With Filmic Pro, iPhone can record in Log (HEVC) and ProRes 422 HQ formats. Both formats have their advantages and disadvantages, and it’s important to understand how to best utilize each format.
I’ve been experimenting with Filmic Pro and trying to really push the iPhone to its limits. Recently I shared my test shoot Compare iPhone to Arri Alexatoday I want to share another experiment.
Movie Pro Log recording has long been available, a favorite feature of many filmmakers. It creates the flattest starting point possible to maximize dynamic range, just like any dedicated movie camera.
but Until recently, it was only possible to record ProRes internally on the iPhone using Filmic Pro. This is a huge achievement that will benefit not only your production workflow, but your post-processing as well.
To test the new ProRes recording capabilities, I did some side-by-side comparisons of each setting. Below I’ll unpack the results.
Log, ProRes 709 and ProRes 2020
When recording to ProRes, Filmic Pro gives you the option to record in 709 or 2020 color space.
709 is of course what most filmmakers are already familiar with, while ProRes 2020 is newer and more specifically optimized for HDR workflows.
For a quick test, I captured some footage in ProRes HQ using the 709 and 2020.
ProRes has no logs
One important thing to note: when recording to ProRes on Filmic Pro, you cannot shoot in Log color space.
To me, it’s no big deal.
In fact, I don’t like to use Log on my iPhone to shoot because I don’t like to monitor with monotonous colors. Looking at contrast and color balance helps me make key decisions about camera placement, framing and lighting.
As we’ll explore shortly, there’s no loss of dynamic range when shooting ProRes.
HD resolution on some iPhones
Resolution is another notable limitation of ProRes recording on Filmic Pro. In Log, you can shoot up to 4K resolution, while in ProRes, you can only shoot 1920 x 1080 HD on the 128GB model. If your phone has a larger capacity, you can also record 4K videos.
For some, this may be a significant factor, but for me, it’s really not a deal-breaker.
I have never been one for maximum determination and often prefer to work with people 2K camera When shooting digitally, anyway.
The iPhone’s 4K resolution is so high that it often needs to be softened in post to achieve the best results. By shooting in HD, you naturally lose some of the rough digital edges – I kind of like that.
Still, some projects require 4K for one reason or another, so be sure to keep that in mind.
Log vs. ProRes file size
Before we get into the visual comparison, let’s take a quick look at the file size differences between each recording format.
The 3 clips highlighted below are each 6 seconds in length. They are photographed in the following order (from top to bottom): 1. ProRes 2020, 2. ProRes 709, 3. HEVC log.
The size of both versions of ProRes is almost the same, just over 120mb. HEVC recording (HD) is only 22mb, almost 1/6 of ProRes.
This difference in file size is to be expected because you capture much more data with ProRes. Below, we’ll look at how it affects images and whether the trade-off is worth it.
dynamic range
Dynamic range is quite strong when shooting with either version of ProRes. But there’s no doubt you’ll get a boost when shooting in ProRes 2020 because it’s designed for HDR.
But I have to say, logging in HEVC is also very good. It seems to capture almost as much dynamic range as ProRes.
Below are the HEVC lenses next to the ProRes 709 and 2020 lenses. They’re not all that different in terms of dynamic range, at least on camera –
In post-production, when increasing the contrast, the differences become more apparent. This is where you start to feel the limitations of the compressed format.
If you don’t plan on adding too much stylization to your footage, HEVC will suit your needs. Even though it’s not very flexible in use, it looks good from the start colored.
If you want to retain maximum flexibility in post, ProRes is your best choice.
detail
The differences between Log/HEVC recording and ProRes become even more apparent when looking at the details.
Look at the difference in detail in the rocks below. The image on the left is ProRes 2020 and the image on the right is HEVC. Both are enlarged and cropped to the same extent:
Clearly, ProRes lenses contain more detail, resulting in more subtle and natural images.
HEVC footage is shot at HD resolution for even comparisons. In 4K you’ll see some improvements, but keep in mind that higher resolution doesn’t necessarily mean more detail.
However, Log/HEVC definitely has its own characteristics. Just because ProRes is a little stronger doesn’t mean it can’t produce beautiful results.
The bigger difference between the formats is color quality, which we’ll explore next.
Color quality and performance
After taking some test shots, I used a Filmic Pro V3 LUT to convert the HEVC footage from Log to Rec 709 color space.
ProRes clips don’t require any color space conversion because they are not shot in Log. Although I did have to manually adjust the exposure of the ProRes 2020 footage to work in the Rec 709 (non-HDR) timeline.
When viewing the footage side by side, it’s clear that the ProRes clip has the best color quality and performance.
The baseline of the unshaded ProRes footage is much more natural than the Log footage with the conversion LUT. Here is an example:
The log image (with the LUT applied) seems to have a slight green tint. It actually works for this image, but the ProRes colors are more realistic, which is what you want to start from.
Just like dynamic range, you’ll notice the difference more clearly when you actually color grade your footage.
ProRes footage is easier to grade and more responsive to detailed color adjustments and heavy stylization. In the Rec 709 timeline, both ProRes perform similarly, but ProRes 2020 files give you some additional color information to work with.
In this area, ProRes is the clear winner. Especially ProRes 2020.
However, I don’t want to discourage anyone from filming in The Journal. Its capabilities are also very strong. It just depends on your priorities on a particular project.
focus
Whether you’re shooting Log or ProRes, Filmic Pro will handle your footage well.
If image quality is your primary concern, ProRes 2020 may be your best choice. The only real argument against it is the HD limitations on some devices, but for most projects shot on mobile phones, 4K transfer won’t matter anyway.
Also worth mentioning is the smaller file size HEVC offers. For some works—especially documentaries—quantity is crucial. HEVC is a good middle ground that gives you great visuals at a smaller file size.
I’m looking forward to trying more with Filmic Pro and seeing what happens next.
Have you ever done mobile filmmaking? Please leave a comment below!
And don’t forget to check out my color grading LUTs here.
