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Here's one on the original Pocket with the new Laowa T1 18mm cine lens, shot handheld with a Zacuto Marauder Mini for stabilization. -
"However, Danny Boyle’s forthcoming zombie flick, 28 Years Later, was shot over the summer with a bunch of adapted iPhone 15s, WIRED has learned, making the Hollywood thriller, with its budget of $75 million, the biggest movie to date filmed with smartphones." This is apart from the Insane Lenses Attached to the Camera, big budget additional gear, God knows what else etc. Tangerine was a film actually shot on an iPhone woth attached lenses. But genuinely shot on it, with minimum extras. This Danny Boyle film saying it's shot on an iPhone is just so ... dishonest -
From the perspective of using it with an ATEM, this camera is stupendously good. With the ATEM MINI ISO, you do your live stream with the cameras (and have full remote control over everything in it), and it saves your switching as a project file for Resolve. Afterwards you load the file into Resolve, get your full switcher performance back (which you can then tweak) and automatically replace all the video elements with the 4K BRAW files from the cameras. It is fantastic. Imagine then not adding a Bluetooth capability to let the camera be operated remotely without the ATEM. It’s not like you are then offering a free lunch as if you want all the extra capability that the ATEM offers then you need to buy an ATEM anyway. -
By Andrew Reid · Posted
Going for today's small chip low-fi digital look, just as they did with the original 28 Days Later in the 90s. https://www.wired.com/story/28-years-later-danny-boyles-new-zombie-flick-was-shot-on-an-iphone-15/ https://en.wikipedia.org/wiki/28_Years_Later https://theasc.com/magazine/july03/sub/index.html But then... what's with the huge cine lenses on the front? -
It very much seems like segmentation in their product lines and development departments. The studio team created a range of cameras designed to be remote controlled and mixed etc, and they setup (what looks like) a comprehensive control system through the ATEM products. The "cameras that leave the building" team created the cinema camera range with screens and buttons, and the Video Assist range, and probably don't care their monitor doesn't have a way to control the hermit cameras from the other department. Definitely seems like a lost opportunity to have one camera be useful in both scenarios though.
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