While Australian company Blackmagic Design (BMD) might best be known for its affordable cinema camera line-up (it all started with the Blackmagic Cinema Camera and Blackmagic Pocket Cinema Camera in 2012/13), they have also established a reputation in the realm of video post production. Their color grading software DaVinci Resolve (available for both Windows and MacOS) can be considered a veritable industry standard used by professionals all over the world.READ MORE
Last year, I hosted for the first time an article on this blog that wasn’t written by myself but by BBC Academy mobile journalism (“MoJo”) trainer Marc Blank-Settle whom I have met on several occassions and keep constantly in touch with via Twitter. His yearly insights into every new iteration of Apple’s mobile operating system iOS from a journalist’s point of view have become a much respected staple of the community so it’s no surprise he’s done it again for iOS 16. If you are an iPhone user, you should definitely dig into this and don’t forget to follow Marc on Twitter for the latest updates or to ask him a question. I’m also using this opportunity to apologize for my own relative silence on this blog in the last months but life’s been extremely busy. Hopefully the near future will allow me again to post more content here. But for today, I’m handing things over to Marc Blank-Settle. – Florian from smartfilming.blogREAD MORE
So far, all the blog posts on smartfilming.blog were written by myself. I’m happy that for the very first time I’m now hosting a guest post here. The article is by Marc Blank-Settle who works for the BBC Academy as a smartphone trainer and is highly regarded as one of the top sources for everything “MoJo” (mobile journalism), particularly when it comes to iPhones and iOS. His yearly round-up of all the new features introduced with the latest version of Apple’s mobile opearting system iOS has become a go-to for journalists and content creators. iOS 15 just came out, so without further ado, I’ll leave you to Marc’s take on the new software for iPhones and don’t forget to follow him on Twitter! – Florian – smartfilming.blogRead on
One of the things that always surprised me about Apple’s mobile operating system iOS (and now also iPadOS) was the fact that it wasn’t able to work with Apple’s very own professional video codec ProRes. ProRes is a high-quality video codec that gives a lot of flexibility for grading in post and is easy on the hardware while editing. Years ago I purchased the original Blackmagic Design Pocket Cinema Camera which can record in ProRes and I was really looking forward to having a very compact mobile video production combo with the BMPCC (that, unlike the later BMPCC 4K/6K was actually pocketable) and an iPad running LumaFusion for editing. But no, iOS/iPadOS didn’t support ProRes on a system level so LumaFusion couldn’t either. What a bummer.Read On
It’s the dog days of summer again – well at least if you live in the northern hemisphere or near the equator. While many people will be happy to finally escape the long lockdown winter and are looking forward to meeting friends and family outside, intense sunlight and heat can also put extra stress on the body – and it makes for some obvious and less obvious challenges when doing videography. Here are some tips/ideas to tackle those challenges.Read on
Ask anyone about the weaknesses of smartphone cameras and you will surely find that people often point towards a phone’s low-light capabilities as the or at least one of its Achilles heel(s). When you are outside during the day it’s relatively easy to shoot some good-looking footage with your mobile device, even with budget phones. Once it’s darker or you’re indoors, things get more difficult. The reason for this is essentially that the image sensors in smartphones are still pretty small compared to those in DSLMs/DLSRs or professional video/cinema cameras. Bigger sensors can collect more photons (light) and produce better low light images. A so-called “Full Frame” sensor in a DSLM like Sony’s Alpha 7-series has a surface area of 864 mm2, a common 1/2.5” smartphone image sensor has only 25 mm2. So why not just put a huge sensor in a smartphone?Read On
Rode just recently released the Wireless GO II, a very compact wireless audio system I wrote about in my last article. One of its cool features is that you can feed two transmitters into one receiver so you don’t need two audio inputs on your camera or smartphone to work with two external mic sources simultaneously. What’s even cooler is that you can record the two mics into separate channels of a video file with split track dual mono audio so you are able to access and mix them individually later on which can be very helpful if you need to make some volume adjustments or eliminate unwanted noise from one mic that would otherwise just be “baked in” with a merged track. There’s also the option to record a -12dB safety track into the second channel when you are using the GO II’s “merged mode” instead of the “split mode” – this can be a lifesaver when the audio of the original track clips because of loud input.Read On
Australian microphone maker RØDE is an interesting company. For a long time, the main thing they had going for them was that they would provide an almost-as-good but relatively low-cost alternative to high-end brands like Sennheiser or AKG and their established microphones, thereby “democratizing” decent audio gear for the masses. Over the last years however, Rode grew from “mimicking” products of other companies to a highly innovative force, creating original products which others now mimicked in return. Rode was first to come out with a dedicated quality smartphone lavalier microphone (smartLav+) for instance and in 2019, the Wireless GO established another new microphone category: the ultra-compact wireless system with an inbuilt mic on the TX unit. It worked right out of the box with DSLMs/DSLRs, via a TRS-to-TRRS or USB-C cable with smartphones and via a 3.5mm-to-XLR adapter with pro camcorders. The Wireless GO became an instant runaway success and there’s much to love about it – seemingly small details like the clamp that doubles as a cold shoe mount are plain ingenuity. The Interview GO accessory even turns it into a super light-weight handheld reporter mic and you are also able to use it like a more traditional wireless system with a lavalier mic that plugs into the 3.5mm jack of the transmitter. But it wasn’t perfect (how could it be as a first generation product?). The flimsy attachable wind-screen became sort of a running joke among GO users (I had my fair share of trouble with it) and many envied the ability of the similar Saramonic Blink 500 series (B2, B4, B6) to have two transmitters go into a single receiver – albeit without the ability for split channels. Personally, I also had occasional problems with interference when using it with an XLR adapter on bigger cameras and a Zoom H5 audio recorder.
Now Rode has launched a successor, the Wireless GO II. Is it the perfect compact wireless system this time around?Read On
As I have pointed out in two of my previous blog posts (What’s the best free cross-platform mobile video editing app?, Best video editors / video editing apps for Android in 2021) VN is a free and very capable mobile video editor for Android and iPhone/iPad and the makers recently also launched a desktop version for macOS. Project file sharing takes advantage of that and makes it possible to start your editing work on one device and finish it on another. So for instance after having shot some footage on your iPhone, you can start editing right away using VN for iPhone but transfer the whole project to your iMac or MacbookPro later to have a bigger screen and mouse control. It’s also a great way to free up storage space on your phone since you can archive projects in the cloud, on an external drive or computer and delete them from your mobile device afterwards. Project sharing isn’t a one-way trick, it also works the other way around: You start a project using VN on your iMac or MacbookPro and then transfer it to your iPhone or iPad because you have to go somewhere and want to continue your project while commuting. And it’s not all about Apple products either, you can also share from or to VN on Android smartphones and tablets (so basically every smartphone or tablet that’s not made by Apple). What about Windows? Yes, this is also possible but you will need to install an Android emulator on your PC and I will not go into the details about the procedure in this article as I don’t own a PC to test. But you can check out a good tutorial on the VN site here.Read On
There are times when – for reasons of privacy or even a person’s physical safety – you want to make certain parts of a frame in a video unrecognizable so not to give away someone’s identity or the place where you shot the video. While it’s fairly easy to achieve something like that for a photograph, it’s a lot more challenging for video because of two reasons: 1) You might have a person moving around within a shot or a moving camera which constantly alters the location of the subject within the frame. 2) If the person talks, he or she might also be identifiable just by his/her voice. So are there any apps that help you to anonymize persons or objects in videos when working on a smartphone?Read On
A couple of years ago, 360° (video) cameras burst onto the scene and seemed to be all the new rage for a while. The initial excitement faded relatively quickly however when producers realized that this kind of video didn’t really resonate as much as they thought it would with the public – at least in the form of immersive VR (Virtual Reality) content for which you need extra hardware, hardware that most didn’t bother to get or didn’t get hooked on. From a creator’s side, 360 video also involved some extra and – dare I say – fairly tedious workflow steps to deliver the final product (I have one word for you: stitching). That’s not to say that this extraordinary form of video doesn’t have value or vanished into total obscurity – it just didn’t become a mainstream trend.
Among the companies that heavily invested in 360 cameras was Shenzen-based Insta360. They offered a wide variety of different devices: Some standalone, some that were meant to be physically connected to smartphones. I actually got the Insta360 Air for Android devices and while it was not a bad product at all and fun for a short while, the process of connecting it to the USB port of the phone when using it but then taking it off again when putting the phone back in your pocket or using it for other things quickly sucked out the motivation to keep using it.Read On
I usually don’t follow the stats for my blog but when I recently did check on what articles have been the most popular so far, I noticed that a particular one stuck out by a large margin and that was the one on using external microphones with Android devices. So I thought if people seem to be interested in that, why not make an equivalent for iOS, that is for iPhones? So let’s jump right into it.Read On
One of the things that has mostly remained a blindspot in video recording with the native camera app of a smartphone, is the ability to shoot in PAL frame rates, i.e. 25/50fps. The native camera apps of smartphones usually record with a frame rate of 30/60 fps. This is fine for many use cases but it’s not ideal under two circumstances: a) if you have to deliver your video for traditional professional broadcast in a PAL broadcast standard region (Europe, Australia, parts of Africa, Asia, South America etc.) b) If you have a multi-camera shoot with dedicated ‘regular’ cameras that only shoot 25/50fps. Sure, it’s relatively easy to capture in 25fps on your phone by using a 3rd party app like Filmic Pro or Protake but it still would be a welcome addition to any native camera app as long as this silly global frame rate divide (don’t get me started on this!) continues to exist.Read On
As I pointed out in one of my very first blog posts here (in German), smartphone videography still comes with a whole bunch of limitations (although some of them are slowly but surely going away or have at least been mitigated). Yet one central aspect of the fascinating philosophy behind phoneography (that’s the term I now prefer for referring to content creation with smartphones in general) has always been one of “can do” instead of “can’t do” despite the shortcomings. The spirit of overcoming obvious obstacles, going the extra mile to get something done, trailblazing new forms of storytelling despite not having all the bells and whistles of a whole multi-device or multi-person production environment seems to be a key factor. With this in mind I always found it a bit irritating and slightly “treacherous” to this philosophy when people proclaimed that video editing apps without the ability to have a second video track in the editing timeline are not suitable for storytelling. “YOU HAVE TO HAVE A VIDEO EDITOR WITH AT LEAST TWO VIDEO TRACKS!” Bam! If you are just starting out creating your first videos you might easily be discouraged if you hear such a statement from a seasoned video producer. Now let me just make one thing clear before digging a little deeper: I’m not saying having two (or multiple) video tracks in a video editing app as opposed to just one isn’t useful. It most definitely is. It enables you to do things you can’t or can’t easily do otherwise. However, and I can’t stress this enough, it is by no means a prerequisite for phoneography storytelling – in my very humble opinion, that is.Read On
One of the most fascinating and convenient things about a good modern smartphone is that it lets you do a whole video production workflow involving capturing, editing and publishing on a single device, thereby offering the opportunity to eliminate the tedious but usually mandatory process of having to transfer media files between several devices to get all this done. Depending on the situation however, there’s still a certain need for file transfer solutions. You might be shooting on a phone but want to edit on a tablet with a larger screen, someone else could be the one editing your captured footage or you want to receive footage from another person to incorporate into your phone edit. Of course, nowadays, we want everything to be wireless if possible.Read On
Filmic Pro might be called the “Gold Standard” for highly advanced mobile video recording apps on both Android and iOS, it surely is the most popular and widely known one. Even Oscar-winning director Steven Soderbergh has used it to shoot two of his feature films. The fact that a powerful rival has just recently launched is bigger news for Android users though than for those on iOS. There are a couple of very capable alternatives to Filmic Pro on iOS including Mavis, MoviePro and Moment Pro Camera. While options are available on Android as well they are not as numerous and/or complete and for quite a few development has either ceased completely (Cinema FV-5 and recently Moment Pro Camera) or for the most part been reduced to bug fixes or minor compatibility adjustments (Cinema 4K, Lumio Cam, ProShot). There’s also the solid free Open Camera (plus a whole range of variants based on its open source code) and the pretty good Footej Camera 2 but none of them can really match Filmic Pro when it comes to usability and advanced features. That is until now.Read On
I’m a big fan of advanced mobile video editing apps like ‘KineMaster’ (Android & iOS) or ‘LumaFusion’ (iOS-only) and I’m very supportive of the idea that one should pay for such powerful media creation tools. However, there might be instances when it’s just not possible for one reason or another to do that. So I have always kept an eye on mobile video editing apps that tick all the following boxes: 1) they should be free to download and use 2) if there are different versions the free version should not include a watermark 3) they should be fairly advanced (for instance include the ability to have a second video track) and user-friendly 4) they should be cross-platform (Android and iOS) and 5) they should handle/export at least 1080p resolution with 25/30fps. I eventually ditched one other prerequisite: that you don’t have to create an account to use the app. To be honest, if you want an app that really ticks all the boxes, there isn’t much around. Actually up until recently I would have only been able to point to a single one: ‘VlogIt’. And even that could have been considered a cheat under strict circumstances because while VlogIt doesn’t have a watermark on the exported video, it has a branded bumper outro. I’m not too much a fan of the app’s UI though and its limited to a 16:9 project aspect ratio. Another theoretical contender was the relatively new ‘Adobe Premiere Rush’ but the availability for Android devices is still extremely limited and you only get three free exports before you have to commit to a paid subscription. So things were looking pretty sobering until last week-end.