This OLED Monitor CALIBRATES Itself?! Dell U3226Q Review

Dell just released the dream monitor for video editors. It isn’t cheap, but it checks literally every single box you could ever have for editing and color grading, it can calibrate itself, and you can game on it too. This is the Dell U3226Q, and in this post I’m going to be reviewing it from the perspective of a video editor who also games some on the side.

Also, for the sake of ethics: this post is not paid or sponsored by Dell, but they did send me the monitor so I could make this review.

An Anti-Glare OLED Panel

Let’s start with the biggest reason to care about this monitor: it has an extremely color accurate OLED panel. Dell claims this is the world’s first OLED panel with an anti-glare, low reflection coating. That means it doesn’t have the glossy pop you’d get from an OLED with a glass screen, but as a professional who wants to minimize glare, if you work in a bright room this thing is going to block more light and be much easier to see. It also comes with a detachable monitor hood to cut back on even more light hitting the screen, which is great.

If you’ve never used an OLED before, just know that OLED is pretty much the peak of display technology right now. You get a virtually unlimited contrast ratio with bright highlights and perfectly dark shadows because the pixels themselves can turn completely off when showing black. There’s no halo or ghosting effect like you’d get on an IPS panel.

Everything in display technology has been moving toward OLED for years. Phones have used OLED displays for years. If you’re watching my YouTube video right now on your phone, you’re probably watching it on an OLED screen. OLED TVs are what most people want to buy, and I’ve personally had one for several years and love it.

So when I say this Dell monitor is designed to leverage all the strengths of an extremely high-quality OLED panel in ways that will truly benefit you as a video editor, including a bunch of features they aren’t even advertising, I mean it. This may be the last monitor you have to buy for a very long time.

Color Accuracy

Dell claims this monitor covers 100% of the sRGB color space and 99% of DCI-P3, both of which really matter for video editors. When I tested it with my Spyder color calibrator, I’m happy to tell you those claims were accurate. This screen delivers extremely accurate colors that look exactly how they should.

But here’s the thing: even with an extremely color accurate monitor that comes calibrated from the factory, I always recommend color calibrating any screen you plan to use for color grading. Monitor colors shift over time, it’s just a fact of screen technology. Colors can get warmer or cooler, the tint can shift more red or green. I’ve literally had it happen where I went too long between color calibrations, rendered a video, played it back on another computer, and thought “wait, these colors look a little funky.” Then I’d need to recalibrate to get things back to normal.

And color calibration can be a pain. You have to buy a color calibrator for a few hundred bucks, install the software, and then every few months remember to reconnect the calibrator and rerun the calibration. Most calibration software has a little nagging pop-up that appears to remind you, and I have lost count of the number of times I closed one of those pop-ups because I didn’t have time to deal with it.

And don’t even get me started on managing monitor ICC profiles and making sure each monitor is using the correct one, because you wake up one day and your operating system has chosen a different one for some reason and everything looks completely different until you track down the problem.

Let me know in the comments if you identify with that annoyance, because here’s where this monitor blows your mind.

The Built-In Color Calibrator

If you’ve been wondering why the bottom bezel on this monitor looks slightly thicker with a weird cut-out rectangle, strap in.

With this Dell OLED, you do not need to go out and spend hundreds of dollars on a separate color calibration tool and awkwardly dangle it over the front of your screen. This monitor has one built in, and it is so cool.

Whenever you want, you can press the joystick on the back of the monitor to open the menu, select calibrate, and the monitor will pop out a tiny motorized camera on a stick from the base. It analyzes the pixels on the screen and color calibrates itself at a hardware level.

What does hardware level mean? There are two types of color calibration: software and hardware. Software is where you buy a separate calibration tool, plug it into your computer’s USB port, install software, and whenever you calibrate, the results are saved as one of those annoying .icc files where you’re at the mercy of your operating system to actually use them correctly.

Hardware calibration is completely different. When you calibrate the monitor, the result is saved as a look-up table (LUT) to the monitor itself rather than to your computer. You don’t need any software on your computer for it to work. And if you switch between using a laptop and a desktop, you don’t need to have color calibration software installed on both machines. Just plug either one into the monitor and it’s going to display accurate colors, because those colors are saved to the monitor, not the individual computer.

Pretty cool, right? It absolutely blew my mind when that little camera stick popped out for the first time.

But we’re not done with the annoyance-fixing, because half the pain of color calibrating is the external calibrator and software, but the other half is just remembering to actually do it. Remember that annoying pop-up reminding you every few months?

Here’s what I think is truly magical about this monitor: you can set it to color calibrate itself on a schedule, completely automatically, with no input required from you at all. You can schedule it to calibrate every 200 hours, or quarterly, monthly, weekly, or even daily depending on how color-critical your work is.

You literally never have to think about color calibrating your screen again. Every time you sit down to color grade, you know the colors are accurate because the monitor has been keeping itself calibrated. Suddenly this monitor’s price starts to seem a lot more justified, doesn’t it?

Color Space Support

None of that would matter if the monitor didn’t support the color spaces you actually use when color grading, and that’s another area where this monitor feels purpose-built for video editors.

Open the menu and you’ll find presets for digital cinema like DCI-P3 with gamma 2.4 and 2.2, presets for YouTube like sRGB, photography with Adobe RGB, and broadcast video standards like Rec.709 and Rec.2020. There is so much control here, and it’s far more advanced than just picking “vivid” or “flat” on another monitor.

And then there’s HDR. It supports multiple flavors: HDR10 and HLG both with 1000 nits of brightness, Dolby Vision, and DisplayHDR True Black 500, a display standard designed for extremely accurate shadow detail while still getting quite bright at 500 nits. If you want to color grade in both standard and high dynamic range, this monitor handles basically all of it.

Hidden Filmmaker Features

Are we done with video features? No, because there are hidden settings in the menu that I haven’t seen anybody talking about or Dell advertising anywhere, but that are going to be extremely useful if you’re a filmmaker.

Here’s the context: if you want to buy an OLED reference monitor for on-set use, SmallHD will happily sell you one for an eye-watering $13,000 at the time I’m writing this. You get stellar visual quality and all the extra software features you’d expect from SmallHD, like scopes, overlays, and markers. It’s great, but you pay a lot for it.

Now with that $13,000 price in your head, this Dell OLED comes in at roughly one-fifth of that price and includes masking and marker overlays.

You can go into the monitor settings to add a 2.35:1 overlay, a 4:3 overlay if you’re outputting open gate, and more. You can also enable a mask that dims the parts of the frame that won’t be included in the video if you’re filming in an aspect ratio like 2.35:1.

I genuinely don’t know why these features are included on this monitor, but I’m not complaining. It definitely doesn’t have the fancy SmallHD OS, but it also doesn’t have the price. I’m not saying you have to buy it for that reason, but it’s really interesting that Dell included it.

Gaming Performance

Usually with a higher-end video editing monitor you have to make compromises, where color accuracy is great but the refresh rate is terrible. I’ve seen monitors with good colors that maxed out at 30hz or 60hz.

This Dell OLED combines an extremely color accurate and vibrant HDR screen with a 120hz refresh rate, 0.3ms response time, and VRR support. For most people who want to edit videos and game on the side, you’re going to be really happy with it.

To be clear, it’s not going to keep up with the more gaming-focused OLED monitors out there today with refresh rates at 240hz or higher, but those gaming monitors don’t offer the same level of color accuracy and built-in hardware color calibrators either.

Ports and Build Quality

A monitor is only as good as the ports it has, and you don’t have to worry here. You get 2 HDMI 2.1 ports, 1 DisplayPort 1.4 port, 2 Thunderbolt 4 ports, plus a full USB hub with USB-C and USB-A ports that pop out of a hidden cavity on the back. It also has a 2.5 gigabit ethernet port, really rounding out the hub experience. It comes with a DisplayPort cable, HDMI cable, and USB-C cable in the box.

The stand is sturdy with no wobble, and it can rotate, raise and lower, and tilt vertically. Controls are minimalistic: a power button and a joystick on the back that doubles as a button, plus three capacitive buttons on the bottom left of the bezel that you can assign to whatever you want for quick access.

The only thing missing is speakers, but honestly monitor speakers are bad 99% of the time anyway, so it’s not a big loss.

Burn-In: Should You Be Worried?

Let’s talk about the one concern you might have with an OLED monitor, and that’s burn-in. This is where a static image on screen becomes permanently visible, even when you’re doing something else. If you have grandparents who always have the news on, you may have seen this where the TV looks like it permanently has a news ticker at the bottom even when you change the channel.

With OLED screens, burn-in was more of a problem in the past due to the fragile nature of organic pixels. That said, in the last 5 to 10 years, burn-in reduction technology has gotten significantly better. TVs and monitors now have special refresh modes that run when the screen is off to help keep pixels from burning in.

This Dell monitor offers a pixel refresh feature that automatically runs whenever it goes into standby mode, and by default forces a pixel refresh every 24 hours. You can even set it to every 12 hours if you want to be extra careful.

My OLED TV has had zero burn-in issues after years of regular use. That said, a computer monitor is different from a TV because you’re more likely to leave it on all day displaying a static image like a dock at the bottom of the screen. This monitor has additional burn-in protections for that, including the ability to dim the screen or even dim only static areas like where the dock sits.

My recommendation if you’re worried about burn-in: hide your dock and menus until you mouse over them, set your desktop wallpaper to rotate through different images, and set your monitor to turn off when you’re not using it. Do those things and I would really not expect any issues, because the monitor will refresh its pixels whenever it’s off.

Should You Buy the Dell U3226Q?

Let’s talk price. This monitor comes in at $2,600 at the time of writing, which is on the higher end for a professional monitor before you get into ultra-niche reference monitors that cost $10,000, $20,000, or $30,000.

Here’s something I’ve found to be true in my technology-loving life: once you go OLED, you won’t go back. I feel the same way about this monitor as I did when I bought my first OLED TV. The contrast is too perfect, the colors are too good. Pointing a camera at it can’t do it justice, you really have to see it with your own eyes, and once you do and get used to editing on it, you won’t ever want to go back.

The good news is that OLED monitors keep dropping in price. You can get an extremely color accurate OLED for around $500 to $1,000 right now that will work great for color grading. But those budget OLEDs won’t have nearly the same features that make your life easier as a professional.

You’ll still need to color calibrate your monitor. You can buy a separate calibration tool and try to remember to do it every few months, or you can buy this Dell and have it calibrate itself automatically as often as you want, to the exact color space you’re editing in. It supports more color space presets than most monitors. Throw in the markers and overlays for different video aspect ratios, and this Dell OLED makes a really compelling argument for the price.

It’s going to save you time as an editor. And if your time is money, which I know most professionals feel strongly about, I think the Dell U3226Q is the monitor you should buy.

I’ll link to where I found the best price for this monitor down below, along with my monitor buyer guide to help you save time and money. And if you’re a video editor, check out my Edit Videos Like a Pro guide as well, which is completely free to download.

iPhone 17 Pro Camera Test: Will It Overheat?!

When Apple releases a new iPhone, the big question is always the same. Is it actually better, or is it just a small refresh? With the iPhone 17 Pro and the iPhone 16 Pro, the differences are not dramatic on paper, but real-world use tells a more interesting story.

This comparison focuses on performance, heat management, battery behavior, and how these phones hold up when you actually push them.

Raw Performance Differences

Both phones are fast. There is no getting around that. Everyday tasks like messaging, browsing, and social media feel identical on the iPhone 17 Pro and the iPhone 16 Pro.

The difference shows up when you start stressing the phone. Things like recording long video clips, exporting footage, or running demanding apps back to back reveal a small but noticeable edge for the iPhone 17 Pro.

Apps load slightly quicker, and the phone feels more responsive under sustained use.

Heat and Thermal Management

Heat has been a concern with recent iPhones, especially for video shooters and creators. This is one area where the iPhone 17 Pro shows improvement.

During extended recording sessions, the 17 Pro stays cooler for longer. It still gets warm, but it takes more time to reach uncomfortable temperatures. The iPhone 16 Pro heats up faster when pushed hard, especially during 4K video recording or long camera sessions.

This matters if you use your phone professionally or rely on it for long shoots.

Battery Behavior Under Load

Battery life between the two phones is similar during light use. Texting, calls, and casual browsing do not show much difference.

Under heavy use, the iPhone 17 Pro pulls ahead. When recording video, navigating, and multitasking throughout the day, the 17 Pro drains more slowly and maintains performance better as the battery drops.

It is not a massive improvement, but it is consistent.

Camera Performance in Real Use

Image quality between the two phones is very close. Photos look sharp, colors are accurate, and Apple’s processing is still strong on both devices.

The difference comes in consistency. The iPhone 17 Pro handles challenging lighting a bit better, especially during longer video clips. Stabilization feels more reliable, and exposure changes are smoother.

For quick clips, social content, or professional backup footage, the 17 Pro is more dependable.

Everyday Experience

If you are using your phone casually, you may not notice much difference between these two models. The iPhone 16 Pro is still an excellent device and feels fast in almost every scenario.

If you regularly push your phone with video work, long recordings, or demanding apps, the iPhone 17 Pro feels more stable and better optimized.

This is a refinement upgrade, not a revolution.

Which One Should You Choose?

If you already own an iPhone 16 Pro, upgrading to the iPhone 17 Pro is not essential. The improvements are real, but they are incremental.

If you are upgrading from an older phone, or if you frequently deal with heat, battery drain, or performance slowdowns, the iPhone 17 Pro is the better long-term choice.

Final Verdict

Apple focused on polish with the iPhone 17 Pro. Better thermal management, slightly improved performance under load, and more consistent camera behavior make it the best version of this design so far.

The iPhone 16 Pro is still a great phone. The iPhone 17 Pro is simply more reliable when it matters most.

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.