Shoot movie with iphone

Use Cinematic mode on your iPhone

With Cinematic mode, your iPhone 13 camera can record videos with a shallow depth of field and add beautiful focus transitions for a cinema-grade look.

Before you get started

Make sure that you have the latest version of iOS and an iPhone that supports recording in Cinematic mode:

• iPhone 13 Pro Max
• iPhone 13 Pro
• iPhone 13
• iPhone 13 mini

How to record video in Cinematic mode

1. Open the Camera app, then swipe to Cinematic mode.
2. Tap the arrow in landscape mode to show these adjustment options:
   
   • Tap the Depth Control button , then drag the slider to adjust the depth of field.
   • Tap the 1x button on iPhone 13 Pro and iPhone 13 Pro Max to switch to Telephoto. Tap the button again to switch back to Wide.
   • Tap the exposure button , then drag the slider to make your video brighter or darker.
   • Tap the flash button , then choose from Auto, On, or Off.
3. Tap the record button to begin recording.
4. Tap a subject in the viewfinder to change focus as you record. Double tap to set automatic focus tracking on a subject. You can also touch and hold on the screen to lock the focus at a specific distance from the camera.
5. Tap the record button again to stop recording.

Cinematic mode supports Dolby Vision HDR and has a resolution of 1080p at 30fps.

Edit video taken in Cinematic mode

After you take a video in Cinematic mode, you can edit it in the Photos app on your iPhone 13 model, or on another supported device.

In addition to the standard edits that you can make to all videos, you can adjust the depth of field and the focus points of a video taken in Cinematic mode.

How to edit depth of field in a video taken in Cinematic mode

1. Open the Photos app, then tap the video that you want to adjust.
2. Tap Edit.
3. Tap the Depth Control button , then drag the slider to adjust the depth of field. Adjustments that you make to depth of field apply to the entire video.
   
4. Tap Done.

How to edit focus points in a video taken in Cinematic mode

1. Open the Photos app, then tap the video that you want to adjust.
2. Tap Edit. The video timeline appears below your video. And below the timeline, yellow dots indicate moments in the video where the focus point changes from one subject to another.
3. Drag the timeline indicator button to scrub through your video. As you move it, the video’s current focus point is indicated with a yellow square. Other recognized people or objects have a white square around them.
4. Tap a white square to change the focus point to that person or object. You can also try tapping other objects in the frame to change the focus point to that object. Double tap a subject to set automatic focus tracking. Touch and hold on the screen to lock the focus at a specific distance from the camera.
   
5. Tap the focus button to switch between the Camera app’s automatic focus tracking and your manually selected focus points.
6. Repeat for any other segments of the video where you want to change the focus point, then tap Done.

To delete a focus point transition, touch and hold the yellow dot until the delete button appears, then tap it.

Make edits to Cinematic effects on other devices

You can edit Cinematic mode video effects in the Photos app on any of these devices with iOS 15 or iPadOS 15:

• iPhone XS, iPhone XR, and later
• iPad Pro 12.9-inch (3rd generation and later)
• iPad Pro 11-inch (1st generation and later)
• iPad Air (3rd generation and later)
• iPad mini (5th generation and later)

macOS will support Cinematic mode editing in an upcoming update.

To make sure that a video taken in Cinematic mode can be edited on another supported device, use iCloud Photos or AirDrop. If you use AirDrop, turn on All Photos Data before you send:

1. Open the Photos app, then tap the video that you want to share.
2. Tap the Share button , then tap Options at the top of the screen.
3. Turn on All Photos Data, then tap Done.
4. Tap the AirDrop button, then tap the device that you want to send to.

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11 Movies Shot on iPhones, From ‘Tangerine’ to a Charming Short By Michel Gondry

Steven Soderbergh is the latest filmmaker to use a smart phone to lens a project, but he’s hardly alone in his affection for the startlingly easy creative tool.

Mar 21, 2018 12:36 pm

On the set of “Tangerine”

When Sean Baker’s breakout indie “Tangerine” arrived in 2015, its ambitious production caught a lot of attention from the film community due to the originality of its production — it was shot exclusively on a trio of iPhone 5s. The movie was not the first to use the smart phone as its primary camera, but it was the most recognized in a burgeoning field of filmmakers using phones as their primary means of production. The trend hasn’t slowed down.

This week sees the release of Steven Soderbergh’s first foray into iPhone filmmaking, with the psychological thriller “Unsane.” The movie joins a growing list of films — shorts, features, projects actually financed by Apple, and those made specifically because of the frugality of the equipment — shot on the smart phone. (And that’s to say nothing of projects only partially shot on iPhones from Andrew Neel’s “King Kelly” to Marcelo Tobar’s short “Oso Polar”; soon enough, Netflix viewers will get to check out Daryl Hannah’s debut feature, “PARADOX,” which used the smart phone for some of its shots.)

Beyond well-known projects like “Unsane” and “Tangerine,” the iPhone has played a key role in a number of productions, including work by Michel Gondry and Park Chan-wook. Update: And while this list is not meant to be exhaustive, we’d also like to note a number of solid recommendations from readers not mentioned below, including Matthew A. Cherry’s “9 Rides” and Jenna Bass’ “High Fantasy.” Check out some of other recommendations below.

“Unsane”

Steven Soderbergh’s latest — enough about his “retirement,” already — is a trippy psychological thriller shot entirely on an iPhone, and it’s less a gimmick than the product of the prolific filmmaker utilizing a tool that could keep up with his fast pace. The movie, out this week, did more than that: it turned Soderbergh into a full convert. At Sundance, IndieWire’s Eric Kohn reported that “Soderbergh said he was so impressed with the quality of iPhone cinematography that he would likely continue to use phones to shoot his movies going forward.” The filmmaker said, “I think this is the future. Anybody going to see this movie who has no idea of the backstory to the production will have no idea this was shot on the phone. That’s not part of the conceit.”

“Tangerine”

Although Sean Baker’s crowdpleaser “Tangerine” wasn’t the first film to be lensed entirely on an iPhone, it was inarguably the most successful and high profile release of its kind. When the movie debuted at the 2015 Sundance Film Festival, it made a huge slash — both for its unique production and its high quality — before landing two Gotham Award wins and an Indie Spirit Award for supporting actress Mya Taylor. Last year, the Academy of Motion Picture Arts and Sciences made its play as a game changer official: It acquired one of the three iPhones Baker and cinematographer Radium Cheung used to film the groundbreaking hit for permanent placement in the brand new Academy Museum.

“Romance in NYC”

The year before “Tangerine” hit the scene, filmmaker Tristan Pope turned his iPhone on a sweet little rom-com short film that follows a couple as they gallivant around the eponymous city. As Pope explained to IndieWire, the intimacy of filming on an iPhone 6 was a perfect fit for the film. “The natural field of view of the iPhone mimicked our real life romantic point-of-view,” he said. “We didn’t want it to feel like a video game, but a moment you could look at and go, ‘Oh, I have been there!’ or ‘I want that day!’…Shooting on the iPhone created a ‘bubble’ for me and the actress to work within, focusing more on the story than the technical aspects of it all.” Plus, it took away a ton of typical production headaches and amped up the ease of filming. “We were able to shoot in many heavily populated locations such as the subway, clothing stores and restaurants,” Pope said. “We took up such a small footprint that we could get away with doing this because we weren’t bothering anyone. Having no heavy equipment or lens changes was freeing.”

“I Play With the Phrase Each Other”

Filmmaker Jay Alvarez combined the technical aspects of iPhone filmmaking with the narrative demands of a so-called “screen” movie with his 2014 short, “I Play With the Phrase Each Other,” which was shot on iPhones and made quite a splash when it hit the festival circuit. The film’s story is structured entirely around phone calls, a creative marriage of form and function, and a prescient slice of forward-thinking entertainment.

“And Uneasy Lies the Mind”

Often billed as the first narrative feature to be entirely shot on the iPhone, Ricky Fosheim’s 2014 thriller used the smart phone to tell a twisted and disjointed tale about a character with a head injury (now that’s one way to make out of focus shots work for you). Despite the ease of using such a small rig, Fosheim and his team did run into one unique problem while shooting in a wintry locale: a battery that could be very quickly drained by low temperatures. As Fosheim told New Atlas after he completed production, “In between takes we would have to place the camera underneath our armpit in order to keep it warm.” That’s not the kind of problem — or lo-fi fix — you’re going to get with just any equipment.

“Night Fishing”

Even beloved South Korean filmmaker Park Chan-wook got in on the iPhone craze (and early) when he and his brother Park Chan-kyong teamed up to direct a 33-minute short film entirely on an iPhone 4. The fantasy-horror film notably stars K-pop star Lee Jung-hyun as a man who finds a presumably dead woman, only for the story and perspective to soon shift to something, well, very different. Like many shorts made on iPhones, the film was partially crafted to be an ad for the capabilities of the device, as it was financially supported by the telecommunications giant KT (South Korea’s exclusive distributor of the iPhone at the time), which funded the project 150 million Korean Won (US$133,447).

“Detour”

Six years later, another beloved auteur attempted something similar, when Michel Gondry directed his own short film on an iPhone 7 as part of a creative ad campaign launched by Apple itself. Still, “Detour” manages to feel like a thoroughly Gondry-ian tale of whimsy and imagination. The story is told from the perspective of a small tricycle that falls off the back of a car. In order to reunite with its owners, the tricycle embarks on an adventure across the countryside, where it meets various amusing characters that help guide its return home. As part of the release June 2017 release of the film, Apple also released six tutorials that go behind the scenes of Gondry’s production and offer up tips on how to use the iPhone to achieve effects like time-lapse, slow motion, stop motion, and night scenes.

“Dancers of New York”

Another joint by “Romance in NY” filmmaker Tristan Pope, “Dancers of New York” was shot entirely on an iPhone 6 and shows off the filmmaker’s dedication to iPhone-based photography and his love for New York City. This one comes with an added twist: it plays with motion speed in clever ways, including a number of slow-motion shots that highlight the physical feats his eponymous dancers are showing off. Pope wrote about the experience of filming on his website, noting “Overall this thing shot like a beast, capturing what would otherwise be impossible via small corners, angles, and discrete shots in popular locations. As a photographer, when you carry around a DSLR with a 200-400 lens on your camera and put down a tripod, you can guarantee the cops will want to ‘chat,’ with a phone, they are more or less confused why you have it on a tripod, and usually just walk off mumbling something about hipsters.”

“Made in Paris”

The high resolution of the camera on the iPhone X gives this short its “cinematic” edge, delightfully capturing some of the tastiest details of the food at its center. The short is ostensibly a portrait of Elise Lepinteur, a culinary student and the protégée of world famous pastry chef Christophe Adam, but its her edible creations that really shine, and the nearly four-minute short lovingly — and quite vividly — shows off her skill in the kitchen. Maybe it’s time for a cooking show entirely shot on a cell phone?

“The Painter of Jalouzi”

Immersive media company RYOT has turned its attention to the VR space, but in the autumn of 2015, co-founders David Darg and Bryn Mooser visited Haiti, armed with a brand-new iPhone 6 and the intention of making a documentary that played on the idea of immersion via the intimacy of a small, handheld camera. The short doc is focused on Duval, who lives in one of the biggest slums in Haiti, yet finds creative expression and positivity through his painting. When the new iPhone 6 first hit the market, its ability to support 4k hinted at the further possibilities of using it for filmmaking, and Darg and Mooser spin off those capabilities into eye-popping scenes of color.

“Snow Steam Iron”

After leaving the big budget superhero spectacular “Justice League,” Zack Snyder veered entirely in a different direction with his next project: a microbudget short film that he shot entirely on an iPhone 7 Plus for distribution only via the Vero app. The short, titled “Snow Steam Iron,” was kept under wraps until last September, when Snyder released a short teaser and poster on his Twitter account (it’s an iPhone movie and a social media movie). By way of introduction, he wrote: “What can you do with your talented friends & family, no money and a weekend?” While you can only see the short on the app, you can catch a glimpse of this “seedy out-of-time New York City” centered on a badass woman fighting the system in its trailer above.

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