Learn how to shoot professional cinematic iPhone video with my FiLMiC Pro Tutorial. Tips for exposure, color, and manual control.

FiLMiC Pro is the best video filming app to shoot professional video with your iPhone or Android smartphone. The FiLMiC engineers push the limits of the smartphone camera across a wide range of devices. It’s not just a user interface, or manual control, but a custom image processing pipeline that gets better with every update.

I started out creating cinematic style videos using FiLMiC Pro on the original iPhone SE. In fact, those early videos taught me a lot about how far the iPhone camera can be pushed and were the basis for many of the techniques I now apply using the iPhone 11 Pro Max.

Regardless of what phone you have, FiLMiC Pro opens up a world of possibilities to the smartphone filmmaker. If you’re new to the world of professional video, it can be a bit overwhelming. Hopefully my FiLMiC Pro tutorial can help you navigate the features and how to use them so that you can shoot beautiful, professional videos with your iPhone.

Cinematic is a word that gets thrown around a lot. It can mean everything and nothing. It’s a word that can be interpreted in a variety of ways.

For our purposes it means something quite specific. A video is described as cinematic when a combination of technical and creative factors have converged in a way that give it the visual qualities of a motion picture. I believe these qualities have little to do with the camera and medium as long as some minimum requirements are met.

Cinematic visual qualities and the factors that influence them can be defined and I’ve listed them in order of importance for each.



This FiLMiC Pro tutorial covers the technical aspects of using the iPhone camera and the FiLMiC Pro app to shoot professional video.

Once you understand and practice the technical, using the camera will become second nature. Then you will discover that the creative aspects are far more important when it comes to making a video look cinematic. The creative aspects are covered in separate articles, you can find the links below.

Al Ras, Dubai. Shot on iPhone 11 Pro Max with FiLMiC Pro.

Shooting for Post Production

The one principle that is the foundation for all my work with smartphone imaging, is to shoot for post. What does this mean?

Shooting for post production means capturing an image that is primarily suitable for further post processing. Post processing includes color correction, sometimes image reconstruction and compositing, and creative color grading.

This means all of the camera settings, and techniques used when shooting video are aimed at capturing an image that can be further manipulated. This is not necessarily an image that looks perfect right away on your device.

The images I’m showing you here, and all over this website are the result of professional color correction and post production. They are not produced straight out of the camera.

I don’t use luts, or sell lut packs, and I don’t employ quick and easy shortcuts. There are no magical camera settings that will make your video look truly “cinematic”, despite what other YouTube videos may try to tell you.

I want to help you achieve the same kind of image quality, but it’s important to understand you’ll have to learn how to shoot for post, and actually put in the post production work.

Don’t worry though, the whole point of this website, and my YouTube channel is to show you how.

Al Ras, Dubai. Shot on iPhone 11 Pro Max with FiLMiC Pro.

What is FiLMiC Pro?

FiLMiC Pro is a professional video camera app that turns your smartphone into a feature packed professional video camera. It has an excellent user interface, responsive auto and manual control, and a custom image processing pipeline that gets better with every update.

Here’s a quick rundown of what you can expect.

  • Clean and intuitive user interface with responsive on screen reticles to quickly set and lock white balance, auto exposure and auto focus.
  • Fast switching between auto and manual controls.
  • Full screen exposure and focus assist including peaking, zebra, and false color.
  • Comprehensive control over recorded image parameters such as resolution, frame rate and target video encoding bit rate.
  • On screen waveform and audio recording levels.
  • Full white balance control including color temperature and tint, white balance presets, custom presets, auto white balance and white balance lock.
  • Choice of gamma encoding profiles including natural, dynamic, flat and FiLMiC LogV2. Control over black, white and mid point, shadow and highlight control with histogram.
  • Control over saturation and vibrance.
  • In camera noise reduction (on/off)
  • Integration with Zhihyun Smooth 4 and Movi Cinema Robot smartphone gimbals.
  • Anamorphic desqueeze of preview only and optional desqueezed recording.
  • Remote control via FiLMIC Remote app.

These features are refined with every new app update and new features are added. FiLMiC Pro is well worth the purchase price, along with the in-app purchase of the cinematographer kit.

Dubai Creek. Shot on iPhone 11 Pro Max with FiLMiC Pro.

How to Use FiLMiC Pro

In this FiLMiC Pro tutorial video I’ll take you step by step through the most important tools and features of FiLMiC Pro v6. Keep reading further in this article for more in-depth information.

Here’s what I cover in this introductory tutorial video.

  • Main Menu & Setup
  • Exposure & Focus Assist
  • White Balance & Gamma
  • Exposure & Focus Control
  • Playback & Clip Menu

The Best FiLMiC Pro Settings for Cinematic Video

Keep this basic checklist in your mind and run through it before hitting the record button. Read on for a more in depth explanation of all of this.

  • Resolution should be set to 4K (2160p) 16:9
  • Quality should be set to FiLMiC Extreme
  • Set Frame Rate to 24fps (24 Capture FPS and 24 Playback FPS)
  • Set and lock your white balance correctly. I like to use the daylight preset for most daytime conditions.
  • If you plan to color correct later, you can use FiLMiC LogV2, otherwise it’s probably easier to use the Natural color profile.
  • Always set and lock your ISO as low as possible to minimize video noise.

If you’re not using a ND Filter to control exposure, your shutter speed is your primary exposure control. Adjust your shutter speed manually until no highlights are clipped, and lock it.

FiLMiC LogV2

FiLMiC LogV2 is one of the gamma encoding profiles available in the FiLMiC Pro Cinematographers Kit. Far more than most limited smartphone log gamma implementations, FiLMiC LogV2 calculates luminance and chrominance information computationally from the image buffer in real-time using a process called gamma vectorization.

This gamma profile can be used to capture about a stop of extra dynamic range but must be color corrected afterwards. A simple solution is to use the deLog V2 LUT from the free official FiLMIC Pro LUT pack you can download here.

Take your skills further with FiLMiC LogV2 and learn how to employ a color managed workflow from shoot through post production using the X-Rite ColorChecker Passport Video chart. This technique will ensure you can accurately color correct your shots, making sure they match in post, allowing you to be more creative with color.

Worthing Pier, Worthing, England. Shot on iPhone XS Max with FiLMiC Pro.

Digging Deeper

If you really want to learn how to shoot professional video with an iPhone, and to do it consistently, just learning settings and buttons isn’t enough. More than learning how, it is important to learn why.

Each of the sections below will give you more background into a crucial technical aspect of shooting professional video with an iPhone, or any smartphone.

The goal is not only to learn how to set up FiLMiC Pro using the best FiLMiC Pro settings, but also why, in order to record the best quality image possible in a wide variety of conditions.

While it is true that your shots need to be color corrected in post production, and then creatively color graded, the work in post production is only possible if the shots have been recorded correctly in the first place.

The best way to master shooting professional cinematic video with an iPhone is to practice. The more you shoot, the more these things will become second nature to you.

Setting Exposure in FiLMiC Pro

Exposure is the most important factor of all, all the others are dependent on it. If a shot is over or under exposed, nothing will save it.

Auto Exposure

Auto exposure will generally try to achieve an even average exposure of the scene. In FiLMiC Pro, it will also try to keep the ISO as low as possible, this is important to minimize video noise.

In many lighting conditions this is a good place to start, and might be perfect as is. However, in very bright conditions, especially backlit, an average exposure won’t cut it. You may find that bright parts of the scene are completely over exposed, or dark parts of the scene may be too dark.

In these situations you have some decisions to make. Auto exposure doesn’t know what’s important in your scene, only you know that.

Manual Exposure

How you approach challenging lighting conditions is what will determine if a shot is useable or not. I’ve abandoned, or thrown out countless shots before that just wouldn’t work. As a general rule, over exposure is always to be avoided.

A bright backlit scene, such as a people watching a sunset or a brightly lit fountain show, is a good example. Auto exposure will most likely result in an over exposed sky and under exposed foreground. In the case of the latest Apple iPhones which employ dynamic tone mapping, the foreground levels will be automatically lifted, and full of video noise.

Choosing to manually adjust exposure for the people in the foreground will result in a completely over exposed sky. This would be an unusable shot.

Instead, the best approach is to manually expose for the sky, and let the foreground be under exposed. In high contrast back lit scenes, I always let subjects in the foreground become dark silhouettes.

This could then become a fantastic looking shot. Auto exposure alone won’t do this for you, it has to be a deliberate creative decision and a manual exposure adjustment.

Protect Highlights

No matter how you expose always pay attention to highlights, especially sunlit clouds and bright reflective objects, it’s easy to let them clip (levels exceed 100%) and once that happens, no detail will be recorded in those areas. As soon as I notice this happening I reduce the exposure slightly manually.

Lock Exposure

You don’t want exposure changing all over the place during your shot. It looks unnatural, and is one of the first signs of amateur video.

Once you’re happy with your exposure, whether it’s auto exposed or manual, make sure you lock it so it doesn’t shift while you’re recording. In FiLMiC Pro, just tap on the exposure reticle on screen to lock it. It will turn red.

If you want to set and lock exposure manually, open the manual exposure controls, drag the curved slider and watch the ISO and shutter speed change. Once your ISO and shutter speed combination is where you want it, tap on either the ISO or shutter speed value to lock it. You will usually lock whichever value is the highest priority. For me this is usually ISO since I want to keep it as low as possible to record minimum image noise. The locked value will turn red but once locked, neither value will change unless you change them on purpose.

I have found the best way to set and control exposure with FiLMiC Pro is to use a variable ND filter.

Worthing Pier, Worthing, England. Shot on iPhone XS Max with FiLMiC Pro.

Color Balance

It is crucial to correctly set and lock your camera white balance (color temperature). This will ensure that white is recorded as white, black is recorded as black and the overall color in your scene is correctly balanced.

Color temperature is a basic concept that is important to understand. I’m sure you’re familiar with the idea of different colors of white household light bulbs. You can often choose between buying a warm white or a cool white. Usually you will stick to one or the other. When the two are used together in the same room, the space doesn’t look or feel quite right. This is because these different light bulbs have different color temperatures.

Color temperature is measured in degrees Kelvin. The higher the number, the bluer the white. A lower number is a warmer, or more yellow white light.

The color of white light is relative. In the real world it often changes dynamically without you even noticing. Your eyes adjust and balance all of the other colors based on what your brain perceives as white. When the sun is out in a clear sky, white may have a color temperature of around 5500 degrees Kelvin. As soon as a cloud covers the sun, the color temperature can immediately change to 7000 Kelvin. This is much more blue in comparison.

Auto White Balance

Auto white balance is usually pretty accurate, but it does shift so it must be locked for each shot just like you lock your exposure before recording.

You will always need to color correct and match shots in post production, but color shifts between shots can make this more time consuming.

Mixed lighting can also cause inconsistencies you will notice in post production. Shots that are auto balanced correctly in sunlight won’t match with the shots that are auto balanced correctly for shade when you cut them together. The colors will look different and it may be difficult to color correct them to match.

It is far better to set your white balance manually.

Manual White Balance

Setting your white balance correctly manually removes an unnecessary variable from your shots and makes color correction and shot matching easier.

The two most common color temperatures you will use are daylight and tungsten. Daylight color temperature is about 5600K and tungsten is about 3200K.

FiLMiC Pro has excellent daylight and tungsten presets, and using them is as simple as tapping the sun icon or light bulb icon.

I find the presets are the best way to ensure color is recorded as consistently as possible.

Lock White Balance

If you use the color temperature presets, or adjust the color temperature and tint manually these values are automatically locked.

You can also use auto white balance to find the auto balance values for a shot and just tap the AWB icon to lock the values before you record.

Worthing Pier, Worthing, England. Shot on iPhone XS Max with FiLMiC Pro.

Choosing Your Frame Rate

Video frame rate is the number of individual images that are recorded per second of video. If the frame rate is too low, motion won’t be recorded smoothly. High frame rates are usually recorded for slow motion playback.

  • 24fps is the frame rate of motion picture film capture and cinema projection. It is still the baseline standard for digital motion picture capture and digital cinema projection.
  • 25fps is the standard frame rate for broadcast video in PAL system countries.
  • 29.97fps / 30fps is the standard frame rate for broadcast video in NTSC system countries.

For our purposes any frame rates higher than 30fps is for slow motion playback.

The myth that 24fps is a magic frame rate for the cinematic look is not really true. All other factors being equal, the difference between 24fps, 25fps and 30fps won’t have much of an impact. Still, I shoot mostly at 24fps because I get slightly more data per frame of video for any target encoding bit rate.

If your delivery is the internet, you can choose any of these three frame rates. However, if you know your video will be broadcast on television, you can choose 25fps or 30fps depending on delivery requirements.

Controlling Shutter Speed in FiLMiC Pro

Shutter speed is the amount of time (as a fraction of a second) that a single frame of video is recorded.

Without using a ND filter for exposure control, shutter speed is your primary control of exposure. This said, it’s important to understand.

For this reason, I highly recommend using ND filters. Preferably a good variable ND for exposure control so you can maintain a slow shutter speed in all lighting conditions.

Shutter Speed and Exposure

For a phone camera the primary method of controlling exposure is by changing shutter speed. This is exactly what your exposure control in FiLMiC Pro is doing. If there is too much light, you can only achieve a correct exposure by increasing the shutter speed. If there is very little light, the camera has to decrease shutter speed.

Shutter speed and exposure are directly connected.

High shutter speed = darker exposure.

Low shutter speed = brighter exposure.

Motion Blur

Shutter speed also affects how motion is rendered in your video. A low shutter speed will result in motion blur, where objects moving are blurred in the direction of the movement.

A high shutter speed will result in less motion blur. Moving objects will remain sharp, and motion can appear quite stuttered or jittery.

A low shutter speed results in more pleasing motion blur. However remember that a low shutter speed = brighter exposure.

Las Vegas, Nevada. Shot on iPhone 7 Plus with FiLMiC Pro.land. Shot on iPhone XS Max with FiLMiC Pro.

ND Filters

The relationship between shutter speed and exposure can only be manipulated optically by reducing the amount of light entering the lens. With a larger camera lens this can be achieved by closing and opening the iris (aperture). A smartphone camera has no iris, the aperture is fixed so the only way to reduce the amount of light entering the lens is to use a ND filter.

Using a ND filter to reduce the light entering the lens allows you to achieve a correct exposure while having a low shutter speed for more pleasing motion blur. ND filters are the first accessory you should consider buying. There are many kinds of ND filters, many sizes and good ones tend to be expensive. I’ve written up a dedicated guide to ND filters for smartphones.

Worthing Pier, Worthing, England. Shot on iPhone XS Max with FiLMiC Pro.

Control and Authorship

It’s all about control. A cinematographer or director of photography makes purposeful decisions about the image they are capturing.

Own your image, it’s a result of your deliberate choices. Your choices will get better and more tuned the more you practise. It’s a learning process, making mistakes, analyzing what to do next time, and constantly improving. You don’t leave that up to the camera.

Further Reading

How to Use the Richard Lackey FiLMiC Pro LOGv2 LUT for FilmConvert Nitrate

Learn how to use the Richard Lackey FiLMiC Pro LOGv2 LUT for FilmConvert Nitrate to achieve an easy and beautiful film look on your iPhone videos.

Read More

Beastgrip ND Filter Review | Beastgrip Pro Series ND, CPL, VND Filters

My Beastgrip ND Filter Review takes a close look at usability, performance and color rendition of the Beastgrip Pro Series ND Filters, CPL and VND Filter.

Read More

Why the iPhone 11 Pro Max is the Best iPhone for Cinematic Video

The iPhone 11 Pro Max is capable of capturing truly cinematic video. Find out why I think it’s the best iPhone for cinematic video yet.

Read More

How to Set iPhone Video Exposure with FiLMiC Pro and a Variable ND Filter

Learn how to adjust and lock perfect iPhone video exposure in FiLMiC Pro without upsetting tone mapping using the PolarPro Peter McKinnon Edition Variable ND Filters.

Read More

What is FiLMiC LOGv2?

FiLMiC LogV2 increases the dynamic range of the iPhone XS and iPhone 11 series cameras up to 12 stops in ideal conditions. Here’s how it works.

Read More

Shoot and Color Correct FiLMiC LogV2 with the X-Rite Colorchecker Passport Video

A color managed workflow ensures correct exposure and consistent color with FiLMiC Pro LogV2 by using the X-Rite ColorChecker Passport Video.

Read More


  1. John Omondi

    Hi Richard! First things first, thank you so much for sharing your expertise with the world. As you well know, not all smartphones are not compatible with the cinematography kit, hence no option to get the ideal LOG and FLAT video format. What kind of video format does one get using Filmic pro without the cinematography kit? And is it possible to make colour correction on the video shot without the cinematography kit?

    • Richard Lackey

      Hi John, yes you’re right, on Android there are so many different devices and some allow more software control over the camera and image processing pipeline than others. You can definitely do some color correction without shooting log or flat. I started out with FiLMiC Pro before there even was a flat or log profile and was making color corrections and creative grades. No matter what the best advice I can give is to shoot at the correct white balance (lock it, or use a preset), and expose to protect highlights (don’t allow bright areas to be over-exposed). This will give you the best starting point in the image data you are recording.

  2. Casey Jackson

    Hello Richard,
    Superb site. In reference to those high contrast back lit scenes, is it ever possible for foreground subjects to become a silhouette in a single hue and tone, rather than just a cacophony of noise?
    Kindest regards,
    Casey J

    • Richard Lackey

      Hi Casey, haha, I love how you’ve described it. Unfortunately a lot of shadow areas end up being a cacophony of noise, especially because of Apple’s dynamic tone mapping, which is always trying to raise shadow levels (and noise in the process) instead of letting them be… well, black, or dark at least. When this happens, unfortunately the solution is more post work, carefully masking affected areas and adjusting levels in post, or cleaning them up with noise reduction. Is it worth it? Probably not, it makes more sense to shoot with a mirrorless camera to be honest, but for some reason I really enjoy the challenges in post dealing with the phone video. It’s fun, somehow.

  3. Hi Richard,

    This article is fantastic, thank you so much for making this information available! I have a question about manual white balance. I am trying to help my wife with some cooking videos (ala Tasty) which means I have a fairly controlled environment under temperature adjustable lights. I do have some variable because I have quite a lot of indirect sunlight that comes into the room through skylights but could always film at night if necessary to mitigate this. Until reading your post I have been locking an auto white balance setting that I get by zooming in on a large white easel positioned in the cooking space prior to filming each video. I always get a value between 4K and 5K (usually close to 4200K). Of course I can adjust this with the lights to make it warmer or cooler. My question is should I continue to white balance in this way or should I use one of the presets? If using the presets should I first adjust the lights to get an auto white balance reading as close to one of the presets in filmic pro (for example fluorescent at 4200k) and then always use the same light settings and preset? Am I making this too complicated 🙂 ? I do also shoot the x-rite passport for video before each take. Should I also shoot the easel if I continue to use it? Thanks for your help!

    • Also is it better in this case to properly expose the shot by reducing the intensity of the light with the light controls or using an ND filter? I shoot at a frame rate of 50 locked with the lowest iso setting (22 or 34 depending on iPhone used for a final frame rate of 25fps.. as this helps with light flicker since here we are on 50 Hz power. Thanks!

  4. Rhett Mccook

    I agree with you

  5. Hello Richard,

    I’m using FilMic Pro 6 an I have got trouble to set exposure at the early evening with many clouds but also bright elements in the sky. I have used a ND Filter on the iPhone 11 Pro, set the shutter speed to 48 fps (what I prefer when I shoot with 24 fps) and then adjusted the exposure first with the iso and after setting the iso with the ND filter. The bright parts of the sky were perfectly exposed, the foreground were exposed dark like a siluette (that’s very fine) and the building (a lighthouse) was exposed good. But after shooting and controlling on the MacBook there was much noise all over the shots. Do you know, what went wrong?


    • Richard Lackey

      Hi Stephan, the noise you are seeing is most likely because your ISO is too high. ISO should always be locked at minimum value for the cleanest shots. Is your ND filter a variable ND filter or a fixed density ND filter?

  6. Alexia Normand

    Hi Richard! A few months ago I started watching a lot of videos filmed with the iPhone 11 pro max, most them looked nice, but I wasn’t sure of getting the phone. When I found your Dubai Creek video, I decided to buy the phone, the FilMIC Pro app and the cinematographer kit. I’ve been trying to shoot some videos for a while now, and the truth is almost all of them look bad. They have noise and grain even at places with good lighting conditions (this happens with FilMIC Pro, and when I use the app camera of iPhone, it isn’t so noticeable). When I try to color correct and color grading (I also got the Color Nitrate for Adobe Premiere), it gets really worse, and I’m not able to use the footage. This situation had me feeling frustrated, I even thought my iPhone is defective.
    Looking for advice, I searched for your video again, and I found your blog. I’m really impressed by your work and the help you are giving to a lot of users. People doesn’t worry about amateurs so often. Reading this blog, I realized I’m making everything you say (except using the ND filter), but I get bad footage. So, ¿Is there any advice you can give me to fix or improve this situation? I would really appreciate it. Congrats on your blog and your work. Greetings from Bolivia!

    • Richard Lackey

      Hi Alexia, thanks for reaching out. I hope maybe I can help. It would be helpful to see some of your clips, could you wetransfer a few clips to me at richard @ richardlackey.com? It will be helpful also to know what settings, such as ISO etc if you remember that information. Are you setting up FiLMiC Pro manually or relying on auto exposure most of the time? I will probably have some more questions once I can see some clips.

      • If he sends you those clips I hope you do a youtube video on the guidance you give him. I’m sure many of us amateurs would love to see/hear your thoughts in that scenario. 🙂

  7. Hello Richard, I am a first time user of Filmic Pro. I am extremely new to this and I lean on the non-tech side. I just filmed with the app for the first time. I edited with imovie. When I reviewed the film on my phone and on my mac it looked amazing! Bright and clear! When I posted it to our facebook it looked blurry and the color was off. I’m not sure what to do since it was great when I reviewed it before posting. I was looking for answers and came across your site. Thanks for any advice or direction you can give. Mitch

    • Richard Lackey

      Hi Mitch, that’s interesting, just so I understand, the file you rendered out of iMovie looks good when you play it back locally on your Mac and iPhone correct? It’s only when uploaded to Facebook that it appears bad? Do you have a link to it on Facebook so I can have a look at the upload?

  8. Hi Richard, I have a simple usage for the app, just a static recording of a person speaking. However, at about 10 mins into recording, we begin to notice frames freezing or dropped. I read that it might be due to iphone overheating. I need to record non stop for about 90 minutes. Do you know of any settings that I need to set or turn off in order to record? Thank you!

    • Richard Lackey

      Hi Lee, thanks for asking. Yeah 90 mins is a long time to record continuously. Which iPhone are you using? The latest iPhone 11 generation might just about manage it, if it’s not in a warm environment. Previous generations did overheat, the iPhone 11, 11 Pro, 11 Pro Max stay pretty cool even over prolonged periods. Also, what recording setting are you using? You could try dropping the recording quality to “Apple Standard” or “FiLMiC Quality” instead of “FiLMiC Extreme”. You can definitely try using the “Natural” color profile instead of FiLMiC LogV2 or Flat. Last thing to try might be to drop the recording resolution to 1080p HD.

  9. First and foremost thank you for your response. Just replying already I’m so grateful for you. Second, i’m sorry for the late response I’m very new to this so I’m easily getting frustrated lol. I opened my ProMovie app and did a recorded a short clip to try and play around with but apparently the problem is happening on saving the file to my phone and then over to my laptop. I used Davinci Resolve once before and I had used my phones camera and I did not have this problem so I’m assuming it’s happening with the saving of the files from the Zy Play and ProMovie. The test clip in Davinci is still showing as Media Offline after trying to “share the file” first instead of “saving to camera roll” from the app itself. As I hover over the test clip which is red right now it displays: Resolution: 1920×1440 Frame Rate: 24.000 Pixel Aspect Ratio: square Video Codec: H.265 Audio Codec: AAC. Another thing I’m noticing is at times my laptop recommends I purchase some sort of program to read the clips for like .99 cents but I don’t see why id need to do that.

    • Richard Lackey

      That definitely shouldn’t be happening in Resolve. There is nothing you need to pay extra to read those clips. It might be that you have something installed on your laptop that shouldn’t be there, this sounds like some malware to me trying to get you to buy something. What is the name of this program you are prompted to buy? Are you using the Resolve installer downloaded directly from the Blackmagic Design website support page?

  10. Now I know that this post is about Filmic Pro but I purchased ProMovie and filmed some things that I wanted to edit in Davinci Resolve but after downloading the files from the app to my phone I can playback the clips on my phones library but when I copy them over to my laptop and or DaVinci Resolve the clips/files won’t play and the Media Pool in DR will show the “Media Offline.” I’ve even tried to relink the clips within DR but it won’t find the files when I do the search. Any help please? I really wanted to surprise my fiancée with a cool short film of our road trip to San Antonio.

    • Richard Lackey

      Hi Guillermo, I have ProMovie Recorder too, I’ll shoot some test clips on my side and try to bring them into Resolve. I’ll report back on what I find out. I’m sure we can get them working.

    • Richard Lackey

      I just shot a clip in ProMovie at 4000×3000 (12MP 4:3) at 24fps at maximum bit rate HEVC, and when entering playback in the app, it tells me that playback with the original resolution is not supported (on the iPhone), so I saved it, not by exporting to camera roll (because this will scale down resolution, recompress and drop quality), but using “Save to Files”. I then created a new folder on the phone called ProMovie and saved the original video file in this folder.

      Then in the Files app, I browse to the folder I just created, selected the video file inside, and Airdropped it to my Mac. This will put it in your Mac downloads folder. I copied it from there to a folder in my working media storage. As far as I can see, DaVinci Resolve will see the file just fine, at the original resolution. It won’t play the file smoothly, because my Macbook Pro is an older 2015 model and doesn’t have the CPU or GPU power to decode 4000×3000 HEVC codec video in realtime. However, I normally don’t edit at 4K on this laptop, it’s not powerful enough. So I drop my timeline resolution to HD for editing, and then switch it back to 4K for color grading, and when I want to render the final video. So, to get smooth playback, I can use Resolve to either temporarily create optimized media to HD resolution Apple ProRes 422HQ files, or use Render Cache to pre-render the files to ProRes so they will play smoothly.

      The only reason Resolve will report media as offline, is if the file itself isn’t in the same location it was when you added it to your media pool. Resolve reads video files directly from wherever they are on your hard drive, so if that hard drive is ejected, or the video files are moved somewhere else, Resolve won’t know where they are and will report media offline.

      Could you let me know which settings you’re using in ProMovie? As in which resolution, which aspect ratio (16:9 or 4:3), which frame rate, and which quality level? Then I can record a test clip using exactly the same settings you used and test this process again.

  11. Hi, my name is Beqa and I bought this app from app store and still have to pay again for noise reduction and other features?

    • Richard Lackey

      Hi Beqa, there’s an additional purchase for the cinematographer kit. It includes the more advanced features such as the flat and LogV2 gamma profiles. If it shows that in app noise reduction is only available as part of the cinematographer kit, then yes, this is the case. Personally I don’t ever use the in app noise reduction, but either way I think the cinematographer kit is worth every penny. You can still do plenty without it though, and learn the fundamentals of the app. The flat and LogV2 gamma profiles are the most important thing you get with the FiLMiC Pro cinematographer kit. This is useful if you’re going to take a professional approach to color correction in post production, but it can also be frustrating to some users. It all depends how far you want to go with this.

  12. I think the updated version stopped it from happening. But either way you gave me hope for using Filmic Pro. I was so disappointed with the results I was getting. But it’s looking waaaaayyy better now.
    I’m very impressed with your website. Thanks.

    • Richard Lackey

      Thanks so much! Don’t hesitate to get in touch if you’re stuck with something, I’ll try to help if I can.

  13. Hi Richard. Thanks for your reply to Kevin. That was the first time I ever saw someone explain that locking either the iso or shutter will lock them both. But I have a question. When I lock iso the shutter changes on it own. Is it really changing or is it locked in the camera?

    • Richard Lackey

      Hmm, that’s interesting. You can actually see the shutter speed number on screen changing by itself? As far as I know, that shouldn’t be happening. What phone are you using?

  14. Michael Barber

    Hi Richard! I’ve just stumbled across your website after viewing your good work on YouTube. I’m incredibly impressed by your work and even more blown away by your generosity in sharing your workflow. Most guys would try to capitalize on the information you freely give. Very grateful. From a longtime photojournalist who’s trying to stay current, thank you.

  15. Do u have tutorials on editing iphone footages using premiere pro?

  16. Kevin Anton

    How do you lock exposure and shutter together?

    • Richard Lackey

      Hi Kevin, good question. Exposure is always a combination of two settings. These are ISO and shutter speed. Are you using the FiLMiC Pro app? If you open the manual controls, you’ll see the arc shaped exposure slider on the left side of the screen. If you drag and move it, you’ll see these two values change as your image gets brighter or darker. FiLMiC Pro will automatically prioritize keeping ISO as low as possible (this will minimize video noise in the image). If you tap on the ISO number, it will turn red and is locked, now if you drag the arc slider it only changes shutter speed. If you tap on shutter speed, it will turn red and is locked. Then if you drag the arc slider only the ISO changes. In actual fact both are locked if either one of them is tapped red. When either one is locked, the other won’t change unless you manually drag the arc slider. So, if you tap one red (locked), the other will stay wherever it’s set. If you don’t adjust it, effectively both are locked, meaning your exposure is locked.

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