kye

The best camera is the one you hold ; )
...and that's the "toy" when in good hands! :- )
 

@kye, your framing, beyond that of a traveller, unveils the eye of an artist :- )

Here's some more grabs.







 

I started this thread by talking about the GH7, but I think the iPhone 17 Pro has also come of age (for me at least).
My goals for using this is to keep it in my pocket, be able to shoot super quickly using the default camera app, and focus on the compositions and capturing the events in front of the camera while it does all the auto-everything required for a good quality capture.
First impressions and thoughts from a few weeks of using it.
4K Prores HQ files in Apple Log 2 look great and are a joy to work with in Resolve (see examples below) All the lenses seem to work well and even up to the 8x 200mm are completely usable hand-held, and if leaning your hand against something the 8x is almost locked-off It records 6 channels of audio, and they appear to all be independent and available in the NLE (see image below) which might(?) be useful in difficult situations where there's wind noise in one or one channel clips etc? While recording Prores Log the default camera app shows you the log image and doesn't have an option to apply a LUT, so although it's a great way to be sure you're recording LOG, it's hardly ideal.  Hopefully they fix this in an update. Audio channels in Resolve:

Some frame grabs from out the hotel window in HK.  Bear in mind these were shot with the default camera app, through multiple layers of tinted glass, and have had a film emulation grade put on top of them.
1x 24mm camera:

8x 200mm camera:

with a bit of sharpening:

with too much sharpening (unless you're a "cinematic Youtuber"):

1x 24mm camera (ignore the reflections in the window):

8x camera:

8x camera with sharpening:

and in terms of DR / latitude, here's the 1x image brought up ~2.5 stops:

I haven't tested it in low-light yet, but to me, all this essentially means that the camera is sufficiently technically capable that I can shoot with it without feeling like the technical factors are overly restrictive.  This is incredibly impressive, given that even cameras like the GH5 needed you to pay attention to their limits in some situations.
For the first time I feel like if something happened to my 'real' camera and all I had to capture a trip is my phone I wouldn't feel like I'd stuffed up.  This is the first trip I haven't packed a backup camera body, which has given me the ability to pack a couple of extra lens options, thus 'upgrading' the GH7 rig as well.

Here's some more grabs.







 

I started this thread by talking about the GH7, but I think the iPhone 17 Pro has also come of age (for me at least).
My goals for using this is to keep it in my pocket, be able to shoot super quickly using the default camera app, and focus on the compositions and capturing the events in front of the camera while it does all the auto-everything required for a good quality capture.
First impressions and thoughts from a few weeks of using it.
4K Prores HQ files in Apple Log 2 look great and are a joy to work with in Resolve (see examples below) All the lenses seem to work well and even up to the 8x 200mm are completely usable hand-held, and if leaning your hand against something the 8x is almost locked-off It records 6 channels of audio, and they appear to all be independent and available in the NLE (see image below) which might(?) be useful in difficult situations where there's wind noise in one or one channel clips etc? While recording Prores Log the default camera app shows you the log image and doesn't have an option to apply a LUT, so although it's a great way to be sure you're recording LOG, it's hardly ideal.  Hopefully they fix this in an update. Audio channels in Resolve:

Some frame grabs from out the hotel window in HK.  Bear in mind these were shot with the default camera app, through multiple layers of tinted glass, and have had a film emulation grade put on top of them.
1x 24mm camera:

8x 200mm camera:

with a bit of sharpening:

with too much sharpening (unless you're a "cinematic Youtuber"):

1x 24mm camera (ignore the reflections in the window):

8x camera:

8x camera with sharpening:

and in terms of DR / latitude, here's the 1x image brought up ~2.5 stops:

I haven't tested it in low-light yet, but to me, all this essentially means that the camera is sufficiently technically capable that I can shoot with it without feeling like the technical factors are overly restrictive.  This is incredibly impressive, given that even cameras like the GH5 needed you to pay attention to their limits in some situations.
For the first time I feel like if something happened to my 'real' camera and all I had to capture a trip is my phone I wouldn't feel like I'd stuffed up.  This is the first trip I haven't packed a backup camera body, which has given me the ability to pack a couple of extra lens options, thus 'upgrading' the GH7 rig as well.

Another frame grab showing a bit more DR.  Same Resolve + FLC workflow, but no grain added, so what you see below is the noise and compression artefacts from the Prores.
Default exposure:

-2 stops to see where the clipping point is:

+2 stops to look at the shadow detail:

Very serviceable, especially considering this was shot from the window of a moving train (the OTHER reason why rolling shutter matters).

Here's some more grabs.







 

Nice.  I'm getting the Pro one to replace my 12 Mini, so it should be quite the upgrade.
When I'm on trips I use the big camera for shooting the surroundings and environment and my phone for quickly shooting the people I know as we're out and about doing things.  Ironically that means that it's my most important camera and the other stuff is my secondary setup.
I'll be curious to see what the lower-bitrate files are like, as shooting at full res gives very little recording time.

If no-one is able to assist here, might be worth asking in the relevant sub-forum on liftgammagain.com where the colourists all hang out.  Of course, you might get an answer that's more technical than you'd like...

If no-one is able to assist here, might be worth asking in the relevant sub-forum on liftgammagain.com where the colourists all hang out.  Of course, you might get an answer that's more technical than you'd like...

One of these days this community should just team up and send every new game-changer straight to @kye ; ) You’re priceless, mate :- )

Well, that was fun.  New phone has new colour space which requires updating Resolve which wouldn't install and required me to update MacOS.  Recording and then viewing the first clip took a lot longer than anticipated.
Here's some initial observations as I find my bearings.
Resolve 20.2 only has Apple Log 2 in the Colour Space, and only has Apple Log in the Gamma.


If we assume that BM and Apply both know what they're doing then that means that Apple Log 2 gets a new colour space but keeps the same gamma curve, and iPhone 15 and 16 users get an upgrade to Apple Log 2.
In the default camera app you only get Log and HDR (whatever that is) in Prores mode.  Not entirely sure what Prores flavour it is, but I'd guess HQ because the fine print in the settings to enable it says 1 minute of 4K 30p is 6GB which is 800Mbps (and would be 640Mbps for 24p) which is sightly lower than the 700 typically stated, but is definitely higher than the 471Mbps typically stated for 4K 24p Prores 422.

If you select Prores and Log, the image displayed is the log image..  no display conversion for you!
BM camera app gives tonnes more options.  I'll have to investigate that further, but last time I looked it seemed to only offer manual shooting, rather than the auto-everything that I need when shooting fast.

Well, that was fun.  New phone has new colour space which requires updating Resolve which wouldn't install and required me to update MacOS.  Recording and then viewing the first clip took a lot longer than anticipated.
Here's some initial observations as I find my bearings.
Resolve 20.2 only has Apple Log 2 in the Colour Space, and only has Apple Log in the Gamma.


If we assume that BM and Apply both know what they're doing then that means that Apple Log 2 gets a new colour space but keeps the same gamma curve, and iPhone 15 and 16 users get an upgrade to Apple Log 2.
In the default camera app you only get Log and HDR (whatever that is) in Prores mode.  Not entirely sure what Prores flavour it is, but I'd guess HQ because the fine print in the settings to enable it says 1 minute of 4K 30p is 6GB which is 800Mbps (and would be 640Mbps for 24p) which is sightly lower than the 700 typically stated, but is definitely higher than the 471Mbps typically stated for 4K 24p Prores 422.

If you select Prores and Log, the image displayed is the log image..  no display conversion for you!
BM camera app gives tonnes more options.  I'll have to investigate that further, but last time I looked it seemed to only offer manual shooting, rather than the auto-everything that I need when shooting fast.

The phone arrived today as expected and I've had a few minutes to play around with the camera. I shot a short test scene using ProRes RAW and ProRes 422 in the Blackmagic app. Here's a quick look at the footage with just Resolve's Apple Log 2 CST applied. Very first observations:
 
Open gate is only available in RAW or RAW HQ RAW can only recorded to an external drive. I have a great Magsafe SSD that I use for this. Sensor stabilization is not available in either raw mode Resolve is super sluggish with the raw files unlike ProRes RAW or BRAW files from my S1ii. I hope this gets optimized The normal raw controls are there and the footage is very flexible as you'd expect I used Resolve's built in Apple Log 2 CST for the test https://www.youtube.com/watch?v=97PPh276M4o

Sadly the mini was a flop, it didn’t sell well. People want big phones apparently which I find annoying as one hand gesture operation is impossible, not to mention pocket ability and discretion while shooting. Those are the reasons why I still use my 13 mini as my daily driver despite having a « better » regular size iPhone.

Just like camera manufactures i guess. You can get option A & B but not option A & B and C, or option C & B but not A  Mini size factor may have less of a profit margin as well and perhaps even overheating, mostly i suspect its more about marketing segments and better profit margins. however i think you know this already 🙂
 

My daily driver is an iPhone 13 mini and that won’t change (lowkey wish they’d reintroduce the mini line, everyone I know that has one loves them). But my secondary iPhone will be getting a substantial upgrade to the 17 Pro. It’s the first pro model that resonates with me. Love the rugged unibody design, previous pro models still had that fragile precious feel I despise. 
And of course the specs. One that few seem to mention is that open gate will be supported through Final Cut Camera 2.0. And the front camera sensor is square which allows multi aspect ratios, a cool direction.
I do more and more vertical work for social and a lot of times they want the “iPhone” look not a heavy graded shallow DoF look so main benefit for that will be the cameras but I have seen impressive videos shot on iPhone Pros. 28 years later included. So who knows to what capacity all these codecs, log, open gate etc will be used.
 

Me too here, very likely. For the first time. Windows and Android user, so far.
There's external SSD recording, and they're pretty on the nano side these days, so the 256GB version is enough.

BM camera app will allow you to shoot Apple log in h.265 with very good quality. Saves soooo much space and looks great.

Anyone getting an iPhone 17 Pro / Pro Max?

Def getting there. As you said, bokek is better when it's not distracting, like in most of your recent images.
That and the very contrasty-darker frames make the image better.  I think that's it. You'd just have to add a couple of actors that move within the frame to fill the last piece of the visual puzzle.

Thank you!
From what I understand, this is how it works for both the types of raw where Resolve has the option.  Maybe sometime, I'll play with those suggestions, but it'd still be more work than just clicking a box for supported footage.  Though it's not a huge loss since the difference is fairly subtle anyway.
 
Yeah - if the info is there, there's also the option of bringing down the ISO/exposure in the raw tab and then using curves or lift to bring up the exposure in the shadows.

They mention it at 1:06:21 - below is linked to timestamp:
I must admit that if BM camera supports it then it's a step towards it being supported in Resolve.  It's not currently listed on the BM website, but that makes sense as (IIRC) no iPhone can record it yet:

I'll be ordering a new phone and my GH7 already records Prores RAW internally, so I'll be in a strange place where both my main cameras support internal Prores RAW but my NLE doesn't!
😆 😆 😆

Off topic, but nice image.