The first time I watched the video I noticed the driving lights were flickering in all the scenes. I wonder if that had something to do with the frequency of the LED lighting being out of phase with the 24 frames of the recording or is that the way Bentley lighting is supposed to be, but, it is distracting. Seems like a flaw in the video to me.
I noticed it too, and its the same problem when you film CRT screens with 24p cameras, you see flickering. It has nothing to do with the iPhone. (Movie production companies used to use special 24p monitors to avoid flickering when shooting CRTs on film). Any 24p camera would show the same.
I noticed it too, and its the same problem when you film CRT screens with 24p cameras, you see flickering. It has nothing to do with the iPhone. (Movie production companies used to use special 24p monitors to avoid flickering when shooting CRTs on film). Any 24p camera would show the same.
I've now read up on it. Auto manufacturers use phase modulation on the LEDs to make them brighter but conserve energy and reduce heat and extend durability rather than having constant on condition. In the old days when video recording those CRT monitors the professional cameras had a frequency adjustment to get in sync, the cameras were 60Hz and we set the monitors to 60 also but there was a slight difference which caused a line to slowly drift across the monitor on the video. It only took a slight adjustment on the camera but that was a feature only professional cameras had.
The last film set I visited - on location, there was an unspoken fear of such. A transgression meant an instant ban and public shaming in front of the crew. In film days, I once loaded up a part used canister in the main camera just as the light was failing and boy did I suffer. Never did it again. I also remember one sound engineer striding across the stage and throwing a tray of drinks in the face of a hapless visitor who slurped his coffee in the middle of a take. Prima donnas everywhere.
What kind of set would shame someone for forgetting to switch the "camera" into airplane mode? Every set I ever worked on would shame any DP using an iPhone or any phone to shoot something serious. Marketing proof of concepts like this are fun but all they really prove is how valuable and expensive the crew and camera accessories are and how little the camera actually matters in the end.
What kind of set would shame someone for forgetting to switch the "camera" into airplane mode? Every set I ever worked on would shame any DP using an iPhone or any phone to shoot something serious. Marketing proof of concepts like this are fun but all they really prove is how valuable and expensive the crew and camera accessories are and how little the camera actually matters in the end.
It's a nice demonstration showing what is possible with a phone, plus additional lenses and hardware to stabilize the phone. If nothing else, it's inspiring for budding film makers.
You swipe up from the bottom of your iDevice screen (running iOS 7). Press the button in the upper left hand corner with an airplane icon: you've enabled Airplane Mode.
Ha! Thanks. Wouldn't you know, I'm still using iOS 6 on my 4Ses.
In the old days when video recording those CRT monitors the professional cameras had a frequency adjustment to get in sync, the cameras were 60Hz and we set the monitors to 60 also but there was a slight difference which caused a line to slowly drift across the monitor on the video. It only took a slight adjustment on the camera but that was a feature only professional cameras had.
I meant 24p film cameras, as in Kodak film stock rolling through a shutter at 24 frames per second. Not video.
It is hard to tell but those iPads don't look like they would be easily removed. You know, like you carry an iPad all the time anyway and then pop it into a holder while in the car. They look more like a permanent installation. If so, why use an iPad at all? The configuration looks more like a MacBook instead. It doesn't seem to me that they are using the main advantage of an iPad, its portability.
If you're dropping $300k on a car, a couple extra for the iPads isn't going to break the bank and with the built in hotspot they can sync all your work with iCloud as your chauffeur drove you round.
It costs more for a Breitling for Bentley watch to go with your car, especially if you went for the tourbillion at $120k.
Too late for this short documentary to have any impact on Wall Street's thinking about iOS devices. Wall Street already knows Android has 80% of the smartphone market share and the Android tablet market share has already overtaken the iPad's market share. We all know that market share is the most important metric in valuing a company's worth. This one ad isn't going to help change the fortunes of a doomed company. Besides, everyone already knows Nokia holds the record for having the most megapixels in a smartphone camera and iPads can only be used for content consumption. Tim Cook must have begged and pleaded with Bentley to feature Apple products or promised to buy a dozen fully-equipped Bentleys for Apple executives to drive around campus in.
I meant 24p film cameras, as in Kodak film stock rolling through a shutter at 24 frames per second. Not video.
I understood what you wrote. I was just sharing a related story about video cameras and CRTs. In both situations the solution was to match the frequency of one device to that of the other. In the case of the LED driving lights in this video it is not so easy because the videographers probably had no clue what the LED frequency was and also had no way to adjust the camera to match it. Perhaps someone should have suggested that the mechanics simply disconnect the power from the LEDs. No one would have noticed, especially since it was converted to black and white. Annoying flickering like that would probably be unacceptable in a traditional cinematic production.
I remember the other previous thread about this topic. A few people who were completely 100% wrong should be eating some nasty tasting crow right about now. And not only were they wrong and clueless, but they were arrogant about it too, and they definitely deserve ridicule for their cluelessness.
They were projecting their own lack of talent onto others, and they could not comprehend or grasp how this entire video could possibly have been made using Apple devices and on iOS. Well it was, so they can kindly STFU now.
I will be the first to admit that I steadfastly refused to believe that 100% of all the video/audio pre/post-production work was done solely on iOS devices. I believe that somewhere in there there was an iMac or MacPro being used, if even just for some light polishing.
I knew they were being used for some pretty amazing commercials and even to film certain segments of big-budget movies, but there were always workstations behind the scenes to put it all together and make it production quality.
So this video surprised even me, an avid iOS fan into full believer-mode that production-quality scenes can be done. Of course, even the best gear doesn't mean squat if the person using it is clueless. It makes the field really open up to more joe-consumers. This is exciting.
I've been an avid underwater photographer for 10+ years (non-professional) and I'm amazed at how technology is bringing all this power to the average consumer. It won't replace my trusty 35mm DSLR, but the next 5 years of this kind of light-speed optics advancement will be fun to see.
That being said... can someone please pass me a napkin? This might get messy.
It's a nice demonstration showing what is possible with a phone, plus additional lenses and hardware to stabilize the phone. If nothing else, it's inspiring for budding film makers.
What it shows is, what is possible if you have the imagination, talented journalists, filmmakers, students and people, can do great things, in dangerous parts of the world and all you need is a 5s and a iPad and the use of some above average mobile apps to get some very good pictures and sound on the run and at the same time be able to tell compelling stories.
Just remember; award winning (Sundance, Cannes) films have been made on iMovie (yes, "iMovie") since, around 2000(?).
Tallent is tallent; end of story.
Anybody thinks there will not be professional, award winning film work done on iPhones is just ignorant. (or has some kind of grudge).
Have you seen the TV commercials that simulate amateur video with shaky camera effect and rough cuts to try to make the testimonials more realistic and authentic? Hilarious. Probably not shot on an iPhone though, just made to look like it was.
What it shows is, what is possible if you have the imagination, talented journalists, filmmakers, students and people, can do great things, in dangerous parts of the world and all you need is a 5s and a iPad and the use of some above average mobile apps to get some very good pictures and sound on the run and at the same time be able to tell compelling stories.
What it shows is the power of a modern 64bit operating system.
It does, when you forget to switch on airplane mode. I have lost a few good shots that way. There oughtta be an option you can get to within the video app.
I understood what you wrote. I was just sharing a related story about video cameras and CRTs. In both situations the solution was to match the frequency of one device to that of the other. In the case of the LED driving lights in this video it is not so easy because the videographers probably had no clue what the LED frequency was and also had no way to adjust the camera to match it. Perhaps someone should have suggested that the mechanics simply disconnect the power from the LEDs. No one would have noticed, especially since it was converted to black and white. Annoying flickering like that would probably be unacceptable in a traditional cinematic production.
I find it kind of creative and the action certainly caught my attention.
I understood what you wrote. I was just sharing a related story about video cameras and CRTs. In both situations the solution was to match the frequency of one device to that of the other. In the case of the LED driving lights in this video it is not so easy because the videographers probably had no clue what the LED frequency was and also had no way to adjust the camera to match it. Perhaps someone should have suggested that the mechanics simply disconnect the power from the LEDs. No one would have noticed, especially since it was converted to black and white. Annoying flickering like that would probably be unacceptable in a traditional cinematic production.
Well one advantage to a pro-workflow (i.e., a Mac Pro with all the expensive apps) is that you can fix that kind of thing in post.
Comments
I noticed it too, and its the same problem when you film CRT screens with 24p cameras, you see flickering. It has nothing to do with the iPhone. (Movie production companies used to use special 24p monitors to avoid flickering when shooting CRTs on film). Any 24p camera would show the same.
I've now read up on it. Auto manufacturers use phase modulation on the LEDs to make them brighter but conserve energy and reduce heat and extend durability rather than having constant on condition. In the old days when video recording those CRT monitors the professional cameras had a frequency adjustment to get in sync, the cameras were 60Hz and we set the monitors to 60 also but there was a slight difference which caused a line to slowly drift across the monitor on the video. It only took a slight adjustment on the camera but that was a feature only professional cameras had.
What kind of set would shame someone for forgetting to switch the "camera" into airplane mode? Every set I ever worked on would shame any DP using an iPhone or any phone to shoot something serious. Marketing proof of concepts like this are fun but all they really prove is how valuable and expensive the crew and camera accessories are and how little the camera actually matters in the end.
It's a nice demonstration showing what is possible with a phone, plus additional lenses and hardware to stabilize the phone. If nothing else, it's inspiring for budding film makers.
Ha! Thanks. Wouldn't you know, I'm still using iOS 6 on my 4Ses.
I meant 24p film cameras, as in Kodak film stock rolling through a shutter at 24 frames per second. Not video.
It is hard to tell but those iPads don't look like they would be easily removed. You know, like you carry an iPad all the time anyway and then pop it into a holder while in the car. They look more like a permanent installation. If so, why use an iPad at all? The configuration looks more like a MacBook instead. It doesn't seem to me that they are using the main advantage of an iPad, its portability.
If you're dropping $300k on a car, a couple extra for the iPads isn't going to break the bank and with the built in hotspot they can sync all your work with iCloud as your chauffeur drove you round.
It costs more for a Breitling for Bentley watch to go with your car, especially if you went for the tourbillion at $120k.
It costs more for a Breitling for Bentley watch to go with your car, especially if you went for the tourbillion at $120k.
B-b-but you can get an an Invicta watch on Amazon to go with this for only $54.93!
Too late for this short documentary to have any impact on Wall Street's thinking about iOS devices. Wall Street already knows Android has 80% of the smartphone market share and the Android tablet market share has already overtaken the iPad's market share. We all know that market share is the most important metric in valuing a company's worth. This one ad isn't going to help change the fortunes of a doomed company. Besides, everyone already knows Nokia holds the record for having the most megapixels in a smartphone camera and iPads can only be used for content consumption. Tim Cook must have begged and pleaded with Bentley to feature Apple products or promised to buy a dozen fully-equipped Bentleys for Apple executives to drive around campus in.
/s
Just doesn't get it.
/s
I understood what you wrote. I was just sharing a related story about video cameras and CRTs. In both situations the solution was to match the frequency of one device to that of the other. In the case of the LED driving lights in this video it is not so easy because the videographers probably had no clue what the LED frequency was and also had no way to adjust the camera to match it. Perhaps someone should have suggested that the mechanics simply disconnect the power from the LEDs. No one would have noticed, especially since it was converted to black and white. Annoying flickering like that would probably be unacceptable in a traditional cinematic production.
I remember the other previous thread about this topic. A few people who were completely 100% wrong should be eating some nasty tasting crow right about now. And not only were they wrong and clueless, but they were arrogant about it too, and they definitely deserve ridicule for their cluelessness.
They were projecting their own lack of talent onto others, and they could not comprehend or grasp how this entire video could possibly have been made using Apple devices and on iOS. Well it was, so they can kindly STFU now.
I will be the first to admit that I steadfastly refused to believe that 100% of all the video/audio pre/post-production work was done solely on iOS devices. I believe that somewhere in there there was an iMac or MacPro being used, if even just for some light polishing.
I knew they were being used for some pretty amazing commercials and even to film certain segments of big-budget movies, but there were always workstations behind the scenes to put it all together and make it production quality.
So this video surprised even me, an avid iOS fan into full believer-mode that production-quality scenes can be done. Of course, even the best gear doesn't mean squat if the person using it is clueless. It makes the field really open up to more joe-consumers. This is exciting.
I've been an avid underwater photographer for 10+ years (non-professional) and I'm amazed at how technology is bringing all this power to the average consumer. It won't replace my trusty 35mm DSLR, but the next 5 years of this kind of light-speed optics advancement will be fun to see.
That being said... can someone please pass me a napkin? This might get messy.
Just remember; award winning (Sundance, Cannes) films have been made on iMovie (yes, "iMovie") since, around 2000(?).
Tallent is tallent; end of story.
Anybody thinks there will not be professional, award winning film work done on iPhones is just ignorant. (or has some kind of grudge).
It's a nice demonstration showing what is possible with a phone, plus additional lenses and hardware to stabilize the phone. If nothing else, it's inspiring for budding film makers.
What it shows is, what is possible if you have the imagination, talented journalists, filmmakers, students and people, can do great things, in dangerous parts of the world and all you need is a 5s and a iPad and the use of some above average mobile apps to get some very good pictures and sound on the run and at the same time be able to tell compelling stories.
Just remember; award winning (Sundance, Cannes) films have been made on iMovie (yes, "iMovie") since, around 2000(?).
Tallent is tallent; end of story.
Anybody thinks there will not be professional, award winning film work done on iPhones is just ignorant. (or has some kind of grudge).
Have you seen the TV commercials that simulate amateur video with shaky camera effect and rough cuts to try to make the testimonials more realistic and authentic? Hilarious. Probably not shot on an iPhone though, just made to look like it was.
What it shows is, what is possible if you have the imagination, talented journalists, filmmakers, students and people, can do great things, in dangerous parts of the world and all you need is a 5s and a iPad and the use of some above average mobile apps to get some very good pictures and sound on the run and at the same time be able to tell compelling stories.
What it shows is the power of a modern 64bit operating system.
What it shows is the power of a $4.99 app, FilmiC.
Do Not Disturb, anyone?
I understood what you wrote. I was just sharing a related story about video cameras and CRTs. In both situations the solution was to match the frequency of one device to that of the other. In the case of the LED driving lights in this video it is not so easy because the videographers probably had no clue what the LED frequency was and also had no way to adjust the camera to match it. Perhaps someone should have suggested that the mechanics simply disconnect the power from the LEDs. No one would have noticed, especially since it was converted to black and white. Annoying flickering like that would probably be unacceptable in a traditional cinematic production.
I find it kind of creative and the action certainly caught my attention.
Well one man's meat is another man's poison.
I understood what you wrote. I was just sharing a related story about video cameras and CRTs. In both situations the solution was to match the frequency of one device to that of the other. In the case of the LED driving lights in this video it is not so easy because the videographers probably had no clue what the LED frequency was and also had no way to adjust the camera to match it. Perhaps someone should have suggested that the mechanics simply disconnect the power from the LEDs. No one would have noticed, especially since it was converted to black and white. Annoying flickering like that would probably be unacceptable in a traditional cinematic production.
Well one advantage to a pro-workflow (i.e., a Mac Pro with all the expensive apps) is that you can fix that kind of thing in post.