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You can shoot ProRes (RGB, intraframe) without the Cinema Mode enabled. Ironically, if you want the best (cinema) quality, you must avoid using Cinema Mode.

@@Strada-Tech So, I need removable lenses for my iPhone 15 Pro Max 1TB in order to shoot cinematic videos in ProRes 10-bit 422 RGB.

If you sign up for the app at strada.tech and then send us an email at beta at Strada dot tech, we'll share with you some fun LUTs to try!

Thanks! The tool is called Blace Plugin. It's in the episode and it can be applied in After Effects to do depth analysis. DaVinci Resolve has a similar tool but I find easier to control depth-of-field blur in After Effects.

Episode 28 is slated to drop on June 4th and I think FCP fans will like it:)

@@Strada-Tech Thanks for that info - now I can stop going back to your channel every 5 minutes to make sure I catch the next episode! 😂

Thanks for the comment:) We're trying to be honest, transparent, and truly chronicle the story of what we're creating - and there truly is no script. Every month yields new challenges and we try to share the progress, inspiration, and objectives with the community. I honestly have no idea where this channel goes, but as long as people like you find value in it, we'll keep doing it:)

Thanks for the compliment! Check out Episode 23 and 24! If you liked EP18 you'll love the episodes!

I think you're right - and I wanted to do a super deep-dive on tagging. So be sure to check out Episode 28 which is set to release on June 4th. But the idea of matching full res with low res media is 100% on our roadmap. We are conceptualizing a very different approach to make this work! Thanks for the comment!

Thanks for the comment! We wanted to do a very deep-dive on tagging and how it can integrate with NLEs. So be sure to check out Episode 28 when it drops (scheduled for June 4th). we'll really break down the problems and solutions for logging and tagging.

Thanks for the feedback! If you're in LA on June 7-8, we'll be at Cinegear and showing some upgrades that weren't ready when we did this recap. So in a few weeks we're taking it up another notch! Plus we're inching closer to you being able to try it for yourself! Thanks for the comment:)

You're 100% right on the fact you need talent, tools, and cash to make the iPhone get images like this. My intention here was to see what was possible, certainly not be disingenuous. So we did another episode you might want to check out (Ep23) that we broke down the cost of the camera gear to help people better understand where the costs were. Thanks for the comment:)

@@Michael_Cioni ... I'll check that video out, thank you. My perspective as a starting video shooter: I rather put my money on entry level BlackMagic gear or even a Sony FX30 than trying to rig out an overhyped, over glorified, overrated, cult worshiped iPhone...

@@mauscuba Blackmagic and Sony FX30 are great cameras. Totally get the perspective of a starting video shooter. Since the world is so big, budgets vary and when you see Episode 23 you'll see how we made a killer result on a low-cost solution that many people already have access to. But it's certainly just one flavor of options. My bet is it will be 3-5 more years before Apple has solutions that are more in-line with FX30. More choices is good for all skill levels:)

Episode 28 is slated to drop June 4th - and in that episode we do a deep dive on FCP tagging and logging. I think you'll like it:)

Hey, thanks for saying that! I'm so glad it's resonating with you! We're really hoping this "clicks" with people and clearly you're getting it. Can you share which feature we demonstrated is the most valuable in your own workflows?

sign up for the app and then email us at beta at strada dot tech and we'll send you some fun iPhone LUTs to try!

Great question! The LUT is a creative conversion from the camera log into a viewing gamma space (in this case, Apple Log into Rec709). Some people refer to this as a "base grade" because it gets you "normalized images" coming from a log source. Then you use a color correction pass to fine-tune the look. Ironically, the fine-tune color should happen before (or beneath) the LUT in order to get the best control and range out of the adjustments. I work with colorist Nick Lareau who grades in DaVinci Resolve and uses the base LUT and about 20 different layered effects to achieve the creative color pass. That's the foundation of color grading and thanks to TH-cam, there are about 5,000 DaVinci Resolve training videos to start learning how to do it yourself. Plus, Blackmagic makes a free version of Resolve to try! Good luck:)

Great question! Good eye:) Apple provided their lens focal lengths based on 35mm metrics. The RED Monstro sensor is 46mm, so the same lens focal length has a different field of view (a larger sensor would have a wider FOV). So the 46mm has a 1.7x wider FOV than the same focal length on 35mm. So a 50mm on a 35mm sensor has the field of view closer to a 30mm on the 46mm sensor. So that's the reason for the conversion math. However, after doing more tests between large sensor and iPhone I don't think Apple's labeling is accurate. Thanks for the comment!

@@Michael_Cioni Sir thank you very much for the reply. Lots to learn from your channel. Keep growing!