iPhone 17 Pro: A Filmmaker’s Review

The iPhone 17 Pro is a major jump in video quality in three of the areas filmmakers care about most. Compared to the iPhone 15 and 16 Pro, this easily becomes the best iPhone Apple has ever made for video.

In this post, I’m reviewing the iPhone 17 Pro specifically from the perspective of a working filmmaker who regularly uses an iPhone for both personal and professional video work. I’ll walk through the most important video upgrades Apple made and help you decide if it’s worth upgrading.

For transparency, this is not sponsored by Apple. I purchased this iPhone myself. This video is sponsored by my color presets, which work especially well with Apple Log footage and are linked below.

ProRes RAW Comes to iPhone

The biggest and most surprising upgrade to the iPhone 17 Pro is the addition of ProRes RAW video recording. This change affects nearly every other aspect of the camera system.

Since the iPhone 14, Apple has supported ProRes video. The iPhone 15 added Apple Log. Now, with the 17 Pro and Pro Max, Apple finally supports ProRes RAW.

Until recently, ProRes RAW was mostly limited to cameras recording externally to supported monitors. That limitation largely existed because RED held patents around internal RAW recording. After Nikon acquired RED in 2024, we started seeing more devices support internal or semi-internal RAW recording, and now the iPhone joins that list.

Technically, the iPhone 17 Pro cannot record ProRes RAW internally. You must record to an external SSD. While that may sound disappointing, it makes sense. ProRes RAW files are massive.

You’re looking at over 6GB per minute of footage. Even with a 2TB iPhone, internal recording would fill up shockingly fast. External SSD recording is the only practical option here.

ProRes RAW Quirks You Should Know About

When recording ProRes RAW, there are a few details worth keeping in mind.

First, while the Blackmagic Camera app reports 4K recording, it is actually capturing video in a 17:9 aspect ratio at 4224×2240. That’s slightly wider than standard 16:9 UHD.

Second, ProRes RAW maxes out at 4K 60fps. There is no 120fps option.

These quirks aren’t unusual. Many cameras that support ProRes RAW have specific resolution, aspect ratio, and frame rate limitations. Just plan for them when filming.

Apple Log 2 and Open Gate Recording

Alongside ProRes RAW, Apple announced Final Cut Camera 2.0, which introduces Open Gate recording and a new log profile called Apple Log 2.

Apple Log 2 offers a wider color space and improved flexibility when color grading. It is only available on the iPhone 17 Pro and Pro Max.

While Final Cut Camera 2.0 was not available at launch, the Blackmagic Camera app already supports both Open Gate and Apple Log 2.

Open Gate recording captures the full sensor in a 4:3 aspect ratio at 4032×3024. This is incredibly useful if you want to create both horizontal and vertical video from the same clip.

There are two downsides to Open Gate recording.

First, image stabilization is disabled. Since the phone is using the entire sensor, it no longer has extra pixels available for digital stabilization. You’ll want to use a tripod or stabilize in post.

Second, the Blackmagic Camera app does not currently allow Open Gate recording in Apple Log. You’re limited to Rec.709, which reduces grading flexibility. Hopefully, this is fixed in a future update.

Main Camera Image Quality

The main 48MP camera is unchanged from the iPhone 15 and 16 Pro. It uses the same sensor and lens coatings.

That means it still suffers from small but noticeable lens flares in darker environments or when filming into the sun. This remains my biggest complaint and something I hope Apple addresses in the iPhone 18.

That said, overall image quality is excellent. ProRes RAW does not magically add dynamic range, but it makes it easier to extract the maximum dynamic range the sensor already has.

This is especially useful when matching iPhone footage with cameras like the FX3, Z8, or ZR.

Why This Matters for Filmmakers

It’s wild how far iPhones have come!

Large cameras are often restricted in public spaces, concerts, museums, and venues that require media credentials. Meanwhile, the phone in your pocket can now record ProRes RAW and log video.

Apple already films many of its events on iPhone, and reports suggest more Apple TV productions are being filmed this way as well.

These phones won’t replace cinema cameras, but for run-and-gun filmmakers, they are becoming increasingly powerful tools.

Major Upgrade to the Front Camera

The selfie camera receives one of the biggest upgrades in years.

Apple finally replaced the aging 12MP sensor with a new 18MP square sensor. This allows the front camera to record both vertical and horizontal video without rotating the phone.

Holding the phone vertically while recording horizontal video feels strange at first, but it works incredibly well.

Video quality is noticeably improved. In the past, I avoided the front camera whenever possible. Now, I feel confident using it, even for professional content.

The larger sensor also improves stabilization, making handheld selfie footage look smoother while walking.

Dual Camera Recording Has Potential

The iPhone 17 Pro introduces the ability to record from the front and back cameras simultaneously.

This is useful for reaction-style videos and could be powerful for product reviews or behind-the-scenes content.

However, Apple currently bakes both angles into a single video file. Unlike Samsung, it does not record two separate clips.

A true pro mode with separate files would make this feature far more useful in editing.

Telephoto Camera Gets a Huge Upgrade

The third major video upgrade is the telephoto camera.

Apple upgraded it from 12MP to 48MP and increased the sensor size by 56 percent. This dramatically improves low-light performance, which was a major weakness on previous models.

The telephoto lens shifts from 5x (120mm equivalent) to 4x (100mm equivalent). Thanks to the higher resolution, you can digitally crop to a 200mm equivalent when needed.

Personally, I find the 4x focal length far more usable than the old 5x. It feels more versatile and easier to work with.

Bonus Filmmaker Features

There are several smaller upgrades filmmakers will appreciate.

The new vapor chamber cooling and aluminum body help manage heat much better. In my testing, I was unable to trigger screen dimming due to overheating, even outdoors.

Screen brightness increases to 3000 nits, up from 2000 on the iPhone 16 Pro. Combined with improved anti-reflective coating, outdoor visibility is noticeably better.

The iPhone 17 Pro also adds Genlock and Timecode support. These are niche but powerful tools for multi-camera workflows, video walls, and advanced productions.

To use Genlock and Timecode, Blackmagic is releasing a Camera ProDock that adds HDMI monitoring, audio inputs, SSD support, power, and sync ports. Once it’s available, I’ll be testing it extensively.

Final Thoughts on the iPhone 17 Pro for Video

The iPhone 17 Pro delivers three major video upgrades: ProRes RAW, a dramatically improved selfie camera, and a vastly better telephoto lens.

Add in Open Gate recording, better cooling, brighter displays, and pro-level sync tools, and this is the most filmmaker-focused iPhone Apple has ever made.

Oh, and if you like the colors in the video above, it was graded with my color presets.

Thanks for reading, and I’ll see you in the next one.

iPhone 16 Pro Camera Review After 12 Months

What I Loved, What I Hated, and What I Want From the iPhone 17

After using the iPhone 16 Pro for a full year and filming everything from family moments to sponsored videos, I want to share my honest thoughts on its camera. What did I love? What drove me a little nuts? And what changes am I hoping Apple makes with the iPhone 17?

Alright, let’s get into it.

What I Loved About the iPhone 16 Pro Camera

The biggest win for me is Apple Log.

Yes, Apple Log technically debuted with the iPhone 15 Pro, but it absolutely deserves to be talked about again. Using Apple Log has been a genuinely huge upgrade for me as a filmmaker, and not for the reason you might expect.

It is not just about dynamic range or having more flexibility in color grading. The real magic of Apple Log is that it backs off the aggressive sharpening Apple usually applies to iPhone footage.

That sharpening looks fine on a phone screen, but the second you bring the footage onto a computer, it screams “shot on a phone.” Apple Log fixes that.

The image quality from the iPhone 16 Pro suddenly looks much closer to what you would expect from a mirrorless camera with a larger sensor. It mixes surprisingly well with footage from other cameras without instantly giving itself away. That alone has made me far more comfortable using the iPhone as a serious filmmaking tool.

The Biggest Ongoing Issue: Lens Reflections

That said, there is still room for improvement.

One of the biggest long standing issues with iPhone cameras is lens reflections, especially when filming at night. If you are shooting lights in a dark environment, you will often see tiny reflections and ghosting artifacts in the footage.

Once you notice them, you cannot unsee them, and they are a dead giveaway that the footage came from a phone.

I have watched reviews of Android phones that seem to handle this much better, and I would really love to see Apple reduce these reflections on the iPhone 17 Pro.

Image Quality Across the Lenses

Overall image quality from the main camera is very good. The 10 bit 4K footage looks fantastic and usually holds up well, even in lower light situations.

Unfortunately, the same cannot be said for all of the lenses.

The ultra wide camera is decent and I do use it fairly often when I want a wider shot. However, once the light drops, it starts to struggle.

The telephoto lens is worse. In low light, it gets noisy very quickly, and zooming in only makes it more obvious. Because of this, I avoid using the telephoto lens unless I am filming in bright daylight. It is a bit of a bummer and really limits when that lens feels usable.

The Front Camera Is Still Behind

The front facing camera has been fine for a while now, especially since Apple upgraded it to 4K. But it still does not come close to matching the quality of the rear cameras.

This is why we are now seeing MagSafe monitors that let you frame yourself while using the back camera. It is a clever workaround, but it also highlights the problem.

I film myself a lot. While the front camera works for Instagram and TikTok, I do not love using it for YouTube. If Apple improved the selfie camera, I would use it far more often.

In a perfect world, Apple would use the same sensor across all cameras and simply pair it with different lenses. They have moved everything toward 48 megapixels, but I am not convinced all of the sensors are truly equal yet. If they were, overall image quality would be much more consistent.

The Camera Control Button: Big Miss

Now we need to talk about the biggest negative by far.

The camera control button.

This was hyped as a massive upgrade to how we use the iPhone camera. After a few weeks, I completely disabled it.

The reason is simple. I kept accidentally pressing it when picking up my phone. The placement is awkward, right around the middle of the device. Grab the phone too low and the camera opens. Because the button is recessed, you often do not even realize you are pressing it until it is already happened.

I have heard plenty of people complain about this, and I agree with them. It feels more like a nuisance than a helpful tool.

Apple talked a lot about future software updates expanding what this button could do, but that never really materialized. Much like Apple Intelligence, it sounded better on paper than it worked in reality. Disabling it made my experience with the phone noticeably better.

The idea is fine. The execution needs a serious rethink, especially the placement.

Software Features I Still Want

There are also several software improvements I would love to see.

First, more control over Apple Log. I would love the option to use Apple Log with the H.265 codec instead of being locked to ProRes. Third party apps like the Blackmagic Camera app already do this.

Second, let us use LUTs in the native camera app. At the very least, give us LUT previews when filming in Apple Log. Even better would be the option to bake them in. And yes, my Apple Log LUTs are linked in the description.

Third, expand Apple Log to more modes. Let us shoot time lapses in Apple Log. And why can we not use cinematic mode with Apple Log? If Apple is already adding artificial bokeh, give us log too. I would use cinematic mode far more often.

Looking Ahead to the iPhone 17 Pro

At the time of writing, the iPhone 17 Pro has not been announced. I would not be surprised if Apple pushes resolution to 6K or even 8K.

As someone who has been filming more in 6K, I can appreciate that. But if it is locked to ProRes, the file sizes are going to be massive. They are already huge in 4K.

Personally, I would rather see Apple focus on improving lens quality and reducing reflections before chasing higher resolutions.

Final Thoughts

Overall, I have been happy with the iPhone 16 Pro, mostly because of the image quality made possible by Apple Log.

That said, many of those gains already arrived with the iPhone 15 Pro. USB-C, external SSD recording, and Apple Log were massive upgrades. The iPhone 16 Pro’s main addition, camera control, feels pretty underwhelming by comparison.

If I could go back, I could have easily stuck with the iPhone 15 Pro without losing much in terms of video quality. But then I would not be making this post, so here we are.

Here is hoping the iPhone 17 Pro brings more meaningful improvements for filmmakers.

Remember, you can download my color presets that work great with Apple Log to get vibrant, true to life colors with just one click.

Thanks so much for reading, and have a great day.

How To Shoot Super 8 – Cameras, Film, Processing, & Scanning Guide for Beginners

So you’re thinking about getting into Super 8 filmmaking!

First of all, welcome. It’s a ton of fun, it looks incredible, and it will absolutely make you think differently about how you shoot video.

My name is Matt Johnson, and in this post I want to walk you through everything you actually need to know to get started filming in Super 8. Not the romanticized version, the practical version.

We’ll cover:

  • What Super 8 cameras you should consider
  • The single most important feature to look for in a camera
  • Which film stocks to use, and when
  • Where to send your film for processing and scanning
  • And how much all of this realistically costs

This is a lot to cover, but by the end of this post, you’ll have a clear game plan.

And if you want an even faster overview, I’ve put together a free Super 8 Filming Cheat Sheet that walks you through recommended cameras, film stocks, and where to send everything.

Alright, let’s get into it.

The Tools You Need to Film in Super 8

First Things First: The Camera

Obviously, you need a Super 8 camera.

The good news is there’s a decent chance you already have access to one without realizing it. Super 8 cameras were wildly popular in the 60s, 70s, and 80s. Millions were sold, and once digital took over, most of them ended up sitting in attics and storage closets.

So ask around. Parents, grandparents, relatives. There’s a strong chance someone knows where one is. Or you’ll end up like me, with an uncle who swears he has one somewhere but can never actually find it.

If you can get a camera this way, it’s obviously the cheapest option. Free is hard to beat.

Buying a Camera Secondhand

If the family route doesn’t work out, your next option is the secondhand market. Think eBay, Craigslist, flea markets, or antique stores.

Super 8 cameras can be surprisingly cheap, but there’s a catch. Just because someone is selling a camera doesn’t mean it actually works.

Batteries could be corroded. The motor might be dead. Any number of things could be wrong. Buying this way is a gamble.

If you go this route, look for listings that say the camera has been tested and is working. Even then, be aware that “tested” usually means the seller put batteries in it and pressed the trigger. It does not mean they shot film and had it processed.

If possible, message the seller and ask how it was tested.

Refurbished Cameras (The Safe but Expensive Option)

If you want to guarantee that your camera works, you have a couple of better options.

The first is buying a refurbished Super 8 camera from Pro8mm. They’re one of the biggest names in the Super 8 space, and they sell refurbished cameras ranging from about $700 up to $3,600.

That’s significantly more than eBay prices, but what you’re paying for is reliability. The camera works. Period.

Etsy (Yes, Really)

The final option, and the one I personally chose, is Etsy.

Yes, the same Etsy that sells handmade sweaters and mugs also sells Super 8 cameras.

There are quite a few sellers refurbishing cameras there. I bought mine from MonsterFlips USA for about $450. He refurbishes a wide range of Super 8 cameras at different price points, which makes it much easier to find something within your budget.

So why did I choose Etsy over Pro8mm?

It comes down to one very important technical feature.

The Most Important Feature in a Super 8 Camera

While all Super 8 cameras use the same film, the biggest difference between them is whether or not they have a built-in light meter.

This matters a lot.

The light meter tells the camera how bright your scene is and automatically adjusts the aperture to compensate. If there is one thing you want in a Super 8 camera, it’s this.

Think about shooting digitally. You look at your screen, see the image is overexposed, and adjust your aperture. Now imagine doing that without a screen or a reliable viewfinder.

That’s what shooting Super 8 without a light meter is like.

If your camera doesn’t have one, you’ll need to carry a separate handheld light meter, measure the light, and manually set your aperture every time. That’s slow, clunky, and honestly the opposite of what Super 8 was designed for.

Super 8 was meant to be simple. Anyone could pick it up and shoot. Hand your grandma a Super 8 camera and she can figure it out. Hand her a light meter and… not so much.

This is why I recommend buying a camera with a built-in light meter. From Pro8mm, that starts around $700. On Etsy, you can often find one for much less.

Which Camera Should You Buy?

You may have noticed I still haven’t told you which Super 8 camera to buy.

That’s intentional.

As long as the camera works and has a built-in light meter, you’re good to go. Brand and model really don’t matter as much as collectors would have you believe.

Yes, cameras like the Braun Nizo are beautiful. But at the end of the day, they’re all shooting the same Super 8 film.

Which brings us to film.

Understanding Super 8 Film Stocks (Without the Confusion)

Film can feel overwhelming at first. You’ll hear terms like Ektachrome, Vision, and Tri-X, and it’s easy to overthink it.

Here’s the good news. If you just want to have fun shooting Super 8, there are really only three film stocks you need to care about.

They’re all made by Kodak:

  • 50D
  • 200T
  • 500T

What the Numbers Mean

Think of ISO on a digital camera. Higher ISO means more sensitivity to light.

On Super 8 cameras, there is no ISO button. The ISO is determined entirely by the film.

  • 50D = ISO 50
  • 200T = ISO 200
  • 500T = ISO 500

That’s what you’re working with.

What the D and T Mean

Just like ISO, white balance is also baked into the film.

  • D stands for Daylight
  • T stands for Tungsten

50D is balanced for bright daylight. It’s perfect for shooting outdoors in the sun.

200T and 500T are balanced for tungsten lighting, which is typical warm indoor light. Because indoor lighting is darker than sunlight, these films also have higher ISO values.

Which Film Should You Use?

Here’s the simplest way to think about it.

If you’re outdoors, use 50D.

If you’re indoors, use a tungsten stock. Between 200T and 500T, I usually recommend 500T. Indoor spaces are almost always darker than you think, and 500T gives you more flexibility.

What If You Go Indoors and Outdoors?

Some Super 8 cameras have a switch with a sun icon and a lightbulb icon. This toggles an internal filter.

If your camera has this, you can shoot tungsten film outdoors by flipping the switch to daylight. It engages a filter that corrects the color so things don’t look weird.

This makes life much easier.

One Big Difference Between Film and Digital

Unlike memory cards, film is a one-time use.

Each Super 8 cartridge is 50 feet long. At 18 frames per second, that gives you about three minutes of recording time.

That’s it.

No letting the camera roll and hoping something cool happens. You need to be intentional. Plan your shots. Think before you press record.

Where to Buy Film

Film has a shelf life, like milk. You want fresh film whenever possible.

I usually buy mine from B&H. Once it arrives, I keep it in the refrigerator until I’m ready to shoot. Keeping it cold helps slow deterioration.

You can experiment with expired film later, but when you’re starting out, buy new.

Processing and Scanning Your Film

Once you shoot your film, you still can’t watch it yet.

First, it needs to be processed. This is where a lab uses chemicals to develop the film.

Companies like Pro8mm and Spectra Film and Video offer processing. Pro8mm even sells film with processing included, which is convenient.

I personally use Spectra Film and Video because it’s cheaper. You fill out a form on their website, print it, box it up with your film, and ship it to California.

After processing, the film looks like an old reel. To actually edit it, you need it scanned.

Why I Use a Separate Scanning Company

Instead of scanning with Pro8mm or Spectra, I use a company called The Negative Space, run by Nicki Coyle in Colorado.

Two reasons:

  1. She’s incredibly knowledgeable and helpful.
  2. She owns a high-end scanner that can scan Super 8 up to 6.5K.

Spectra sends the processed film directly to Nicki. She scans it and sends me a download link to a massive, high-quality ProRes file. We’re talking 50GB for three minutes of footage.

It looks incredible!

Compared to other options, her pricing is also wildly better. A 5K scan with a download link costs $20.

Yes, really.

UPDATE: NICKI NOW OFFERS PROCESSING & SCANNING! REACH OUT TO HER FOR CURRENT PRICING AND AVAILABILITY.

How I Like My Film Scanned

I choose:

  • High-resolution scans (5120×3840)
  • Flat scans so I can color grade myself
  • Overscan, not cropped

Overscan shows the edges of the film and sprocket holes. It looks amazing and gives you that unmistakable Super 8 feel.

How Much Does Super 8 Cost?

Short answer: it’s not cheap.

Every step costs money.

Film: ~$40
Shipping: ~$10
Processing: $25
Scanning: $20

All in, you’re looking at about $100 per roll, for roughly three minutes of footage.

Retro isn’t cheap.

Ways to Save Money

  • Ship multiple rolls at once to save on shipping
  • Buy film directly from Spectra for slightly cheaper prices
  • Take advantage of film + processing bundles when they make sense

Final Thoughts

Super 8 filmmaking isn’t cheap, but it’s incredibly rewarding.

It forces you to slow down, be intentional, and actually think before you shoot. And the results have a character that’s almost impossible to replicate digitally.

If you want a condensed version of everything in this post, grab the free Super 8 Filming Cheat Sheet.

And most importantly, have fun with it. Super 8 is supposed to be fun.

Thanks for reading, and enjoy filming with film!

Destination Wedding Videography Gear Guide

Destination wedding videography can be incredibly stressful due to needing to pack up all your gear and fly with it across the country or around the world. Here’s everything I brought for a destination wedding I recently filmed in California!