From 16mm to iPhone 16

At Heritage Film Project, we have taken an important resolution: to progressively adopt the iPhone as a more permanent tool for documentary filmmaking. This decision is the natural evolution of a journey that began decades ago — a journey rooted in the need and choice to adapt to technology, while keeping subject and story at the heart of it all.

Moving forward, this is what documentary filmmaking will look like. In fact, already does.

A Journey Through Time

When I made documentaries in the 1980s, my only real options were celluloid by Kodak or Fuji and, occasionally, Agfa when the others were unavailable. Filming was always done on 16mm and later, Super 16mm. Shooting in 35mm was quite rare. Production back then demanded not just artistry but also complex logistics and significant budgets.

That landscape changed dramatically for my peers and me in 1998 with Thomas Vinterberg’s groundbreaking film, The Celebration. This film, shot entirely on video, received numerous awards and inspired both established filmmakers and students alike. Vinterberg used the Sony Vx1000, which operated with digital mini-cassettes. He filmed using only the available lights on location. This approach inspired many, as it presented a pathway into the industry. However, few were successful. Those who understood that hardware is not everything recognized that a good story along with a solid marketing strategy were essential. Digital video opened a door to the future for many of us.

A work of art, a great camera; under the right circumstances, I will use it again.

Sony Vx1000 and the Dogma Revolution

Overcoming Production Challenges

In 1998, I received an award from the Instituto Nacional de Cinematografia in Argentina to produce a feature documentary about Osvaldo Soriano and his tribulations during a prolonged exile in Europe. That film marked my last project shot entirely on Super 16mm. The production plan for Soriano included interviews in numerous cities: Brussels, Paris, Berlin, Mainz, Rome, Torino, London, Rio, New York, and Buenos Aires. What I shot in Europe was developed and transferred to video in Paris, while the rest of the footage was either sent or dropped off at DuArt in New York. Logistics during this time were quite challenging.

My film after Soriano was Tales of a Helmsman, a major leap in my filmmaking journey. During its production, I married Soledad Liendo, who would later become my producer. While in Rome, we learned that we were expecting our first child. This film was shot entirely with the Sony Vx1000, similar to Vinterberg’s The Celebration.

Attracting investors for a video-shot film was initially difficult, but this began to change. Celluloid had its beauty, but early video allowed me as the director to get closer to the subject. The absence of an intrusive crew fostered an environment for dialogue that resembled a confession rather than a rigorous interview.

The Evolution of Equipment

The Sony Vx-1000 was eventually followed by more sophisticated camcorders. Soon, 35mm DSLRs became the gold standard. Companies like Nikon and Canon competed for an ever-growing market of young filmmakers worldwide. The documentary revolution was unstoppable. The DSLRs were quickly replaced by their mirrorless counterparts. I ultimately transitioned to using the Sony FX3, which featured in several of my recent films, including Alice, Black Fiddlers, and The Piccirilli Factor.

Meanwhile, the phone transitioned from just a communication device to a powerful camera. I started using my iPhone 11 as early as 2015 during the production of White: A Season in the Life of John Borden Evans. Little did I know back then that the iPhone would evolve into a main tool for filmmakers, especially with the introduction of the iPhone 16 Pro Max.

If you can afford it, for it! Still my favorite and most impractical support for my current projects.

Bolex 16mm. Nothing will ever replace the feeling of holding and filming with her.

Embracing the Future of Filmmaking

As technology has advanced, almost anyone can now film with an iPhone, but that doesn’t necessarily make someone a cinematographer. The phone is merely a tool that, in the right hands, can tell a compelling story. I believe that the iPhone represents freedom from complex production hurdles, permits, and the awkward situations that can arise during filming. Individuals can quickly transform their settings, even filming powerful moments like the Pope’s funeral without the need for permits. This footage can be utilized efficiently and legally in the production of a documentary film for theatrical release.

In conclusion, advancements in audio, lighting, and editing technology that support the latest iPhones, combined with considerably lower budgets, act as liberating factors for professional filmmakers. This shift benefits everyone involved in the filmmaking process. Many seized opportunities with the introduction of early video camcorders. Now, we can produce films for the educational market at a lower cost, resulting in more stories entering the lineup of production entities like Heritage Film Project. As a producer-director, I'm now considering shooting my next project with the latest iPhone, along with supporting technologies. The future of filmmaking is indeed in our hands.

---wix---