IMO, since the synthetic rack focus in "cinema mode" doesn't actually adjust the focal plane with the glass elements, it will never be like pulling focus on a cinema lens. But it's cool.For all those posting that "there is no reason why" I would be curious what they are basing that statement on? I do not yet know what flavour of ProRes is being used on the iPhone nor do I have any details on the internal storage or other technical factors that might influence this decision so I am quite surprised there are so many who apparently do have the information. Please share.
It is worth clarifying that ProRes will only be available on the Pro models, and as the article stated in order to record 4K ProRes you will need a 256GB or larger iPhone; you can still shoot 1080p ProRes on the 128GB. Where some see this as an evil conspiracy I am more inclined to think that anyone buying the 128GB version is likely not thinking about shooting 4K video in the ProRes format so probably will not care. You definitely should not shoot ProRes if you are shooting video of the dog doing silly things and posting it directly to the web which is what I suspect the vast majority of iPhone users are doing. I also suspect there really is a technical reason this is not available at 128GB. And for those who state that 256GB should be the new minimum, well, maybe so but at this point that is irrelevant. The base storage went up and the price did not, at least that is something.
As to the Cinematic Mode I am very curious about that. I have been looking at a number of cinematography websites and it is creating a buzz for sure. What I initially missed, but some others have noted, this is not depth-of-field as created by a lens but rather a computational depth-of-field. When the camera shoots everything is in focus but the processor will try to differentiate between foreground and background through some fabulously complex and truly cool processes but, as we have seen with Portrait Mode, with varying degrees of success. A $2000 iPhone will not be replacing a $50000 dollar camera with a $25000 piece of glass on the front BUT it might well replace some consumer and prosumer video cameras IF (and that is a big IF right now) the Cinematic Mode can be made to work effectively beyond 1080p30 at some point. For instance, how will it handle a CU over-the-shoulder like the example below where the foreground clearly intersects the background? I have watched the sample video a few times but did not see anything close enough to this common set-up to inform.
View attachment 1832123
(shot courtesy of Mobile Motion Film Festival Free Film School)
We do not know yet but I suspect the above example might cause some issues (what about a foreground cross, then what?). Again, it is also very important to point out that, at this time, Cinematic mode only works for 1080p30 and it is unclear whether you can record Cinematic Mode in ProRes. I also wonder if any of this technology will be available to third party video applications? Will Filmic's DoubleTake allow ProRes recording? At 24fps? In Cinematic Mode? Across multiple lenses simultaneously? There is so much we do not know yet. This is just the first pass at this technology and I look forward to where it goes but I am not expecting it to change the world anytime soon.
I do expect to see some students making films with iPhones and look forward to seeing the results. I will also be incredibly jealous. I want to wait just one more year before replacing my current iPhone.
As a filmmaker the thing that matters most to me is if I can control my shutter speed to shoot 24fps at 1/48 or 1/50. If I can't control my shutter speed I can't use this camera to make a movie.