iPhones tho cinema shooting anta

[balancer]

 

 

On the other side of things, Boyle and Mantle also constructed elaborate new rigs to shoot the action in ways it’s never been shot before. One rig, which lined up a whopping 20 cameras in a semi-circle, already made headlines in the lead-up to the film. And it provided star Taylor-Johnson with an experience unlike any one he’s had on any other set.

“You think of something of this scale, a big production like this, that it might be shot on film or these certain cameras. But then it's just Danny going, ‘Yeah, and I've got an idea. And it's going to be iPhones. And sometimes we're going to put 20 of them on a rig.’ And you're like, ‘I'm sorry, did I just miss... Did you say it's going to be a phone?’” Taylor-Johnson says.

 

The film’s unique mode of filmmaking gave Taylor-Johnson and other cast members a role they’d never had before: camera operator. “There's a great shot of Aaron Taylor-Johnson running at the end of the film,” Boyle says. “He's got a camera in his left hand as he's running at full power. You can't do that with conventional cameras at all, because the actor has to slow down a bit to let the equipment keep pace with him.”

Rather than feel pressured by the job of operating the camera while acting, Taylor-Johnson was only energized by this new filmmaking mode. “Danny's just such a bold filmmaker,” he says. “And it laid the sort of groundwork for the fact that this was going to be very experimental and just new. It kept us on our toes in a really refreshing way.”

 

“[The smartphones] gave us an opportunity to record some of the brutality, some of the violence very graphically, and hopefully startlingly.”

When I ask Boyle about the experience of making 28 Years Later with iPhones, it’s the most animated that the director gets during the interview. Yes, that 20-camera rig was just one of many “unusual rigs” he and his crew manufactured — some would have eight cameras, some 10, though 20 was the limit. And all of these smartphone cameras offered the highest quality, thanks to them coming built in with the ability to shoot in 4K resolution and 60 frames per second. “So you can shoot for a cinema screen without any loss of resolution or satisfaction in watching a widescreen format,” Boyle describes enthusiastically.

The result onscreen is nothing short of breathtaking. The action is more visceral and real than any other recent horror movie has been able to achieve; the bloodshed is so shocking that you can practically feel the arrows ripping through flesh. “[The smartphones] gave us an opportunity to record some of the brutality, some of the violence very graphically, and hopefully startlingly,” Boyle says. There’s no doubt about it: Boyle has handily achieved that goal.

 

[Thokkalee]

It doesn’t make sense.. each rig with 20 iPhones itself is costing 35K assuming they purchased iPhone 16 pro with 1TB.. and they get only 4K with limited options to shoot and use different filters and configurations.. most movies are now shot using 8k cameras 

Camera rental inkaa cheap avutundemo..