched with cameras, lenses, accessories, home studio production hardware and software.

The RYOT team who made ‘The Painter of Jalouzi’ did it with more than one Apple-supplied iPhone 6S and what looks like a van-load of drones, DSLR lenses, gimbals, stabilizers and who can imagine what else too. So far I haven’t found a gear list and the iPhone 6S Plus with its built-in optical image stabilization doesn’t seem to have figured in the making of the movie.

The Painter of Jalouzi 2

Adding all that gear onto an iPhone 6S may not have been the wisest move given how few non-professionals have access to full production kits. I’d have liked to have seen this movie made without the third party hardware. After all, as the folks at StillMotion remind us in their MUSE storytelling educational program, the story is the thing.

But emotional engagement is crucial too, and razor-sharp, richly detailed visuals certainly help as I was reminded yet again when watching a lifestyle short shot in 4K and projected in 4K last week.

It’s too early to tell just what non-professional owners of iPhone 6S and iPhone 6S Plus smartphones are going to do with the 4K movies they’ll be shooting on them.

But I suspect a few will work out how to play them back on those massive 4K TV sets being flogged off in every Westfield mall in the land. And maybe some will be inspired to tell stories worth sharing, like ‘The Painter of Jalouzi’. With or without all the extra hardware the RYOT guys had at their disposal.

Meanwhile I can’t help thinking that we could do with a few visionaries like the painter of Jalouzi around here, to add a bit of color and life to all these mud brown and grey MacMansions and glossy black giant European SUVs.

[bctt tweet=”Waiting for it all to join up, though the first 4K short documentary shot on iPhone 6S is here.”]

The Painter of Jalouzi

Via PetaPixel:

RYOT co-founder David Darg tells PetaPixel that his team obtained the phones from Apple a few weeks ago. They then set out to tell the story of one citizen in Jalouzi, one of the largest slums in Haiti, who’s on a personal quest to bring a splash of color to life there by literally painting the entire town.

The Painter of Jalouzi

“Believing that color has the power to transform his community, he’s helping to paint everywhere – on houses, on buses, and the entire hillside,” the film’s description says. “Armed with brushes of bright blues, pastel pinks, and sunshine yellows, he’s helping to mobilize citizens of all ages, determined to turn the grey town into a rainbow full of color to lead the way to a brighter Haiti.”

Read full article at PetaPixel “This is the First 4K Film Shot with the New iPhone 6S”

Behind the Scenes First Documentary Filmed on New iPhone

(cover photo credit: snap from PetaPixel)

Pixar Co-Founder & Disney Creative Chief John Lasseter: “GoPro and iPhone are Here”

The guy who gave us TOY STORY (and so many other INCREDIBLE films, geddit?) says  of the iPhone and GoPro “[They] give a vibrancy you have never been able to have before … I think a new film grammar is going to come with these things.”

Some of you may be tired of hearing it, but we’re not tired of writing it: the iPhone is the next video revolution (you can find our latest story here).

What’s most interesting about Lasseter’s remarks at the Academy of Motion Picture Arts & Sciences earlier this week is how he addressed the criticism that neither device is very good as a filmmaking tool: he used his own experience with TOY STORY and the technology he and Pixar were trying to apply — computer animation.

“Things looked kind of plastic and we thought: ’What if the characters were made of plastic? What if they were toys?’ ” Lasseter said. “And it’s one of the reasons we leaned into making toys the subject of our feature film, ‘Toy Story.’ ”

In other words: use the new tools for what they’re good at, use them when they’re the best choice to fit the story you’re trying to communicate, or change your story and objectives to fit the tools.

And then, if you’re lucky and incredibly skilled, magic happens.

Remember when people denigrated the talkies?

Of course you don’t.

Walt Disney chief thinks the future of movies is… the iPhone?

Photo Credit: HypeBeast Source: Cult of Mac
Photo Credit: HypeBeast
Source: Cult of Mac

Via Cult of Mac:

It’s easy to think that Steve Jobs’ biggest contribution to movies was his work at Pixar. In fact, according to no less an authority than Walt Disney and Pixar chief creative officer John Lasseter, Jobs’ biggest lasting influence on cinema could turn out to be none other than the invention of the iPhone.

Speaking at the Academy of Motion Picture Arts and Sciences on Tuesday, Lasseter said he can easily see a day when the big award-winning movies we watch are produced by filmmakers using only their iPhones and GoPro cameras.

“People will tell you, ‘That’s not going to work,’ but yeah, that’s going to work,” Lasseter said. “But the reason they say that is because it’s not what they are used to.”

Lasseter’s prediction’s not just the comment of someone biased by their history with Steve Jobs. As the iPhone’s camera has gotten better and more ubiquitous over the years, it’s shown up as a filming tool in more and more scenarios.

Read full article at Cult of Mac “Walt Disney chief thinks the future of movies is… the iPhone?”

Note: it is our policy to give credit as well as deserved traffic to our news sources – so we don't repost the entire article – sorry, I know you want the juicy bits, but I feel it is only fair that their site get the traffic and besides, you just might make a new friend and find an advertiser that has something you've never seen before

(cover photo credit: snap from Cult of Mac)

Film Shot with iPhone 5S Gets Raves — and a Deal — at Sundance

Yeah — story, acting, directing, and editing might have had something to do with it. But it is definitely an inflection point in the evolution of film technology and the film business that TANGERINE was not only shot with three iPhone 5Ss, an anamorphic adapter, an $8 app, and a Steadicam – it was snapped up by Magnolia Pictures in a “high six figures” deal.

It’s different, that’s for sure – and not just for the technology used to film it. TANGERINE is the story of two transgender prostitutes looking for a pimp on Christmas eve in LA.

Between the technology and the story line, that ought to be enough for planet5D readers to check out the details.

And if not, maybe to check one’s pulse.


How one of the best films at Sundance was shot using an iPhone 5S

Via The Verge:

Tangerine, a breakout hit from this year’s Sundance Film Festival, is full of surprises. There’s the subject matter: transgender prostitutes working in a not-so glamorous part of Hollywood. And there are the characters: flinty, funny, nobody’s victim. But the story behind the camera is as surprising as what’s in front of it. Particularly because the camera used to shoot Tangerine was the iPhone 5S.

Tangerine - Sundance film on iPhone 5s


[bctt tweet=”iPhone 5 movie snapped up in high six figure deal at Sundance”]

Plenty of amateur films have been shot using iPhones, but by all reports, this is the first movie at the Sundance Film Festival to be shot almost entirely on an Apple device. It was a decision that indie writer and director Sean Baker made to accommodate the film’s small budget. But you’d never guess the camera, to look at it: Tangerine was shot in a widescreen, 2:35:1 aspect ratio, and its camera zooms through the streets of LA with a fluidity you’d never expect from a handheld device. And yet despite his camera of choice, Baker says the iPhone made for a good partner. “It was surprisingly easy,” Baker says. “We never lost any footage.”

Tangerine - Sundance film on iPhone image 2

So how do you make a Sundance movie for iPhone? You need four things. First, of course, the iPhone (Baker and his team used three). Second, an $8 app called Filmic Pro that allowed the filmmakers fine-grained control over the focus, aperture, and color temperature. Third, a Steadicam. “These phones, because they’re so light, and they’re so small, a human hand — no matter how stable you are — it will shake. And it won’t look good,” says Baker. “So you needed the Steadicam rig to stabilize it.”

The final ingredient was a set of anamorphic adapter lenses that attach to the iPhone. The lenses were prototypes from Moondog Labs, and Baker said they were essential to making Tangerine look like it belonged on a big screen. “To tell you the truth, I wouldn’t have even made the movie without it,” Baker says. “It truly elevated it to a cinematic level.”

Read full article at The Verge “How one of the best films at Sundance was shot using an iPhone 5S”


Note: it is our policy to give credit as well as deserved traffic to our news sources – so we don't repost the entire article – sorry, I know you want the juicy bits, but I feel it is only fair that their site get the traffic and besides, you just might make a new friend and find an advertiser that has something you've never seen before


(cover photo credit: snap from The Verge)