Complete Guide to the Blackmagic Camera App

1. Course Intro & Welcome: Hey, guys, I'm Blade Calhoun, and I'm glad you decided to take the course, and I hope you find it very helpful. This training cover is everything you need to know about using the Black Magic camerap and how to shoot professional quality video with it. I've been working with mobile video tech since 2010, and I've run a YouTube channel on that topic since 2012. So I have lots of experience with a wide variety of camera aps, now, including Black Magic. I also use traditional Black Magic cameras and, so I am very familiar with their ecosystem, and I really do like it. So there are a few things I want to mention before we get started. First, beyond going over the controls of the app and how to shoot video with it, I will also be giving my opinion. So that means some of the things I'll talk about are subjective. I would suggest having your phone with you and the app open as you watch. That way you can pause and replay the different sections to try out the different features. The best way to learn is by actually doing it. In this course, I use an iPhone 15 Pro Max, but you definitely don't need this exact phone to use the Black Magic Hamer. Use whatever iPhone you have. Although some features I go over are exclusive to the iPhone 15 or later depending on when you're watching this course. Please make sure you've installed and are running the latest version of the Black Magic camera app. Remember, two, it's a free app. Right. Now with that out of the way? Let's get into it. 2. App General Overview: Blackmagic recently updated their UI, very subtly, moved a few things around, but I just wanted to let you know that some of the videos you'll watch will have a slightly different UI. But overall, it's basically the same look and functionality. Just some things have been moved around, and a few new features have been added, which I will detail throughout the course. This per section, I am shooting in front of a basic background just so you can see what I'm doing. And later when we get to the H two section, I'll have some sample objects in front of the camera. But initially, I'm just going to do a general overview of the app interface and controls. The first thing you'll see is the app is fairly clean. The interface is fairly clean. When I say clean, I don't mean there's information on the screen. That's good, though. You want that information, but everything is kind of laid out in a very clean way, I think. And I like that. In particular, compared to other apps. And the nice thing is not only is it laid out in a nice way, everything is actually right here at your fingertips really on the main screen. So you don't have to go into other men to do most of the stuff. And the main menus are over here on the right. We'll get to that in a minute. But just looking at the interface, we'll start from left to right. You've got your lens. The information below that is showing a ut, which I'm using right now. Luts are used when you're using a log profile to show as a preview. And again, I'll talk about that more in a minute. You got your frames per second. I'm shooting 24 frames per second. You've got your shutter. I've got it set to angle. You can use angle or shutter speed, which would be a fraction. Next, you've got your iris or your aperture. That is fixed. And this particular iPhone is F 1.8, but you can't change that like you can on a traditional camera. And that's an important point to remember. Then you've got timecode and ISO. ISO and shutter is how you control the exposure. You've got white balance across the top. Ten is related to white balance. You've got your resolution, which is four K, and then you got your battery indicator. And then at the bottom left, you've got a histogram and then your storage indicator showing how much is left on the phone or if you're using external drive. And then this is audiometer. On the right, you've got your record button in the middle, and then you've got some other controls that, again, are right at your fingertips that are ones you will use quite a bit. And then on the far right, you've got access to your camera, which is what we're on right now. Your media, which is your library, and then chat, which is if you're using Blackmagic Cloud, which we'll talk about later, you could chat with people editing your footage in DaVinci Resolve or what have you. And then you've got your main settings menu down here. And so, again, everything is laid out. You can just quickly look at the screen and know what's up, which again, for a lot of apps is not the case. If you've ever used a Blackmagic Camera, traditional camera, like the cinema camera, the pocket cinema camera, this has a very similar layout to that. 3. Screen Controls Pt 1: So now that I've gone over what each of these things is, we'll see how you can control some of these from the screen and then which ones you can't control. And then what they actually do. So I'll start with the lens picker. Right now, I'm on a 24 millimeter. You can actually click that. A menu pops up over here and you can choose the actual camera slash lens you want to use. So I'm on the y, which is a 13 millimeter, 24 millimeter. And then on this particular phone, I've got a five times a 120 millimeter, and then you have the front camera, the selfie camera. And now, if you have a 14 pro or later, Blackmagic has added the two times lens, the 48 millimeter virtual camera into the app, which is great. I use that all the time, the native camera app. This way, you can push in two times on the sensor, and you don't lose image quality like you do with a digital zoom. It's also nice if you're using a third party lens like an anamorphic lens, you can push in and get a tighter shot with the same lens. And again, you're not losing image quality. You've got your lens picker and Zoom in one button now. This is all the same. You got the same lens picker, which is nice. But then the Zoom now is integrated in there. And so that is different. And then another thing they added is down here at the bottom, they have what's called Doli Zoom, but you can hit presets and it zooms in automatically. Now, keep in mind, this is a digital zoom, so you lose quality when it's doing. But I guess they're calling it a dolly zoom because it's automated, then it moves like that instead of being a Snap Zoom. So, the other thing that you can do as part of that, I had it set up previously. You click on the clock here, the timer, and I had it on 2.5 seconds so you can make that go faster, go to 0.5 seconds. So now when you hit it, it kind of looks like a snap zoom so that is nice. Or you can do the opposite way and go into, I'm not sure how far, I guess, 10 seconds. That would be a long Zoom. So we'll come out from that, and now I'll hit two times and you can see how slow it's going. Or eight times, you can see how slow it's going in. So yeah, that could come in pretty handy, depending on what you're doing. I don't zoom a lot, but if you need to do Zooms, you're doing sports or documentary or maybe news and you need to zoom in on someone and have complete control. I think that's what it's for. I would call that more of an automatic Zoom, more than a dolly zoom. So neither here nor there, that's a pretty cool new feature they've added. And then to close that menu, you hit that again. Same with frame rate. You can choose 24, 25, you can go up to 60 frames per second shooting four K. If you're in a pal country, you could shoot 50 or 25 or 30. You could shoot 48 per slow motion. Anything over 24 frames per second, if that's your base frame rate, would be considered slow motion. But for most things, I shoot 24 frames per second. Now, if you're in the US, you might shoot 30 or if you're in a Po country, you might shoot 25. That can be subjective. If you're making a movie or a short film or anything narrative, you pretty much want to shoot 24 frames per second. Now the shutter works the same way. I've got it set on shutter angle right now, and in a minute, I'll show how you can switch that to shutter speed, and that would be a fractional number, which if you're used to using mirrorless cameras or smartphones is probably what you're used to. But shooting on shutter angle is nice because whenever you leave it on 180, it will always stay at that particular shutter speed if it's locked, meaning it will keep the 180 degree shutter rule. And if you don't know what that is, basically, if you're shooting 24 frames per second, you would want to double that, which would be 148. And one 48th is 180 degrees shutter. If you're shooting 30 frames per second, your shutter speed would be one 60th. But again, the nice thing is, leaving it on 180, you can always know your shutter speed is correct for proper motion blur, and you don't have to do any math. And to lock that, you've got a padlock icon, and so you just hit that and it'll stay locked. And I'll get into more details about that in a minute. And then to close that menu, you hit shutter again. Related to shutter, especially on a phone is your ISO. And your ISO is basically digital gain that helps control the exposure because again, the Iris is locked, and so to control exposure, you shutter and ISO. And here, you've got ISO values going all the way up to, I think, 3,000, I don't know, 5,252 80 here. You would never want to do that. Regardless of the camera, you want to keep your ISO pretty low. And on a phone, that's even more important. Because of the small sensor, you want to make sure that your ISO is as low as it can be. And these ISO numbers don't relate the exact same as they do to a traditional camera. Like in a traditional camera, you might have a base ISO of 800. On a phone, the base ISO is usually 55 on this particular model, it is. On some previous generation phones, it goes down to 22. And so in the past, I always recommended keeping your ISO at 100 or low. And that's still good advice. But with the newer generation phones in the last, oh, really since the 13, the 12 or the 13, you have more room there. You can go up to ISO 400 or even more, depending on the shot, and your noise is pretty good. But you still want to be cognizant of that. And again, we'll get into more of that later. And then white balance, you can lock the white balance, which is what I have right now. Same little padlock. You can control the kelvin manually depending on the scene, or what I tend to do more is choose a preset. That's tungsten, fluorescent, shade, cloudy, and daylight. 5,600 K is what I tend to shoot at most, even when I'm inside. Again, it depends on the scenario, but most lights you buy will be balanced to daylight. Although again, Tungsten can be used a lot as well, but for the most part, 5,600 is a good one to use. And the one thing I would note is I would rarely ever use Auto. You can use Auto but then lock it. That way, it's set to what the camera thinks is correct, but then when you're moving the camera, it won't change. White balance shifts are notoriously bad and make your footage look unprofessional. Tint, the default is ten, and I leave it there. I've really never messed with that, because if we're gonna mess with tint, which is the magenta or green cast, I usually do that in post production. So leaving it on ten as a default seems to work pretty well for me. Now the time code, you don't have any touch control or for the storage, but you do have for audio. So you click on that and you can see your meter full screen. However, when I'm just using the iPhone microphone, you can't control the game. I wish you could. And other apps you can even with the iPhone microphone. But here, it's automatic, no matter what. The way you would get manual gain is to plug in a third party mic, and that way you would have full control. And we'll talk more about audio a little bit later. But it is nice to be able to see that full screen. One thing you can now do, though, with the histogram is you can now click on the histogram and it goes full screen. Before you could only see it down in the very corner of the screen. And if you use histogram much, that really wasn't ideal. It's really pretty small, but now it's nice. You can make it full screen, and then you can control the opacity. I think leaving it 100 makes the most sense to me, though. The other thing on the screen now is you have three dots over here, and you've got presets right here on the screen. I don't have any setup right now, but if I had them, you could do that, instantly set them or you can create one right here as well. The slate, they've moved here now, too, and it's really metadata. So you can come in here and enter this stuff depending on what you're doing. If you're shooting a movie, for example, or a commercial or a music video, this would probably be something you might want to do. But you can do the production name, the director, camera operator, and that kind of thing. And then this metadata goes into the clip. So to me, this is a little bit cumbersome, and even on my traditional Blackmagic Camera, I rarely use this, but it's really nice to have if you're shooting a movie or a music video or a short film, I would typically just slate every shot with an actual slate, and then you'll have your clip sorted by time code, which can be time of day or it can just be sorted by the date you shot it. Slate used to be in the controls here. Now it's over here by itself. And then the bottom button, which is great out is the remote control icon. If you're using this in a camera control or a recording situation where you're using multiple devices, multiple iPhones or an iPad. And then to get rid of those, you swipe them away. Staying here on the main screen, they now have function buttons that will come up here on the right hand side. By default, they're not on. You have to go into settings, and there's a new menu setting. Called function buttons. You come in here and you turn those on, and then you can select a preset or you can choose whatever you really want. But when you come out here, you'll see them right here on the screen. Three dots. Click on it. You've got three function buttons. Again, I haven't programmed those yet, but then you can program with whatever you want to have quick access to that particular feature. Swipe to make that go away. 4. Screen Controls Pt 2: And now we'll talk about these items along the right side of the screen. The one in the middle obviously is your record button. You hit that, and now you're recording a clip, and you can see that the numbers turn red, and then you also get a red indicator on your storage, and your storage shows how much footage you can shoot on this particular phone. And if you had an external storage, which we'll talk about later, it would show that there as well. But along here is a lot of great controls. And at the top here are your monitor controls or your overlays. The first one is zebras. I have my zebras on, but right now, you're not seeing them because I have nothing overexposed. What zebras do is show the areas of the frame that are too hot, depending on how you have it set, I leave it out 100 often, but sometimes I'll bring it down to 95. And you can go lower because that way you know that that particular IRE level, meaning that level white, you'll get zebras there, and you typically want to have the zebras there and then just dial them back ever so slightly. That way you're protecting your highlights. But you can turn those on and off right here. I tend to lead those on. Next is the focus peaking. And focus peaking does exactly what you would think. It shows the stuff that's in focus and it outlines it in red. And you have control over that, too, in the settings menu. Now, peeking on a phone doesn't work exactly the same as on higher end cameras. It's contrast based, and, like, right now, you really can't even see it on the wall. Later, when we get into more of the how to stuff, I'll have some objects here, and I'll be able to show that to you. Just know that focus peaking is a great tool to use, but on a phone, it isn't 100% accurate, but it's still a nice option. After that, you've got guides. And right now I'm using a crosshair in the middle, which I like. Helps you line up the shot. Center stuff up easier, especially because you've got stuff on the side of the frame when you're shooting. And so sometimes without that, you don't really know where the center of the frame is quickly. But on top of that, you've got an overlay for a grid, if you want to use the rule of Thirds. A lot of beginners use that. Of course, some people that are experienced use that. I don't like it, but you can definitely use that if you want. And then you've also got a center dot, if you want. You could use that instead of that, have the dot, or you could have them both on. And then you've got this unique feature that's a leveler. And so right now, it's showing that I'm tilted down because if both lines were blue, you would be leveled up. But right now I am centered up vertically, but on the horizontal horizon, I'm not exactly level. So those are the guides. And then one thing I do use quite a bit, depending on what I'm doing, are these aspect ratio overlays. So here you can turn these on and you can see on the screen now that I have a scope aspect ratio there. So basically, when you're shooting 16 by nine, but if you're going to reframe in post production to a wide screen look, this comes in really handy. And no, what I just did there on the screen is a good tip. You can swipe down and you pulls the data away and swipe up, and the information comes back. But the guides, you've got all kinds of settings throughout. You've even got four by three, the old TV style, and you've even got vertical video, nine by 16 if you wanted it. And then you also have a way to turn on Action Safe. So this really comes from the broadcast world. I don't use this much in the mobile filmmaking world, but it's nice to have that if you need it. And it's got different settings here. I'm at 85% right now, but you can push it out or bring it in. And it just gives you a guide when you're framing a shot to make sure stuff doesn't go outside that depending on how you're delivering your project. Again, for most things, especially YouTube, you don't really need to worry about that anymore. But if you're doing anything for broadcast, then you do need to worry about that. And so Actionsafe is a nice feature to have. And then this feature is called false color. False color is a way to check exposure. On the side here, there is a chart showing you what the colors represent. Basically, the middle, which is pink, gray, and green is good. If you're too overexposed, it'll be red, and if you're underexposed, it'll be blue or purple. Very nice to have. You're setting up a shot. You're lighting a scene, flip this on, gauge what you think the best exposure is, and then turn it off. Another new feature they've added, and they've included it in this menu on the screen is you now have a torch, and that's pretty cool. So you can turn it on, and now you have a light's using the iPhone flashlight, and you can control the intensity. Other apps have had this for a long time. For whatever reason, Blackmagic didn't add it to their app, but they've got it now. I like seeing that. I don't think I would use that a lot, but it is nice to have. Blackmagic has moved the ut button and added some functionality to it. I'm talking about here on the main screen but also in the settings. Overall, it works the same. It's just been refined a little bit. And again, they've added a few things to it. So now with the ut, they've changed the location of the button and also the functionality. You can turn an on or off right there. I am shooting Apple Log, so now it's on. And now, this is actually pretty cool. I'm using my ut right now tonight phonographers Dog Natural ut, but then you can scroll through other Luts that are on your phone. And several of these, I think there's actually 12, if I'm not mistaken, are new Luts provided by Blackmagic. Now, I've got them turned on by default, but you can turn those off. I'll show that in just a second. The other thing you can do now from the screen is just touch this button, and now you can see how that outlined in red over there. Now, that means you are baking that lut into the image, which you would almost never want to do. The only time I do that is if I'm shooting Apple Log in Hot 265, and I want to quickly bake in a ut and shoot footage and just upload it. I'm controlling the footage, I'll color grade in post production, so I would never have that turned on. But it is nice it's on the main page. And so then I'll show you in the menu, you go to the Lutz. Now, here's the ut manager, and here are the Blackmagic luts that they installed on the phone. You can either turn them all off or you can individually turn them off. You can, of course, still import Lutz. That's what I've done here and use any let you want. But then Blackmagic has added their own. And again, they've just simplified the menu and made it all right at your fingertips, which I do like. 5. Screen Controls Pt 3: Now we'll look at the next one down, and that is focus. So focus on this app works a little bit differently than it does on other apps, in particular, if you're coming from FilmicPro or Beast Cam, et cetera. So when you're in Auto, let me go back to shutter and unlock that. And you tap on the screen, you get one radical, kind of like you do with the native camera app. So you've got auto exposure and auto focus in the same radical. It's just a little different way of working compared to, again, FilmicP. Film a Pro, you have two radicals. You have one for focus and one for exposure, which I personally like better. And I hope Blackmagic will implement that in the future or make it an option. But so if you're shooting at Auto, then you do that and your shutter changes, obviously, because you've switched the settings. However, if I want to have that locked, which I do more times than not, I'll put it back in 180 and I'll lock it. Now when I go back to focus, I can either use Auto. And so right now Auto is on. But if I touch the screen, then I can also focus, and it will pinpoint focus, which works well. But the one thing you can't do very easily, if you had something close to the frame, for example, and I wanted to hold it down and lock it, it then affects your shutter if you're not careful because now the AEAF lock is on. I guess my point is, while manual control is very important, I know I really haven't talked about manual control as much, but that's what you're getting when you're getting a third party app. And that's what helps you create professional looking video is using manual control. But like a lot of people do with their Mirrors camera, running auto focus is great. Auto exposure and auto white balance, not so great. Never do that. However, you want to lock it on an image. It's just a little bit of a different way to do it here than other apps that I'm used to, and that I think a lot of other people are used to. I'm used to the two radicals, and here you don't have that. But in this situation, if you're running and gunning, so to speak, just moving around and you've got your exposure locked, then you would want to go to Auto, and now you're shooting with Auto. And that can come in pretty handy, depending, again, what you're doing. Blackmagic now also includes the ability to do automated focus pulls or rack focus, which means you're changing the focus from something close to the camera to something far away. And it's hard to do with a phone. And so having an automated way to do it is great. Other apps like FilmiPro have this, so it's great to see Blackmagic implement it, too. And I go over how this works in the advanced section later in the course. Alright, now, moving down below that, we have the exposure control, and the exposure control has caused some confusion out there, myself included. Basically, it is an overall master control for the exposure. Some people have thought this was an exposure compensation, and it works like that in some instances, but more times than not, it is just a master control for your overall exposure, or it's how you get your phone into full auto. Let me show that first. You click Auto obviously, and now you've got Auto ISO and Auto shutter. So anything you do with the phone now, you can see, as I put my hand there, the exposure is changing. And so that's an automatic setting. I would rarely use that, but it is good to have just in case you need it. If you turn Auto off, you still have these exposure controls, and these control up to three stops below, three stops under or three stops over. And again, this is like a master control because as you see when I'm moving this, it's changing the ISO and the shutter, which for some stuff works fine. For other stuff, it doesn't. And I'll get to that in just a second. But let's say you are in Auto, and if you click Auto, then you can set the exposure and have an exposure compensation in quotes. So now, whenever it's in Auto, it will auto adjust the exposure. However, it will still lower it by negative 0.7 as I have set right there. Which in my experience is a good thing because the iPhone when you're using auto settings tends to overexpose. The native camera app does the same thing, and the native camera app actually has an exposure compensation tool similar to this. But of course, the native camera app is a full auto app. You can manually lock the settings, but you can't manually set the settings like you can in here. And so if you take it out of auto, then it's just a master control for your overall exposure. Hoping this makes sense, because here's what I'm mainly getting at. Let's say you want to lock the shutter, which you do more times than not. So I've got the shutter locked at 180 now. So now when I click on the exposure control, now it's turned into an ISO control only. You don't have the same type of exposure compensation looking dial. And this is the way I would shoot more times than not because you want to lock that shutter for audio motion blur and then because you have a fixediris, this particular camera is a 1.8, you would adjust your exposure via ISO. Now, the only thing this doesn't have, like a traditional camera would, is it doesn't have an auto ISO when you have the exposure locked. You have to go into full auto. And so that is a drawback, and I really think that's a limitation of the phone more than the app. Maybe they'll figure out how to do that one day. So right now, if you want to ride the ISO, you have to do it manually. You can't do it automatically once you have the shutter locked. Again, hopefully, that makes sense. The last thing to note, and this is nice, when the shutter is locked, the ISO is also locked, too. So I said there's no auto, but it also doesn't change. And so there's no need to lock both the shutter and the ISO. The ISO is just automatically locked. But if I take that out of lock the shutter and go back, now you can see I've got what I would again call an exposure compensation looking dial. But in reality, it is a master control for your entire exposure. In a recent app update, they've slightly changed the UI here, too, but again, it still has the same functionality, although the Zoom feature is now integrated with the lens picker. It's a different icon, and you also have some more control for what they call the dolly Zoom. It's really just more of an automatic Zoom. And then they moved the stabilization down on the screen. Standard, cinematic, and extreme. And in my estimation, this is similar to using the native camera app, although it's interesting when you turn it off, you definitely get a wider shot because it's not pushed in. The software is not pushed in. And again, this is hard to tell right now in this particular setting. Standard goes in, but then standard and cinematic and extreme are all pretty much the same as it relates to pushing in on the frame. I think they're exactly the same, but I tend to leave it on standard. Now, if I'm shooting on a tripod and I want the most crisp, clean image, and I don't want to worry about any type of stabilization issues because sometimes when you pan, especially if you're using a third party lens, you'll get a little bit of lag. And so in those cases, I'll turn the stabilization off. However, if you do that, you definitely want to remember to turn it back on for next time you use it, because I've done that where I forget I go out and shoot some stuff handheld and it looks really bad. It's nice, though, it's right here on the main screen. You click it, and you're good to go. But that's a general overview of the user interface and the basic functionality of the app, which again, I really like. I really like the clean layout, and pretty much everything I just showed you are the main things you'll use on a daily basis shooting with this app. But of course, there's a lot more as we jump into the main menus, and that's what we'll look at next. 6. Media Tab: Alright, I've changed the setup here. I've got a couple subjects in front from the DC comic Universe, Batman and Wonder Woman. They will be my helpers for this section of the course. And what we're moving on to now are the icons on the right over here. I call them menus, and they are menus, especially this one down here. These are all your main settings, which we'll get to in just a minute, but we'll start with media. And media is really just your library. That is where whenever you shoot a clip, your clip is stored. Very similar to other apps in the way that they show the clips. However, I will say that I like in Black magic. I feel like the layout in the design again, is very clean and very easy to use. And so you can click on a clip and scroll through it. Bud a place you want to stop, and then you can play right there. Pause again. And if you want to go to another clip, you just simply swipe, which is nice. Now, one thing that's interesting is when you swipe in here, if you look closely, I've got a lut on there, and so when you first swipe, I shot Apple log. It actually shows the log image briefly and then goes to the ut. And now, just to be clear, the ut is not baked in. It's just a preview ut. When I go into color grading, I'll have the Apple log, which I then do color correction and grading and post production. Again, it's just nice to preview it here. So now looking at the desaturated milky image. Now, the other features in here are IPO. And so this is nice. It shows all the metadata what this is, and it shows the proxy image, and we'll talk about proxies in a minute. Whenever you record a clip, it actually records a proxy as well. But then it shows the main video, the original video, and it shows the specs, Per Rs 422, 24 frames per second. This is four K, shows the date. And then it shows information. You even have a spot here if you want to add a note to give yourself a note for later. And then it also says the location of where it was shot if you set that up. That's an option that you can choose in the actual settings. It's nice to have that info. And you can also favorite that too that way, when you're going through your clips here, you know which ones are your favorite, and you might only transfer certain ones to your computer. Although, for me, I just transfer everything. Some of this metadata stuff is great just to reference it, but I don't necessarily use, like the notes or the favorite stuff very often or if at all. Of course, you can hit that, and you can air drop it or you can save the video to your phone if you want. I don't suggest doing that because then it clogs up your Cloud backup. So for me, I do everything in the app, and that is a setting, which again, we'll get to in a minute about where to save the clips when you're shooting. But again, you could air drop it or with a newer phones, this is a 15 Pro Max. The best way now is to use USBC and then connect that way to a computer. But if you don't have USBC, if you just got one or two clips, I still use air drop. It's just as easy. Zaps over to your computer. One thing you can do if you have a Black Magic Cloud account is you can log in there. And then when I mentioned the proxy files, those proxy files, as you're shooting or later after you've shot, can be uploaded to the Cloud, and then back in your studio or if you have an editor working in another part of the world, they can start doing your edit. Now, again, I don't use that a lot, but it is a pretty cool feature for people that want to have a more advanced setup. And truth be told, That is one reason this app even exists is because Black Magic is trying to sell people on Black Magic Cloud, because that's not free. You can get a free account that's a very small, I think it's two gigabyte, but then to do a paid account, it's like 15 or $20 a month, which if you're using that feature a lot, is worth it. That way, the clips in the cloud automatically, you don't have to worry about transferring files either. And so really, kind of like Da Vinci Resolve, their very nice color correction and editing app. You can get a free version of that. They also have a paid version that has more effects and such in it. But the free version does a lot, and the whole point is they are trying to get you into their ecosystem and you become a customer and start spending money, which is fine. That's absolutely fine because they'll give us a lot of nice free tools. The other thing I should point out, you can sort the clips in here. I do it by date and time. That makes it the most recent clip it's at the top. You can do it by some other metadata in here too. Time code might be a good one, but more times than not, I use date and time. And then if you needed to, you could log in to your Black Magic Cloud account. And then if you're going to send multiple clips I was showing earlier, you can download or air drop clips. If you go into this mode, you can select multiple clips and then do your air drop, and it'll send multiple clips at a time. You can close out of that. And then the last thing here at the top, that actually opens up other places on your phone, and this is my photos app to where you can see the things on your phone, and you can actually import those into the media panel, and then you can upload that to Black Magic Cloud. And so that's an overview of the media panel. 7. Chat & Settings Tabs: Now, below, the media is Chat, and Chat is again, part of Black Magic Cloud. And what that does is it lets you chat with other people that you're collaborating with on your project, your Cloud project, that would be someone editing and Davici Resolve. And so, again, I don't personally use this feature, but for those that do, it's nice to have that right here on the app. And by the way, I have a section dedicated to Black Magic Cloud later in the course that you can learn more about it. But below that is the main settings menu. And this is really the place you'll spend most of your time when you're setting up. Although once you get most things set up, you don't have to go in here much. Again, as I went over in the beginning, all your primary controls and functions are right here on the main screen, which is great. But your settings you'll need to access in particular at the beginning of a project, and potentially during a shoot, but more times just to set stuff up. 8. Record Menu: And so the first menu we'll go over is the record menu. You've got your Codec, your resolution, color space, time code display, whether you want to record a time lapse, then your controls for that and then if media drops frames. So we'll start at the bottom. I leave that on alert. You can do stop recording, but I don't want to stop the recording. More times than not, you're not going to have a drop frame. That really, to me, anyway, comes from their traditional cameras that can happen. It might happen if you're going out to external media via USBC, but in the camera, that's really not going to happen. If you want to do a time lapse, you would select that. Then you set up your interval. You can capture one frame every two frames, three, four, ten, 1 second. Typically speaking, for me, I would do 2 seconds to 10 seconds. If you're familiar with the time lapse of clouds, that's usually about a two to ten second time lapse. If you're doing something that's going to take a long time, like maybe a time lapse of a construction site, you might do every minute, maybe even 10 minutes. That way you get one frame every 10 minutes. And so if you're filming something over a long period of time, that could work. But play with it. Experiment. It's great that they have time laps in the app, though. Timecode display, record run is what it's defaulted to. And like that, it just records new time code in each clip. So if you're doing everyday stuff, I think that's more than fine. If you're doing something long format and you want to have a time of day, which is also known as free run, pick that, and then your time code is going to be running up here constantly. Like, right now, it's 321 in the afternoon where I'm filming this. But that shows up in military time, so it's 15 21. Again, that's great for more advanced projects probably where you don't want to have an overlap of the time code. Of course, if you're shooting something the next day, you'll have the exact same time code embedded, but then your clip name would be different. And so that's a subjective call. The default, again, is record run. Now, I'm going to jump back up here to Codek because in the Blackmagic Camera app, you've got ProRes, and then you've got h264 and HEVC. So you've got a lot of Codecs to choose from. For more professional work, I almost always use ProRes, ProRes HQ is probably the one you use the most if you're doing more color grading or visual effects. For everyday stuff, 422 is fine. And then, of course, for social media, et cetera, HEVC is great. That's what the default native camera shoots. And with all these, you can shoot Apple Log. And that's one of the bigger selling points of the 15 Pro and the Blackmagic App is shooting an Apple Log. And so to set that up, you go to color space, and right now you have Apple Log. But again, note, this is for the iPhone 15 or later. IPhone 14 or 13, they'll shoot ProRes, but not ProRes Log and Apple. If you're using a different app like Fil Mac Pro or cinema P three, you can shoot Log. And then if you want to shoot just regular video, you'd shoot Rec 709. If you want to shoot HDR, as it's indicated here, you would shoot Rec 2020. And then p3d 65 is another version of HDR. But for me and the Blackmagic App, more times than not, I'm shooting an Apple Log. And my default Kodak is usually ProRes 422 unless, again, I'm doing something more involved from a color correction perspective or visual effects. And then, lastly, resolution 99 times out of 100. Actually, 100 times out of 100 these days, I'm shooting four K. I almost never shoot HD or 720 P, in particular, 720 P. Almost never shoot that. You do shoot HD if you want to shoot higher frame rate. And we'll talk about that in a little bit. But on this version of the iPhone, you can shoot up to 60 frames per second in four K and up to 240 frames per second in HD. So that's really the only time I shoot HD if I'm going to shoot with the higher frame rates of 120 up to 240. And another feature that has been widely talked about, and I'm glad to see Blackmagic at it, and that is Open gate. Oh, I'm not seeing Open gate. I wonder what the deal is. Well, you evidently can't shoot Open gate Apple Log, which is a real bummer, I know other third party apps allow Open gate with Log, but evidently, Blackmagic doesn't yet, because if I go to Rec 709, now I go to Resolution, I've got Open gate. And so now I can shoot Open gate, which is basically a three by two read out of the sensor. And so that way, when you're in post production, you can be framing for vertical and horizontal images. Or you can just frame for horizontal, but then you've got the top and the bottom. You've got more information there so you can actually deliver nine by 16 for social media and then widescreen, like if you're doing interviews or what have you. 9. Camera Menu: R All right, now we'll go to the next menu and that's the camera menu. And this menu has some things that I would say are subjective, and then some things just depending on what you're using in relation to your particular shoot, lenses, et cetera. And the first thing is to enable vertical video. So when you do that, what it does is it enables you to flip the phone and actually shoot vertical video. So you go to camera and you flip it, and now I'm shooting vertical video. Because if you don't have that engaged, when you flip the camera, It goes into a vertical shooting mode, but it allows you to shoot horizontal, which is cool because that way you could be in a crowd shooting vertically. People think you're shooting vertically, but you're actually shooting landscape traditional horizontal video. So I really like that. The video is degraded. It's not full four K. It's using when part of the sensor, but it's still a very cool option to have. So that's the default way. And to enable vertical video, you would do that. I tend to leave that off, though, because I don't shoot much vertical video. But if you're doing social media, Tik Tok, et cetera, good thing to have. Trigger record indicator. You can turn that on, and then when you record, it'll beep. Or flash. That's a subjective call. I leave that on none. Below that is used volume button to trigger record. That can come in really handy, especially if you're using a rig and you can't reach the screen, or if you don't want to touch the screen, that way you can just reach over and click the volume button, and it starts recording for you. It's a hardware button, which is great. And you click it again to turn off. I don't tend to use it a lot though, because if you're holding the phone, you can accidentally record. Now, lock white balance on record is a great feature. I mentioned earlier when we were going over the white balance, how you can set the white balance to be on auto, and you can, that way, when you have that other selected, you can be running auto, but when you hit record, it will stay with that actual white balance. It won't switch to a different white balance, even if you pan around. Because normally if you're in auto, that white balance is going to change. So I leave that on all the time. The Shutter measurement, this is what I talked about in the beginning shutter angle versus shutter speed. You get the same thing. It's just a different way to read it. I like angle, but a lot of people are more than likely used to speed. And so now right here, We're using one 30th shutter versus 180 degree shutter or whatever the degree would be, if the fractional part of that. And so now when you adjust it here, you're getting fractions instead of the angle. And if I'm shooting 24 frames per second, what you would typically want to get best results is 148. And so you would do that and you would lock it. And now that image looks a little bit underexposed. And so I'd want to bring up the ISO a little bit. Somewhere in that range. But that's a subjective call. I think angle for filmmakers probably is more natural, but if you're not used to it, you can stay with speed. Flicker free shutter based on the country you live in. So in the US, we are 60 hertz. If you're in Europe and most of the rest of the world, you're 50. The US would also include Canada and most of Japan, although Japan uses Pal and TSC. And what that is for is oftentimes when you're shooting video and you're around fluorescent type lights, especially, you can get a flicker. And the human eye may not actually see it, but the camera will, the shutter will. So in the US, typically you would stick with 60, and then overseas, you would stick with 50. But have found that sometimes depending on where you are, depending on the light, too, try the different shutters and see which one works best. But I would pick one and typically stick with it depending on where you live. Lens correction helps take out any kind of distortion. I just leave that on by default, and so it's a subjective call experiment and see which one you light best. They have anorphic D squeeze, and right now I don't have an anamorphic lens on, but if I did, I would choose whether it's 1.33 or 1.55. More times than not, I would schoe 1.33. When you come out to the camera, you can see that it's stretched. If there was an anamorphic lens on my phone right now, that wouldn't look stretched. It would look normal. And so what it's doing is previewing the anamorphic for you, so you don't have to look at a stretched image when the actual lens is on there, but then it also captures the footage that way. And so then you don't have to de squeeze it in post production. Some other apps actually let you capture it without the squeeze, and so that way, you can choose which to do in post, but in the Black Magic app, it does it for you. Now, if you're using a DOF adapter, like the B script DOF MK three or MK two, you need to use flip image for SLR lens, because what that adapter does is actually flip the image upside down. And so, again, I don't have a DOF adapter on here right now, but you can see it's flipped upside down, which wouldn't be a great idea for a shooting normal video, but shooting on that, it makes it look correct. And so that's kind of a niche control because a lot of people don't use DOF adapters, but if you have one and you're using one, you'll need to use that feature. Lock current orientation. I like that a lot. I usually leave that on. I turned it off earlier to demonstrate the vertical video stuff but that way when you're shooting, let's say you're shooting horizontal, which is the way we do most of the time, and you take the phone off the tripod and you twist it, it's not going to go to vertical. The controls that is. And so I typically leave that on, just makes it easier to shoot. And then the last setting in the camera menu is mirror front facing camera, and I leave that on because that way when you're shooting with the front facing camera, it just mirrors it back to the image. Mm. 10. Audio Menu: All right. Now we're looking at the audio menu. And I've got a microphone on here that I'll demo just a second. But if you weren't using a mic, your audio source is obviously the iPhone microphone or you can do none, if you don't want to record audio. Then you can choose which mic it uses. I've been leaving it on auto, and it seems to do a pretty good job. But if you want to make sure it's on the mic that you want, you can choose back, which is the way you normally shoot on the back side of the phone. You can choose bottom, which is down here, where your mouth is when you're making a phone call, or you can do front, which is using the front facing camera if you're doing a selfie shot. Auto seems to work good, but again, pick the one you want to use. Audio format, I leave this on linear PCM. That's really when I'm shooting Pres, and that actually works fine. If I'm shooting HEVC, I probably would go to AAC because you'll have smaller files. But linear PCM is typically what I use, and in my opinion, you get the highest quality that way. Now, recording audio as mono Dual motto or four channel, mono is what I would do default. And that's really best for voice. If you're recording natural sound or like you're out in the country, you record some water or some ambience. And again, this is using the built in iPhone Might, then stereo is good. Dual mono and Four channel, I haven't had a need for yet, because if I'm recording audio, I typically am going out to an audio recorder, a field recorder. I'm not even really using my phone. And that is, if I'm making a movie or a commercial or something, if I'm doing a YouTube video, et cetera, then I am definitely recording to my phone, But I have found that mono or stereo works fine. But dual mono is basically split track, and four channel is obviously four channels of audio coming in. And that's more specialty stuff using third party hardware. But for voice, I typically dis do mono. Then sample rate, you've got a lot of selections here for video stuff. 48 K is the way to go. If you're recording podcast or anything that's more just audio centric, than 96 or even 192 is fine. 441 was always considered CD quality back in the day. That's again, Roy More for audio. But if you leave it on 48 K, more times than not, you'll be fine. But that's subjective. Pick which everyone works best for your project. The audio metering, I leave it on the default, which is the VU meter that's negative 18. You could do negative 20, and then the other PPM, the default one works fine. And in particular, I think, right now, the audio controls in the Black Magic app, this current version, are really its weakest point in my opinion, especially compared to other apps. And so you don't have as much granular control as I would like. But the default stuff is more than fine, and my experience works very well. Now, let me plug in this mic real quick. This is a road video micro. And now you instantly see that that popped up was the audio source, USBC to 3.5 millimeter headphone jack adapter. And that's what I'm using. I'm using an adapter to get the audio in. Now, the nice thing is with this now is you can actually come down here and you have control over the input gain. And it'll just depend on your scene, what you're shooting, how loud it is, the type of mic you're using, as to what level you set it at. But again, it is nice to be able to set your game with that particular mic. Now, this looks pretty hot to me because I've got the game way down, and I'm still getting a balance there. So it really just depends on the mic. The main thing you don't want to do is you don't want to You don't want to go into the red. That can overmodulate and ruin your sound. So just be aware of that, otherwise, and the green and yellow is great. If you're just shooting B roll or basic stuff, you don't need a third party mic, but if you're doing anything more professional, don't skimp on the sound. And using a mic like this or a wireless mic is a great way to go. And to make sure you're recording good sound, black magic has added an audio monitoring feature. Now you can use headphones to monitor the audio within the app. Now, truth be told, this doesn't do a whole lot for me, because if I'm recording audio, I'm using an external mic, and if you're plugging an external mic in, then you can't monitor the audio without some sort of an adapter anyway. My adapter of choice is the road AI micro. Using the road AI micro, you don't need this feature built into the app. That don't get me wrong. It's a nice feature to have, and it works great for recording audio directly into the camera. But if you want to use a Mc in headphones and you don't have an AI micro, you could use a simple splitter or a USBC hub that I show in the advanced section later in the course. And I've also played with Bluetooth headphones. And while you can monitor the iPhone audio with Bluetooth headphones. And also, if your Bluetooth headphones have a mic, you can use that as a mic and monitor at the same time. But I couldn't get it to work with an external mic. Now, I am using an analog mic in the adapter, and that could be causing an issue. And so your results here may vary. So having the Bluetooth be one source and the external Mc be the other, I couldn't get it to work with my setup. If you have a USBC mic versus an analog mic, and you can plug it directly in, then that should work with Bluetooth headphones. But in my experience in the past, using other apps, sometimes this can be hit or miss. And in professional situations, I don't love using wireless headphones. I would much rather have wired headphones. But I am glad to see that Black Magic is improving the audio features because that's really the weakest part of the app. 11. Monitor Menu: Alright, now we're into the monitor menu, and this menu associates with everything that I showed earlier that appears on the monitor. And so this is a pretty important one to get set up the way you want it, but it is, again, subjective. When we're talking about focus assist, you can pick colored lines or peaking. I personally like colored lines. It's just much easier to see. Even though I do also find, as I mentioned earlier, the peaking can sometimes be hard to see. Go to overlays, and we'll turn peaking on. And now in this particular shot, it's easy to see. So the peaking is the red lines that helps you judge focus. Now, let me show you what it looks like. What they actually just call peaking and so, again, it's kind of subjective. To me, that's a little bit overwhelming. It's a little bit hard to see, especially if those were live action. So I personally like the lines. And with the colored lines, you can actually choose the color. Red is something I like that doesn't usually appear normally in nature. Green is another one I'll pick sometimes because that's kind of a vibrant green, almost a lime green, so that wouldn't really appear. Although if you're shooting trees or anything that's green grass or whatever, that isn't a great choice. I'd probably go with red. But of course, if you like, you can do blue. Or you can do Black. Black is not probably the best choice. And white. White is similar to the peaking. The peaking just sharpens the image, I think, and adds digital noise, but it's just there to help judge focus. It's not actually recorded that way. So, again, I tend to go with red or green. And one thing to note as I just said, this stuff is not recorded. It's only previewing on your monitor, so don't worry about that. One thing I wish they would add and maybe they will in the future update is that this isn't on all the time. I wish you could adjust the focus, and it would only come on when you're adjusting that focus. Other ads are like that, but with Blackmagic, it's either on or off. And so we'll turn that. The guide's opacity, 25% is what I like. You can go to 100, and that correlates again to the guides I showed earlier. So that's 25% opacity. If I did 100, you're going to have full black bars. And again, this is also just for preview only. It doesn't record that way. Sometimes shooting like this with the full bars would be the way to go that way you don't accidentally think something's in the shot when in reality, it's not. Because, again, you use this if you're going to be cropping later in post production, if you're intercutting 16 by nine footage into a widescreen 23.9 or 2.4 to one project, which is typically called scope or sometimes anamorphic, depending on the way it was shot. So that's very subjective. 25%, though, for most things is what I do, but you choose whatever you prefer. Guides color. Same thing. White, I think is really the way to go. If you do a color, I think it can get distracting. You see the red going across there. And it also affects the grid, if you want to do a grid. So I would personally stick with white. It's less distracting. But whatever you're shooting or however you want to shoot, you've got a choice. I'll come back to HDMI out. The next one is display audiometers. If you turn that off, then obviously your audiometers. Let me get rid of that real quick. Now the audiometers are gone. And so, personally, I like to leave my audio meters on at all times. And so I would leave that turned on. Same with the histogram, you can turn that on or off. Because remember, if you want to get stuff off the screen, you can just do that, touch it, and then flip back up and it comes back if it's bugging you while you're shooting. So I would personally leave this stuff on. Storage, same story. Storage isn't there anymore. Storage isn't quite as important. So if that bothers you, then you can turn that off. I tend to leave it on and then same with the battery indicator. It's up in the upper right corner. It's not there anymore, but I like to know where my battery is. So I usually leave that on, and it's right there. I'm at 65%. And the one other setting is the display upload status. That relates to using Blackmagic Cloud. So you don't do that if you're uploading in the background as you're shooting or later so you know the status of your uploads. But again, since I'm not using Blackmagic Cloud, I turn that off. Blackmagic added a stream status, which relates to the Blackmagic Cloud. You can come down here to now display stream status. You go there. And now on the screen here, it shows you whether you're uploading to Blackmagic Cloud. And unless you're using it, I would leave that off, but it is nice that they have that on screen so you know what the status is without having to go into the deeper menu. But it is now an option, but you can go into the monitor controls and turn that off. Then I would just have what I would say is my normal setup here. 12. Media & LUTs Menu: Alright, now we're going to look at the media menu and the Luts menu. In the media menu, just as I mentioned in the previous menu with Monitor, where it talked about display upload status, that's what this refers to. If you're using Blackmagic Cloud and you want to upload your clips, you can do proxies only, which is probably what you would do because the originals will be huge, especially if you're shooting ProRes, and that's one of the benefits. You can start editing smaller files that will then reconnect. You'll relink those in post production. And then same thing with these next two settings, Auto upload to select Project, you would do that if you again, had this setup and you could select the project in your Blackmagic Cloud settings. Able upload only over Wi Fi. Pretty obvious. You would only upload over Wi Fi. That way you would save on your data plan if you don't have an unlimited plan, or if you're out in the country and you're shooting and you have a sketchy four G or five G connection, then you may want to wait till you get back to your house. And so you would turn that on, so you're not clogging up the data connection, every phone or overusing it. And now, this is a really important one. Save clips to I do IAP only. If you do NAP and photo library, then it obviously saves into the photo library as well. And if you like most iPhone users use iCloud backup. And so what happens then is these huge ProRes files get put into that iCloud backup, eat up all that media, and then also clog up that backup, or it takes forever. Do NAP 95% of the time. The other 5%, I'm going to the files. What that does is let you connect the app to an SSD drive. Now, I'll demo that in another section, but that's how you would set that up. So, again, if you're just using the phone, choose NAP only most of the time, or if you're going to an SSD, you would set that up through the files menu. Now, if you want to choose to save the location data to a clip, you hit that and it takes a GPS reading. And then where I showed you in the metadata here, you can scroll down. You can see where it was taken later. That's totally subjective. Sometimes you may want to do that, sometimes you might not want to. So it just depends. I've been leaving that off recently, but whichever way you want to do it. And then filename convention, I like Blackmagic Camera because that way the file names have an original name. It's also very similar to the way their traditional cameras create file names. If you do IOS, it'll be just like the camera app, which is fine, but that's more sequential, and this is more specific. So again, subjective, but I would personally leave that on Blackmagic Camera. Under Media now, you've got a couple of different options, and they've just kind of rearranged some stuff. But if you're recording proxies, so when you enable Auto Upload to select project, I've got a project set up in Blackmagic Cloud right here. So I go back to Media. And what I can do if you want, this is pretty interesting, you turn on Live sync, and that instantly, as you're recording, starts sending that file up to Blackmagic Cloud. It's a very low Rz proxy file, but it'll sync instantly with DaVinci Resolve. So that person, the editor, whoever can start editing or looking at that footage literally right then. Now, you got to have an Internet connection, of course, but that's a pretty cool feature that they've added for those type of situations. Now we'll look at the t menu. Let menu is very simple, and this would only apply when you're shooting Log, and you can import export a let. They actually now have a let built in. I find it's too contrasty and a little too colorful. So I use my let, but you choose the let you want, and then you choose to display the ut. If you don't hit that and you go to the camera, now the let's no longer there. So you can set it up here and you go back. Now it's there, or you can do it out here in the relay with the let there and turn that on or off. There's a couple of different ways to do that. But in the main menu is where you need to select the lut. Now, this is really important. Record let to clip. I would almost never do that. That's called baking in the ut. So that way, you would actually record this image with the ut into the image. So then you wouldn't have Apple Log in post production. You're still recording Apolog, but you're basically color correcting it in camera. When would you do that? Well, for me, the only time I would ever do that if you had a really quick turnaround, or if you're doing something for social media and you're basically just shooting it and uploading it or maybe even editing it on your phone, and you don't want to mess with color correction, but you still want to use Apple Log because Apple Log, you get much higher end results because the sharpenings turned off or turned way down. You don't have dynamic tone mapping, and you get more dynamic range. It's just a much more filmic and better looking image. And so that is an option. But if you're going to do anything in post, do not turn that on. 13. Presets Menu: All right, now, presets. This is a great feature that a lot of apps have, but I really like the way Black Badji has implemented. So you go to preset selection. I already have one set up here, four K, 24 frames per second, Appalog, daylight. So you click on that, and you get a check mark, and now you go out to the camera, and it is set up for that. So the settings are a little wonky because I've got it set to manual Shutter, which is nice. It remembers that 108 degree shutter, but it doesn't match the lighting I didn't hear. So what I want to do just for this demonstration purpose, I'll turn that off in that way, it's there. But you look here, the white balance is 5,600. I did have the shutter on 180, 24 frats per second, and four K. So if I want to do a new preset, what you do is go back here and set it to whatever you want. And so let's say I want to do a tungsten look, which obviously, this is not tungsten lighting, but just doing this for demonstration purposes. And then let's say I wanted to do HD, and 30 frames per second. And so that's the new setting. Go back here, go to preset, save new preset, and I'll just call it test. And let me go back to this one I had earlier, four K 24 Daylight, Boom. That's correct. 5,604 K, 24 frames per second. Go back to presets, I'll do test. And now that should be 3,200, 30 francs per second, and HD. Yes, sir. So that's a great way to be able to do custom setups, custom presets and quickly go to a certain setting. Because one thing you can't do in here is do custom white balances like you can on some other apps and save them. So like if I went in here and I start dialing this around and set it to a funky white balance, let's say you're shooting in an office, and it's kind of green, and the fluorescent setting doesn't really work for you, and you're dialing it in, and you change the tent and all that. Well, then you can go in and create a preset, and whenever you close the app and come back, it'll be there. And so the Black Magic presets are really good. Some other apps don't remember everything as well. And Black Magic app even remembers the shutter, which is pretty darn cool. In Fil Mac Pro and some other apps I've used in the past, it wouldn't remember the shutter setting. So now, technically, you could always leave it on 180 degree shutter and then come back and restart the phone and you're shooting with the exact same shutter, because that's what we do on traditional cameras. We leave our Sony or our red cameras or whatever set to 180 degree shutter all the time, and we don't even mess with the shutter. Of course, on those cameras, you can adjust the exposure with your Iris and your ISO. Here, you're using Shutter and ISO only, and that's kind of the catch. That's presets, and presets in the Black Magic app are really pretty good. 14. Accessories, BMD Cloud, Reset & About Menu: All right, now, the accessory menu, pretty simple, and it doesn't have a lot here, but use Bluetooth, pretty self explanatory. But that way, you could use Bluetooth microphones or any Bluetooth accessory that works with this. Although I've heard some stuff is a little bit finicky, I haven't used much of that yet, but there's different kinds of shutter buttons. There's different audio devices. There's a tentacle that you can get time code into this. There again, are bluetooth microphones and that kind of thing. So just experiment and use whatever you need to use. But in my work, I don't use Bluetooth very often. And then this is really interesting. They have wireless lens control, which is pretty niche, and you'd have to actually buy the pollo focus, but that way, you can use a nucleus, and what it does is it'll control the focus just like on a high end cinema camera, and so you can actually have a focus puller doing that for you while you're shooting. Now, since the phone doesn't have a lot of shallow depth of field, has a small sensor. I'm not sure how practical that is, but it's a very interesting option, and my guess is that's really looking at the future proof in the app to be able to have that functionality. One thing that this doesn't have that you may have noticed that I wish they would add, and hopefully they will, is it doesn't have gimble connectivity, like a lot of apps do, especially Film Pro. And so you can't control a gimble with this particular app. And you got Black Magic Cloud again. You're probably seeing a recurring theme here. As I mentioned, they really want you to sit up and use Black Magic Cloud. And really, truth be told, this is a loss leader. This app is a loss leader for Black Magic, because it's free to get you to site up for their other stuff. And I love Black Magic. I have three or four Black Magic cameras. I use Davici Rizal for Color Correction, and they're a great company, but at this point in time, I don't use Black Magic Cloud. And then you come down here and you've got your reset, which I haven't had to use yet, thankfully, but you can go in and reset the camera settings, reset the camera in cloud settings, reset all settings and ers all content. That would be kind of the self destruct. You wouldn't really do that unless maybe you're selling your phone. But I would just delete the app at that point. And so, but it is nice to have those features, but hopefully you don't have to use them. At shows the App version, and then you can click on that and go to Black Magic Design. And then the last thing is, this open Black Magic camera settings, when you go there, it actually takes you to the iPhone, and so you're inside the settings menu of the phone. And just the permissions really for the microphone, photo access, location, all that kind of thing. So you do that though, usually when you set up the app. And so that's an overview at a how two on using all the menu settings. But speaking of How two, now we'll go into how to actually use some of these features in more detail. 15. Frame Rate, Resolution & Slowmo: So now that you're familiar with the user interface, we're going to take a deeper dive into what the controls actually do and how to use them, how to use them in a real world situation. Note, there will be some overlap of topics discussed from the previous sections. But here, I'll go into more detail and show examples to reinforce how the various features work. Right, I just want to quickly talk about frame rate, and frame rate can be very subjective. It actually is very subjective. However, depending where you live might dictate what frame rate you use. In the US, we primarily use 24 frames per second or 30 frames per second. In Europe and a lot of the rest of the world, you primarily use 25 frames per second or 50 frames per second. Now in the US, we also use 60, but that's really for broadcast or if you're shooting slow motion. And the same goes in Europe. If you're shooting slow motion, you might shoot 50 if your base frame rate is 25. But in the Blackmagic app, you have those same selections. But again, it'll depend on where you live and what kind of project you're shooting. For me, I almost shoot everything at 24 frames per second, no matter what I'm shooting, whether that's a YouTube video, a corporate video, a commercial or a movie. Now, in the IP, you can, of course, shoot 2398, which getting technical, that is NTSC in the US. We have 2398, and then instead of 30, we also have 2997. That's really more for broadcast, but it is a good option to have in the Blackmagic app, but you can also shoot complete 30 frames per second. Not going to go into the weeds on the other. Just know if you're doing something for broadcast, you might consider doing that. Otherwise, 30 and straight up 24 are fine. And then, of course, you've got 25 frames per second, which is considered Pow. That's Europe and the rest of the world, besides Canada, and then Japan also uses NTSE. And I referred to that when we talked about the shutter frequency, shutter frequency and lights flickering. That is also based on where you live. From a stylistic point of view, whenever I shoot anything above 24 or if you're in Europe, 25, that would be slow motion. So you got 30, 48, and then 5994, similar to the other fractional numbers I said earlier, and 60 frames per second. So 60 frames per second would be a 40% slow mo if your base frame rate is 24 frames per second, which is what I use. A Now, that's in four k. And if you want to shoot higher frame rate, which means slower motion, then you would need to go to HD. So you go to HD, and now you can shoot I'm at 60, you can go up to 120 frames per second. No It's interesting because in the native camera app and HD, you can go up to 240 frames per second. Same with other apps like FilmiPro, et cetera. I'm not sure why Blackmagic limited the app to 120. Maybe it was for accuracy or not dropping frames. I'm not sure. But you can get to 120, which is pretty good. That's a 20% slo mo look. And so I rarely ever shoot more than 120 unless I'm doing a stylized shot. And typically, if I'm doing that, I'm doing that on a higher end camera shooting like 300 or 500 frames per second. But it's still nice you can do that kind of slom on the a couple important notes here regarding slow motion. I did do a test shooting 48 frames per second, which is a great option. It's a 50% slow mo look when playing back at 24. However, the app seems a little bit buggy choosing that frame right. The footage plays back in a little bit of a stuttery manner, but just something to keep in mind. Hopefully, it'll be fixed in a future app update. Secondly, when shooting in 120 frames per second, you can only do that in HEVC and Rec seven oh nine. You can't do that in Apple Lie or ProRes. Although now if you have an iPhone 16 Pro or later, you can shoot four k 120 in hot 265 or in ProRes. Now, that's more of a function of the phone than the app, but the app has been updated to support both. Again, that's with the iPhone 16 Pro, Pro Max or later. Blackmagic has now added the ability to do what they call off speed recording, which in my world would be under cranking and over cranking in slow motion or fast motion. And so all you need to do is go to the frame rate, and at the top here, you've got an OS mode. And so that's off speed. And now you see over here where you have your frames per second, let me turn that off. It was 24. Now it's 60/24. And so what that does is it now will allow you to do slow motion and conform it in camera. Before you could shoot slow motion, for example, 60 frames per second, and you could get a 40% slow mo look, and you can still do that. But now, if you choose this off speed mode, it will actually do the slow motion in camera versus having to do it in post production. And so it's nice to have options. If you drop it down to 48 frames per second, you'll see now it's 48 and 24. So that's 50% slow mo. Now, if you go below 24 frames per second. That's my base timeline. I'm at 19 frames, or you could even go down here to 15, 12, whatever. Now, that would be fast motion. You might be wondering, why not just do that in post production? Well, you can, for sure, but just like with slow motion, often, it just looks better when you do it in camera. And back in the old days on film cameras, the main way to do fast or slow motion was under cranking or over cranking. And so those same ideas still apply here, whether you're shooting on a traditional camera or a phone. And now with Blackmagic, you can conform it in the camera. So more times than not, that's what I would do, because that just saves you one less thing to do in post production, and you can also preview it in the app. One thing to note is before you go into off speed mode, you want to choose your base frame rate. So I normally work in 24. So when you hit off speed, now you have 52 frames per second over 24. Well, let's say I was recording in 30 frames per second. So you set it to 30, then hit off speed. Now you've got 52 frames over 30. And actually, a more normal slow motion would be 60. But that is the nice thing. You have control over those frames per second, so you can really dial in a look you want. The only other app I've seen that did this was Film it Pro in the past. Now Blackmagic does it. So again, just remember to set your base frame rate. And for most people, that would be 24, 25 or 30, depending on what you're doing or where you are in the world. Now, when you go to frame rate, now you have the off speed in here and time lapse. And so we've had off speed for a while. I used to say OS up there. Now when you come over here, it shows 60/24, so it's 24 frames per second base and 60 frames per second is what you're recording, so you're getting a 40% slow mo look. So we've had that for a while, but now it's just built in with that and time lapse. And so the information looks a little bit different, too. It's a little easier to read, and it's a little more clear on exactly what you're shooting. Same with time laps. If you flip to time laps, now you can set the duration of the time lapse right here in this on screen setting. So that is nice. It's just kind of consolidating some features all on the main screen and at your fingertips. But for most everyday stuff, I'm shooting four K, and again, I'm shooting more times than not, 24 frames per second. And my shutter would want to be at 180. That's one thing about phones, when you switch frame rates, if you don't have it locked, even when you do have it locked, sometimes it's still adjust. And so it's something you need to pay attention to on a traditional camera, when you lock in a 180, it just stays. And again, that's the beauty of a 180 shutter. Whenever you switch these frame rates, The shutter stays at 180. Because when you're doing the shutter speed and the fractional, it'll actually change the shutter number up there, and sometimes it won't be right on. And the main reason you want to have the correct shutter is from motion blur. So I typically leave my camera on four K 24. So wherever you are in the world, you decide that subjective, four K 30, four K 25. But the Blackmagic app does have, for the most part, good control, not as good as some other apps, but definitely enough to get the job done. 16. Setting Proper Exposure: Alright, when you're talking about exposure in a smartphone, it can be easy to a degree and also tricky, depending on what you're doing. So the first and easiest way would be to use auto exposure. And the Black Magic camera, you would actually just push on the screen wherever you want. And that would auto expose. If you're in auto mode. So let me raise the exposure. I'll just use ISO in this case. And so now the image is very over exposed. You can tell by the zebras, the zebras are a tool that's good to use, or you can use histogram, and the histogram is overexposed, it's either red there, or you could use false color. And we'll get to that in just a second. So if you opened up your phone and it was set to the setting, the easiest way, again, is just to use auto exposure. And so in the Black Magic app, you just touch in the brightest spot, and it brings the exposure down. I always try to expose for the highlights, and so if the sky was brighter, I would probably touch there. In this case, the basketball goal was probably pretty bright, but the pool water did a good job. Now that image is properly exposed. Again, you can look up here at your histogram. The histogram is small. I wish it would go full screen, so it's hard to tell. But in a very layman's term general sense, you want the hump, so to speak, to be in the middle. If it's too far to the left, that is under exposed, and if it's too far to the right, it's over exposed. On the right hand side over here, you've got a warning that'll turn red. It's almost like a traffic signal. Let me show you that real quick. I'll go back to being overexposed. Now, if you look here at the histogram, you can see there's red, green, and blue, red is what you don't want. You would want to dial that back. I'm slowly lowering the exposure. There you go. Now the histogram looks okay. Although the histogram looks okay, but if you look closely, again, I have zebras on, I talked about zebras in the opening during the menu settings. I have my Zebra set to 95. Let me go back to Zebras. Zebras are set at 95%. Technically, that's probably okay because 100% would be completely clipping, you're going to lose information. The number one thing you don't want to do on a smartphone is over expose an image. What I would do in that case is I leave zebras at 95%, and then again, they're probably okay, but I would still dial that back. Let me show while we're here before I dial the exposure back, I'll go to false color. And false color is another way. It's really the best way on this particular app to read your exposure values because, as I think you can see now, using this chart, red is overexposed. Yellow is okay, but it's kind of a beginning to clip. You probably want to have a little bit of yellow, but not too much yellow, but then pink, green, and gray best. Well, right now in this image, we have a bunch of red. And so again, kind of like I was talking about with the zebras, you want to dial that back. So I put the screen information back on. I'll go back to ISO, and now I'll slowly dial that back down. Now it's looking better. I'm at 160. You can see the colors there. It's a mix of green, and there's some yellow there because it still look bright, but that's okay. And now, interestingly, and this is just the nature of a smartphone, you've got some purple there and purple is actually underexposed. This is a high contrast scene. And I should note, I'm shooting in rec 709. I'm shooting in standard video. Now, I'm shooting PRs and so you would have more room in editing to bring these images back up. In color grading and color correction, but Apple Log would be a much better codec to use in this situation. But with Apple Log, there's a problem, and especially with the zebras. It doesn't read the same as it does with Rec 709, meaning the exposure values look different when shooting Apple Log. Let me go to Apleog real quick. Apple Log does have more dynamic range. You can see when I switched over to that, now in Apple log, nothing is over exposed, which is great. However, if you're using Zebras in particular, let me go back to Zebras. I'll turn the false color off. Now, my Zebras have set on 95%. Again, 100 IRE is overexposed, so you want to be below 100. So 95 is a good place to have them there as a warning. But how I showed earlier that we were overexposed, I'll dial up the ISO here. Now that image is over exposed. Now, I had to get all with to 1,600 ISO to get Zebras to show up, and now your histogram is looking bad, too. But in my experience with the app, I am of the opinion that I can't trust Zebras when I'm shooting app a log. I would use the histogram or I would use false color. Or, again, like at the beginning, I showed I would auto expose. Now, if you use auto exposure, you never want to actually shoot with auto exposure. You would auto expose, then lock it. But at any rate, let me dial this back down. So now I'm at 12:50. I'm not getting any zebras, and that image is way over exposed. If I switch now to Rec 709, just to continue this example, which is standard video with the exact same settings, look at all the zebras everywhere now. The zebras are everywhere. And so it's just interesting. Again, Apple Log you just need to be careful with. It does have more dynamic range, and it's encoding it differently. This is really technical, but the way the iPhone and Black Magic app are mapping it is Apple Log is HDR. However, it doesn't act like HDR when you're editing, it's SDR. That's a whole another topic, but that's just something that I think is causing this weird discrepancy between RX seven oh nine and Apple log because With Apple log, we're still using a Rec seven oh nine display lot. Hopefully you're following what I'm saying here. Long story short, I would trust the histogram and the false color when using Apple log. If you're shooting anything else, Rec seven oh nine, whether that's Perrez, or HEVC or H SO 264, I'm finding the zebras are trustworthy. Again, here, what I would probably do is just hit the screen, auto expose, you're good. But using the histogram and false color. And then of course, the Zebra are a great way when you're manually exposing an image, but using auto will be a sure fire way to expose. But even for using auto, I would tend to always expose for your highlights, and if they are clipping at all, bring them back just a little bit. And if you do that, you'll have good results in the end. 17. Best Shutter & ISO Settings: All right, now I'm talking about ISO and shutter speed as they are very interconnected using a phone. They're part of the exposure triangle on a traditional camera, your ISO, shutter and aperture iris. But again, on a phone, your iris is fixed. Right now I'm on the ultra wide, and it's a 2.2. And so you can't change that. But what you can change is your ISO and your shutter. And as I've mentioned throughout this course, you want to have more times than not 180 degree shutter. And so what I tend to do is set it to that. Or if you're using fractions, you'd want to be at 1:48. I'm shooting 24 frames per second. Remember the 180 degree shutter rule. And what that is for is to get ideal motion blur. If you're not shooting with ideomotion blur to big giveaway on a phone. And the way you get that when you're outside is to use an ND filter. ND filters are like sunglasses for your camera. So you put an ND filter on if you're out in bright light, and that way you get the proper exposure with the right motion blur and the shutter, using, again, the hundred and 80 degree shutter rule. If you're inside like I am right now, you don't have to worry about ID because the light levels are fine. So again, I'm on 108 degree shutter, so I'll lock that, and then to get the proper exposure, you have to use ISO. And on this particular lens, the lowest ISO I can do is 32. On my main camera, it's 55, each one's different again. And as a general rule, you want to keep your ISO as low as possible. The more ISO, the brighter the image will be, but you're also adding digital noise. And so do your best to keep the ISO as low as possible. Again, in here, with the studio lights and stuff, I'm having no problem because a low ISO like that, 32 with the good shutter is an ideal setting. That would look great. But just remember to lock your shutter in particular when you're shooting motion. Like, right now, it wouldn't really matter, but anything that has movement in You want that motion blur that gives it a more filmic, more cinematic. It's not just for film, it's for any kind of video. It gives it a more traditional look, and that's what you want. The one thing, whenever you lock the shutter, you don't have auto ISO over here. And so if you wanted to lock the shutter and then ride the exposure like you're doing a running gunshot, you can't do it. Unless the way you do that is you the shutter, and now you go back to exposure, then you can hit auto. And that's like full auto. So now you've got the A next to ISO and the A next to Shutter. That is something that I would only do if I'm doing maybe a documentary shoot, and I'm going to be going in and out of different settings because the camera will auto expose. Let me cover the lens. You can see see how it moved. Not something that I would do very often at all, but if you do want to use auto, that's how you do it. But if I turn that off, and then I end up locking my shutter on 180, which is what I want to do more times than not, Now when I go back to exposure, it is adjusting the ISO. That actually confused me when I first got the app. So hopefully that makes sense. And then hopefully it also makes sense that you lock your shutter to get ideal motion blur, whether you're inside or outside, because you want 180 degree shutter. Or, again, if you're shooting 24, it'd be one 48th, you're shooting 25, it'd be one 50th, shooting 30, it'd be one 60th, and so on. And that also applies to those slow motion shots I did earlier. If you're shooting 120 frames per second, you'd want your shutter to be 240th. Again, that's a fractional. But if you leave it on 180, you're good to go. But getting the proper shtter and the proper ISO not only makes the image look better from a motion blur perspective with shutter, but then it allows you to also get the best exposure and overall look of your footage. R 18. Choosing the Best Codec: Alright, now we're going to talk about Codex. I went over the Codex in the menu settings, but we want to talk a little more detail about them right now. Really when to use them. And truthfully, it's a subjective call. But for me and my workflow, I'm using PRs now for probably 90% of what I do. And that's because I use my phone as a B roll camera or as a B camera routinely with my higher end cameras, my stony, my red, et cetera. So I'm intercutting that stuff with a higher end camera. But I also do a lot of YouTube stuff, again, shoot B roll. And I'm finding Pro Rs is the best Kodak. And in particular, shooting PRs with Apple Log. Apple Log was introduced with the iPhone 15, and it gives you a lot more dynamic range. But importantly, what it does is it also turns off the sharpening, and it turns off dynamic tone mapping. If you don't know what that is. In basic terms, dynamic toe mapping, it adjusts the exposure for you dynamically, and even when you have the settings locked. And dynamic toe mapping can be great, especially for still photos, but implemented in video, it's not great. You still get it when you shoot in any of these other color spaces, Rec 709, HDR, or P three, which is also HDR. And so it's not good when you're trying to do professional work. But shooting Apple log takes care of that. It turns that all off or turns it way down to where it's not even recognizable. And so you can shoot apog into any of these codec, though, which is nice. I rarely do it in ATVC, or 264. I've really only tested it. PRS is definitely the way to go. If you're shooting every day stuff, just normal B roll normal footage where you're going to be doing normal color correction, just basic kind of stuff, no heavy color correction or heavy grading or visual effects. Then PS 422 is what I would recommend. If you're doing maybe B roll, you're going to be intercutting with HEVC, just regular iPhone video, then PRs LT is actually fine, similar to PRS 422, and the file sizes are much smaller. And that's the overall point. The different levels of PRs create bigger files because the data rate is different. And so PRs Q is the highest codec right now in this app. So for your highest and work, choose HQ, and that is what the native camera shoots whenever it shoots PRs, and you can't choose the codec there. So that's one thing nice also about using a third party app because those files really are big. Now, if you're doing social media and you're doing just maybe family videos, and you don't want to deal with the file size, then HEVC is a great codec to choose. That's what the default native camera shoots. And then you go back to color space, and you can choose to shoot an Apple Log. But one thing about choosing Apple log for that is because you're getting a compressed format, it doesn't perform quite as well in the color correction and grading I found. But typically, if I'm going to be doing HEVC, I will shoot in Rec seven oh nine, which is SDR, or Rec 2020, which is HDR. That really just depends on what you're doing in post production and how you're delivering it. Most stuff today is still Rec 709 SDR. Even on YouTube, Video, and other places, you can definitely display HDR. The problem you run into is whoever's watching the video may not have an HDR display, and some services do better than others in converting that to SDR. Sometimes it just doesn't look right at all. So again, that just really depends on your project. More times than not, I'm shooting rec 709 though when I'm doing HEVC, a compress format or HS 264. But now that I have a 15, and if you have a 15 series phone or later, depending on when you're watching this, I would shoot Apple Log and PRs 422 or PRs HQ for anything you're doing that you really care about or that it's more professional, because that way, you'll just get the best results. 19. Apple Log for Social Media: If you're doing something for social media, Pres is not the way to go, and it would deter you from using appog. The Black Magic camera allows you to shoot Apple log in HEVC, which is h265, or an HO 264, which is the standard peg four we've been shooting for years. Now, the benefit to that is that you can shoot, again, Apple log in a much smaller file, and that allows you to do it for social media, et cetera. But the question is, does it work the same shooting on these compressed formats like it does with Pro RS? Because with PRS, you get the sharpening turned off, and you get dynamic tone mapping. Very importantly, you get dynamic tone mapping turned off or all the way down to where you don't even notice it. You know anything about dynamic tone mapping, you don't want it when you're shooting video. First up, I'm shooting standard HEVC with a baked in rec 709. This is more or less exactly what you would shoot with in the native camera. And this is what most people have shot with for years before Apple Log came along. So I'll do a sample clip of this. And the one thing you'll notice, let me lock that real quick, actually. And so now I've got the exposure and focus locked on Batman. But when I put my hand in here, you'll notice real subtly the exposure shifts. It's very subtle, but it does shift, and you can see it across the whole image. That is dynamic tone mapping, and that is what you don't want when shooting professional video. So now let me jump over to Apple Log. And so now I'll shoot an Apple log clip. And when I do that, you don't get any dynamic tone mapping. Or if dynamic tome mapping is there, because we don't know, for sure, Apple's pretty secretive on that kind of stuff. It looks like it's totally gone, but it might be just slightly there, but it's not shifting the exposure anymore. And then the other thing is, sharpness is turned off or turned way way down. And so now you get a much cleaner image. And again, I'm shooting an HEVC, not PRs. And then here is the trick to use if you're shooting anything like social media or family videos or something, and you don't want to have to deal with dynamic tome mapping and over sharpening. Go into the t menu, display the Lut, but then go ahead and select record Lut to clip. Now, just to emphasize, if you're shooting PRs, or if you want to color grade this stuff in post production, do not, I repeat, do not bake it in. However, in this situation, the idea here being that you're doing this for every day videos, and you don't want to have to deal with color grading and stuff in post production, then go ahead and bake it in. But you're getting the benefits of Apple log. And so you're getting no dynamic tone mapping and no sharpening. See the lut is baked in, and I'm getting a nice image. And so I'll go ahead and record that. And you can see the lut image is now red. That tells you that you're baking that lut in. And so while you're shooting apple Log, you don't have the same flexibility in post production, but you're getting the benefits of apple log in camera. And that is a huge thing if you're shooting stuff, again, everyday videos and social media videos. So now we'll compare these side by side. And so here is the baked in look. And again, it doesn't look bad. It just looks like iPhone footage. It's crunch here, doesn't have near as much dynamic range, of course. And again, it has the dynamic toe mapping issues, and it has the sharpening. Now, here is Apple log. And then, of course, in post production, you'd have to color correct this, color grade this, and I'm using one of my luts here. And now that looks great. But you do have to color correct that in post production. And now here is shooting apple log, but with a baked in ut. And this looks great, too. The main thing you've got to do is pick the lut you want in camera, because, again, you have limited control in post production. Of course, you can adjust the white balance and exposure and stuff a little bit, just like we do with any footage, but you really want to get to look right in camera. And now here are a few more examples to show the comparison. So the main negative I found with this method is that you can't control the bit rate currently in the Black Magic camerap. And so it looks like it's about 35 megabits per second. Which isn't bad. I mean, it's okay. It's about equivalent to the native camera, but it's definitely not high end. So if we're going to shoot out the log at HEVC, I would probably do it baked in and not in post because the footage doesn't perform nearly as well as PRs would for obvious reasons. It just isn't as high quality of footage. 20. Stabilization Overview: Okay, now we're going to look at stabilization. I talked about stabilization in the menu overview, but I want to demo it here just to show you the difference between the three and then also not using it. So to use stabilization, you go to the stabilization menu, and I usually leave it on standard for most stuff, but let me turn it off. And you can see when I turn it off and go back to standard, it is pushing in So you're losing I don't know, what is that 5% or so of the frame. If you're on sticks, I often will just turn stabilization off because that way you're getting the sharpest and cleanest image. However, more times than not when you're shooting, leaving standard on is probably a best practice, but now we'll look at cinematic and extreme. This is interesting. When you hit cinematic, it doesn't zoom in like other apps do. Extreme is the same way. Now obviously, you would assume that those two different settings would give more stabilization. When you're on off, you have the widest image, and standard cinematic and extreme, you have the same size shot, although each will look different once you look at the video in the library or in post production. So now I'll show that. Okay, this first shot is no stabilization. I have stabilization turned off. I'm just walking normally. Okay, now, this time I have standard stabilization on. Just walking normally? And now, this time I have cinematic stabilization on, and when I hit record, it actually pushed in on the image, and I can tell as I'm walking here that it is, steadier. It's almost like I'm using a gimble. So it does it as it's recording, not when you're previewing it. Okay, ex stabilization, same scenario as with cinematic. It in a little bit. And as I'm watching the screen, it feels like there's a lag. There's a delay in what I'm seeing. So other apps do the same thing. It doesn't do it when it's previewing though, only when you're actually shooting, but it does seem to be very steady. There's a huge delay though. A So my recommendation would be to use standard stabilization for pretty much every, every day type of stuff. Again, if you're shooting on a tripod, then you could turn that off. That way, you get a little bit of a wider shot and you get the most crisp clean video. But if you're doing anything more involved, like maybe you're someone, you're doing an action shot, you're driving in a car. You're doing anything that you want to look more like a gimble, then cinematic would be my first choice because there's really no lag. But extreme would be good if you're really in an extreme situation. But the extreme mode is hard to judge when you're shooting because there's about a 1 second or so lag. And so when you pan to the left, you're looking at the pan, but it doesn't pan the same time as in reality. It's about a 1 second delay because of the way the software is working. So cinematic, I would use that probably more than extreme, but standard is what I would use, probably 95% of the time. 21. Zoom & Switching Cameras: Let's talk about Zoom or not to Zoom or changing lenses and just changing shot size. If you take on my other courses, you know that I am not a Zoom guy. We're actually in a no Zoom zone. That's what I like to call it. You zoom with your feet or you change the lenses itself and then go in. Now, zooming is okay if you're doing a stylized Zoom, like a snap Zoom. Think of a Quentin Tarantino movie Something like that is okay. And then if you're doing sports, of course, live sports, there's all kinds of zooms, but you don't shoot live sports with an iPhone. You're shooting behind the scenes or coverage or Broll. And you can zoom in sports or news. But even then, I would prefer not to zoom. But using the Blackmagic Camera app, they have a built in Zoom. It's a digital zoom. And so when you zoom in using this Zoom, you lose image quality. And so you want to really not do it a lot. I have found in my testing that going in on two times is okay. You don't lose that much doing two times. But if you do four times to eight times, you really start degrading the image. And actually, with this, you can push in with a dial and I think go, yeah, I'm up to 15 times. Let me tilt down. We'll see Grogu here. That is a pretty nice zoom range, but again, it's a digital zoom. And so you don't really want to do it unless you have to. It's nice to have. It's one of those things if you're doing a documentary or again, covering a news event or sports, to be able to zoom in and grab that image is fine. But just understand your image is being degraded. You're still shooting four K or HD, whichever you're set up to. It's just the camera is zooming in. It'd be like doing a Zoom in post production. Zooming in on the image. It's not an optical zoom. And so what I recommend is if you want to zoom in, right now, I'm on the 24 millimeter. You actually go and you switch it right here because this way you know it's an optical zoom. And on this particular phone, I've got a five time zoom, which is equivalent to 120 millimeter, and you can see that's a nice shot. That is the way to do it. And then you would just edit those shots in post production. You wouldn't actually see what I just did in Post. Although as a side note, you can do that while the cameras rolling when we come back out. So now I'm on the 24. And just for demonstration purposes, that's the ultra wide. So you can go from the ultra wide. You can be that wide, and then you can pop in with the five times ti. But if you were rolling, how would you do that? Well, one thing about the Blackmagic Camera app that not all apps allow you to do is while you're rolling, you can actually switch cameras. So I'm on the Telly right now, the hundred and 20 millimeter. Can go out to the 24, or I can even go out to the ultra wide, and then I can go back in. Now, obviously, the cameras are switching, and so you have a little bit of flicker and stuff there in between the camera switches. So that's not really usable. That would have to be edited out in post production, but it is nice if you're trying to reframe a shot, you don't want to hit Stop. You know, on a traditional camera using prime lenses, you would stop recording, and you would switch lenses, and then you would do the new shot. So really, in my estimation, if you're running and gunning, like you're at an event, maybe shooting a wedding, maybe shooting again, a news event or sports, having the ability to pop in and out while you're recording could come in useful. Now, for the stuff that I do more times than not, again, especially since you have to edit that anyway, I just cut and change the camera and then pick it back up again. But I'm talking more about narrative stuff or scripted content where you have a plan in mind, you're not just winging it. If you're shooting B roll and stuff, that could come in handy. And then, again, if you want to zoom in, that could come in handy, too. You could do, like a snap Zoom, kind of a stylized zoom like that. Let me roll on that just to kind of show that, too. So while you're rolling, you can snap in. Let me go ahead and lock the exposure, press on the screen, and hold. Yep. So now, when I zoom back out, that exposure and focus should hold. So, you know, imagine a quitting Tarantino film. Nope, the exposure shifts. I'm actually shooting at TBC, so that might be tone mapping right there. I've talked about tone mapping, and if you're shooting Apple Log, you don't get tone mapping, but you do when you're shooting with TBC in Rec 709, and that's what I'm doing here for these demo purposes. But nonetheless, zooming in like that, if you want to do an effect, that's okay. But otherwise, don't do it because that's a digital zoom. And one addition to switching cameras and lenses is that now Blackmagic has added the 48 millimeter virtual camera. This camera is available to you if you have a 14 Pro or later device. So now you can get a two time Zoom within the app without degrading the footage. Now with the 48 millimeter, you can push in on the sensor, and so you're not losing image quality. This is especially great if you're using a third party lens, an anamorphic or what have you. That way you get two shots in one without having to change the lens to the other camera. Additionally, you can switch the cameras, as I demoed earlier, and now with this newer update in the app, the camera switches seem to be a little bit cleaner. They don't glitch or flicker quite as much. They're not 100% usable, but they're much better. And in some cases, I find they are usable. As noted, Blackmagic has updated the UI. Now the Zoom button is part of the lens picker, and so they're integrated, and you have a little more control because now you can do what they call Dolly Zoom, which for me is basically an automated Zoom, so you can set the time to really go in slow, creeping in, or you can do fast, almost like a snap Zoom. The Blackmagic app because of being able to change lenses while you're recording, has a digital zoom and then all the different lens choices, which are your best options because those are optical. But it is nice because there's a lot of options on how to change the shot. Just be sure to choose the right one for your project. 22. Advanced • Using HDMI Output: Well, hopefully by now, you know how to use the Black Magic camera and shoot some nice looking video. But for those who want to take their projects to the next level, there's even more advanced features to check out. All right, I would consider this more of an advanced setup. This isn't something you'd use every day. But if you're doing an interview like in a documentary or you're shooting a corporate video, anytime you want to see the monitor more clearly, using an external monitor is a great idea, or if you have a client, if you're doing, again, a corporate shoot, and you're shooting something and you need the client to see the monitor, or sometimes it might be the director's monitor. Sometimes it's just you, because the iPhone, even if you're using a Pro Max, It's a fairly small screen, and so this is a seven inch monitor. Using a bigger monitor, you can just see it better and see what you're shooting, set up the lighting, make sure you're going to focus, all that kind of stuff. External monitors are great. And this is an Andy Sinne four K. Doesn't matter which kind of monitor you have. That's a subjective cog. There are a lot of good ones on the market. This one's nice because it's an outdoor bright monitor. So if I'm in the sun, I can still see it. So it just depends on what you want to do. And ultimately, you just set this up using the Black Magic. But before you do that, you need a couple of accessories. And the first one is, and this is really the most important one, this is a USBC two HDMI. And so this is a 15 Pax. If you're using an earlier phone, this will still work. You just seem to have a lightning to HDMI. And I'll put links in the additional resources for various accessories. So depending what phone you have, just get the right one. And then you also need an HDMI cable. And this is a full size HDMI. You don't have to mess with micro or mini HDMI. And this is a pro cable because it's coiled. I just like them better because they're easier to work with, but you could use a traditional home type HDMI cable as well. But then all you do is you plug this in to the phone. And then you plug the HDMI cable into this. And then you take your HDI cable and plug it into the monitor. And every monitor is going to be a little bit different. This one that actually connects on the bottom. Turn the model around. And eventually got a signal. And the way you do that is you have to set that up in the Black Magic app itself. Go to settings, go to monitor, then HDMI, and I have that to clean feed. And what clean feed does is just what it says. It sends out a clean feed with no text or anything over it. But if you wanted to do mirror display, you could do that. And go back to the camera. Now you're seeing the exact display down there. It's srt back on the screen because you're seeing all the controls of the camera exactly as it appears on the phone. This is a setting that I personally wouldn't use. If you want to see the text, I would choose status text in the menu. And then when you go back at the camera, basically have the same full clean image, but then with the edges of the monitor having the various controls seen, which is nice. You can have the audio meters and the histogram and that kind of thing. And you can also see when you're rolling, let me roll a sample clip. So when I hit record here, you can see over here on the monitor that that is actually rolling, and it shows red. So that's a good way if someone else is watching the monitor to double check that you're rolling. And then another option is status text surrounds image. So this looks again more like the first one, but the text is spread out from the screen versus the way it was on the first one where you're just mirroring the screen. So you can see the status text a little bit easier. But again, to me, when I'm using this, the two I'm using the most are clean feed, which is what I started with that way you just get a nice clean image to the monitor, or and especially if you have crew and stuff watching, I might use status text, and that way, you can see when you're shooting, but you can also see a nice full screen image. And just one side note, at the time of this video, this HDMI does not send out an uncompressed four case signal. Maybe one day it will, but it's my understanding that right now, this is an HD signal that's great for monitoring. It's not great for recording because there are monitors like from Atomos that will record an HDMI video signal, which is great. But if you want to do that on the phone, you would actually just record to an SSD drive, which I talk about in another section. But having an HDMI monitor setup like this really opens your phone up to much more professional environments, and lets you do other things where you could connect your phone to the computer, to a video card, that kind of thing. But for these purposes, I'm really focusing on video and filmmaking, and adding an HDMI monitor to your kit can really work out great. 23. Advanced • Rack Focus Controls: Next up, we'll look at the RAC focus controls. And really, it's a lot more than just rack focus. To me, what I would call it is automated focus pulls, or in other apps, they call it pull to point focus. Now, you can definitely do rack focus, but the idea here is it's automated. You more or less set key frames, and then the app will automatically rack the focus for you because racking focus on a screen can be tricky and doesn't always work that well, and it's not precise for sure. Now you can do repeatable moves. So you'll rack to something, and then it'll rack right back. And you've got a way to set the duration or the speed of the rack as well. Okay, I've got Batman and Wonder woman here again, and we're going to talk about how to actually set these focus points and do automatic rack focus, again, or focus poles. You go to the focus Down here, you'll see what looks like little keyframes. You click on that, and then you've got your screen and you've got the controls here to the right. You can't do anything though until you set your first key frame. And the way you do that is you touch on the screen where you want to focus, and then you choose the key frame. That's going to be my focus pull spot number one. Then I would go. I'm going to rack the focus to Wonder Woman. Then I would click on her face. And now I'll pick number two. Now, sometimes as you saw right there, it does actually fade away quicker than I would like. And when you come over here to the right and you try to click the screen, it doesn't do anything. So you actually have to pick the key frame from the screen when you hit it. And so I pick number two. And so now I'm focused on Wonder woman, and I can rack the Batman, and there's two ways to do it. You can either hit the keyframe over here, the little triangles on the right. Now I'm racking the Batman. There's one, and I can go back to her two, or down here at the bottom of the screen, there's a play icon. You can hit that and it does the exact same thing. And so that's really it. It's pretty straightforward. The other thing you can do though just to fine tune it is you can choose how long the actual focus rack takes. And this would be similar to other apps where you're setting up the speed. 0.5 seconds, half a second is the default. And it really seems to be pretty good to me. If you're doing something needs to be a little more of a slow reveal, then you can drop it down. We'll try this 1.7 seconds. Go back out, and that we'll rack from her to him, and you can see who is much slower. I'll go back to her. And so that's extremely subjective and totally depends on what you're doing. Again, for most stuff, I think faster racks are probably better because you're trying to shift the audience's attention from one thing to another. In a movie, for example, if we were on Wonder Woman, And he was talking to her, like, let's say Batman was spun around to her, and maybe he twisted really quickly and set a line of dialogue right on that head turn, obviously, I can't do it right now with these action figures. But on that head turn, you could time it out and go boom right to Batman, and you could get some pretty cool stuff. Other times Rack focus as good as just to add production value when you're shooting B roll, et cetera. There's 1,000 different ways to use it. And so doing it in the app though is pretty cool. Now the last thing I'll show is you'll notice there's a number three. And so if I wanted to have a third spot, which I really don't need in the screen, but let's just say I wanted to do the wall. If I can get it the focus back there. So now I've got three different focus marks. I've got Batman, one woman, and the wall, sort of. It's really not the wall. It's in between them. Let's just say that's what I wanted to do. And so there is my number one position. And if I hit play, it goes to number two and stops. And you got to hit play again to go to number three. But if I choose these controls here, that have arrows, that way you have continuous control, and it keeps it in order going one, two, three, and then three, 21. And I go back to one, goes one, two, three. Then it goes backwards and basically starts over. If I have that on just the single arrow, then it'll actually do them in order. So one, two, three, I got the single arrow, but now when I hit play again, It goes back to one. Then two, then three. If you hit it again, then it goes to one. Just to recap these arrows so you really understand. If you use the single arrow, it always goes forward. So it's always one, two, three, and then it starts over again, one, two, three. This is the one that I would probably use most. If you use the double arrow, then it actually loops, it goes forward and then backward. Again, typically, when you're shooting something, you want to do the same shot again, and so it's best just to go back to the beginning, like in a movie when you hear people say back to one when you're doing a Dolly shot or what have you. But as is often the case, it's a subjective call, so it's nice to have options. In my work, I'd probably rarely have three endpoints, but if there's multiple characters, it could come in handy. More times than not, I'll just have two. And if you want to delete one of those key frames, I've got it on the three right now, you get the trash can, and it deletes that keyframe. Now you just got the original two. I have to say, with all the apsidews that have this kind of control, I think the Black Magic app is the best. And so this is actually pretty intuitive, which is great. And a lot of people have been asking for this feature, and so it appears Black Magic is listening, which again, is very cool to see. 24. Advanced • USB-C Recording: All right, I've been talking about the iPhone 15 Pro Max and shooting PRs log. But one thing I haven't covered is recording out the USP port, using various accessories to do external recording. This is a 1 terabyte, 15 Pro Max, and so really, I don't need to go out to an external drive because I have quite a bit of storage in my phone. But the reason you would need to is if you want to shoot four K 60 PRs, because you can't do that internally in the Native camera. Now, you can in some third party apps, but we'll talk about the Native camera first. So I'm using just a little B script tripod here in the moment tripod mount that has MagSafe in it. All right. I'm in native camera now, I'm shooting Apple Pro Rz log, and you can see that I've got 124 minutes. So just over 2 hours, and this isn't 1 terabyte phone that I think I have maybe 75% free. So that's pretty good. So I really don't need to go to an external. However, if I try to go to four K, I get 150 minutes, it works fine. Four K PRs not supported. So you can only do that on external storage device. And so I just so happen to have a T five Samsung drive here. I don't think they make these anymore. If they do, they're old. They now have the T seven, which I have one of those two, but I want to show the older ones work just fine. Now, one thing you'll notice, I just plug the drive in, and usually you get a little icon that says, USBC. It's not showing up, and that's because you cannot record out externally except using the PRs Codec. And because I tried four K 60 a second ago, it turned it off. Now I'll re engage it, and now you see USBC down here, and I can get 76 minutes this drive. Now, this is a 512 drive, and it's mostly empty. You can see that you don't get a lot of media going out to an external. You got to have a lot of space. Again, my phone is 1 terabyte, and I got 124 minutes, and so if this was a 1 terabyte, I'd probably get about the same or a little bit more because it's a little emptier. So if I go to four K 30 though, it drops down to 61 minutes. And if I go to four K 60, which you can record, I only get 30 minutes of footage. And so you can see going out, you got to have a lot of storage to make it work. But the nice thing is, it does work with these relatively inexpensive SSDs. I think a T 7512 gigabyte is about 80 bucks. So SSDs are a nice solution. They're a little bit bulky, though. So you would be hard just to hang this off your phone and walk around and shoot. But if you wanted to velcro it to your tripod or to a case or something, which I would recommend using a case probably from using an SSD, it becomes a good option. But it doesn't have to just be an SSD. Can also go out to cards, such as a C fast card. Now, this is an angel bird. It's a 512 gigabyte. It's 560 megabytes/second, so it's really fast. And by the way, these drives get up to 1,000 megabytes/second. So these are really fast. So are these. I use this actually with my red commodo. But now, this card is like 300 bucks. And so you can get 1 terabyte versions of these cards, and they're like 500. So they get really pricey. However, they're really fast, and they have a lot of space on them. And so we'll try this. And this is actually a red card reader, red digital cinema. Now, this is a little bit bulky. But again, it's a pretty cool solution. If you want to shoot PRs to an external drive. So now USBC lit up, and this drive is pretty much empty and I can get 73 minutes at four K 30. Most of the time I shoot four K 24. But four K 60, I can get 36 minutes, four K 24, 92 minutes. So that's quite a bit. That's a good amount. And as a side note, the only time I would really ever shoot four K 60 is so I'm doing Slomo. 60 frames per second in my world in the film world is designed for slow motion. You get a 40% slow mo look. And so, yeah, this is a good solution, but again, see how big the card reader is. You could potentially mount this with some bell crow to a cage or whatever, but it's a little bit unwieldy. And so I have a smaller USBC drive, and this actually is one that has USB three that has a USB C adapter. And this one was like $20 or under, maybe 15 bucks on Amazon. This is like $100 from Red. Now, just for fun, I have a 64 gigabyte card here. It's a really fast card though, 550 megabytes a second. It's C fast two. However, pop that in and see how much time I get. I got 124 minutes right now on my one byte phone. So you get 11 minutes. You get 11 minutes on a 64 gigabyte card. Now, that's not bad if you just want to grab a couple of shots, but, you know, you couldn't go out and shoot an entire afternoon with that. But as a matter of fact, you really couldn't shoot an entire afternoon with any of these solutions externally. And even internally, it gets sketchy. The best thing to do is record internally if you have a bigger foam and then just transfer using USBC for portability reasons. If you have time and can rig one of these, then getting a bigger card or, you know, get a two terabyte SSD, and you'll have plenty of storage, plenty of time. But the main thing I want to show here is you can use a cheap USBC reader and any kind of CFS two card or any kind of card for that matter, and it works fine. And speaking of that, the cheapest solution and the easiest solution might just be to use an SD card. And that's what this is. Now, I use these on my Sony Mills camera, and most of the ones I have are 128 gigabyte. I don't like buying the 256 cards because on a Sony Murals camera, you'll get hours of footage on this, and I don't like to have to transfer that. And on top of that, if you lose a card or a card gets corrupted, I don't want to lose as much media. So 128 gigabyte is fine. But if I start doing this with the iPhone, I would probably buy 256 gigabyte cards. And this is the official Apple reader USBC to SD. This is a really great solution, though. You pop it in as super light weight, and boom, there it is. Now, again, 128 gigabyte, four K 24, I get 23 minutes footage. So if it was double that, you'd get about 45 minutes or so, which isn't bad. And the nice thing of course about SD cards is you just have several with you. When you're dumping your files to your computer, then you can pop SD card in and keep rolling. This card, though, just to show is a 250 megabytes/second card. I've heard rumors that Apple recommends 200 megabyte or more, but then I've seen guys online use cards that are much slower like 90 megabytes, and they seem to work fine. But I would probably stick to the faster cards. It's all I own anyway, just to be safe. So, again, 23 minutes in that card. But it's an awesome thing to be able to record out within the native camera app. But what about other apps? Okay, now I'm in the Black Magic camera app. And at the time of this video, to my knowledge, this is the only third party app that lets you record externally. There are other apps now like Fil McPro that support Apple log, but they don't go out the USBC at this point. But at any rate, the one thing with the Black Magic app, and it took me a little while to figure this out, when you plug in something to the USB port, it doesn't automatically show right down here. W the Black Magic camera, you click this and you can look at the drive. Doesn't work the exact same in the phone app. So right now I'm recording directly to the phone. But what you need to do then is go to settings. You can see here I'm recording Pro Rs 422, Apple log, but you go down here to Media, and then it saved clips to. Right now, it's N App only. And here, you have to go to files, and then you need to find the drive. And if you go to browse, you look over here, it's untitled. Untitled is empty, but I'll hit open. Now it's saving it to the files, which is going out to the SD card. Go to camera, and now it's switched. And you can see now I've got 35 minutes and 32 seconds of room to record. I'm recording an Apple log, PRS 422. And as a side note, that's one thing really great about recording in third party apps is because in the native camera app, you can only record PRsHQ. In here, you can record a variety of codex, even HEVC and h264 with Apple Log. Pro res HQ is huge. The files are huge. I mean, all of them are big. For every day kind of stuff, pr422 or LT is fine. Even proxy can be good. I've done that quite a bit. It just depends on what you're doing and how much media you have. And in this situation, again, I've got 35 minutes going out to 128 gigabyte card. And you had no other indication on the screen like you do on the Native app, but once you do get to the SD card, you can see down here that it changes. And if you want to go back to recording to your camera, you have to manually do it. Let me pull that out. Go back to camera, and it's flickering, it's kind of buggy, and it's like, Oh, it doesn't know where to go, actually, put that back to save clips to N app only. And I do N app only, by the way, because I don't want my big PRs files to clog up my Cloud backup, going into the photos app. But now you can see, I've got 3 hours and 39 minutes recording to the internal drive. So again, great, you can record out the USBC using the Black Magic camera app, but you have to manually set it up. It doesn't automatically sensor or automatically know what's there. 25. Advanced • Blackmagic Cloud: So I've talked about Black Magic Cloud, and I mentioned that I don't personally use it, and that is the case. I have used similar services like Frame IO with Fil McPro. But since I don't use Davinci Resolve as my main editor, I don't have a whole lot of need for Black Magic Cloud. However, I have figured out a way that you could use it even if you don't edit in Divici Resolve. And so I've created an account, and I've logged in, and I have two different options here, Blake Storage and BMD App. And I'll talk about that in just a second. But before I get into too much detail, I'm going to show you a how to on joining and then logging in to Black Magic Cloud. And I'm using the official Black Magic Tutorial to show you this. Black Magic Cloud allows you to host your projects in Black Magic Project Library Server on the Internet. This allows users to be able to access and collaborate on the same projects from anywhere in the world. Now, let's see how we can set this up. With the Venture resolve 18 open, you'll be able to see a Cloud tab over here. Now, once you sign in, you'll be able to see the project libraries that are stored in Black Magic Cloud. Now, to sign up for an account, you can go to our website at t blamgsig do. Click on the Login button. And head to the sign up portion. Now, registration is free, and it will only cost you $5 a month to be able to host a Cloud Project library. As I've already created an account with Cloud Project library, I'm just going to log in within DaVinci Resolve. Click Sign in once you have entered your credentials. Now, you'll be able to see a list of all the project libraries that you have created. If you don't see a list of your project libraries, you can click on the show and Hight Project libraries icon to show or hide the project libraries. If you want to create a new project library, you can click on the Ad Project library. This will take you to the website and enter in the details accordingly. So once you logged in, you created your account, then you come back to the app and you can see the different projects you've created. Now, I have two here, Blake Storage and BMD App. Now, originally, I had a free account. But to get the projects, which was mentioned in the video you just watched, you have to pay $5 a month. And so I did add that to my subscription for demo purposes, and we'll see I may keep it because of what I mentioned, you can just upload files to storage, not into Divinci Resolve. And that way you could download those proxies and then use them in another app. But that's not really what this is designed to do, but it is a option if you want to do that. But then when you go into media, you've got different sections here now. You have all your clips, and then you've got the Black Magic Cloud project folders. And then you can also see here the clips that I have uploaded have a little uploaded check mark by them, and they have a Px Y, meaning the proxy was uploaded to Black Magic Cloud. The original is still on my phone. And I'm not going to go into re linking and such. That's more of a divini resolve thing. However, that works the same in editing editing software. You upload and edit the proxies. They have the exact same time code and file name. And so then when you're done editing, you can re link to the Hi Rez files. That way you don't have to upload the Hi Rez Per Rz files or the Internet, you can just do the proxies. But before you can do all this, you have to set up your project properly online and also in Divini resolve. So I've got another video I'm going to show you right now from Black Magic Design that shows how to set this up. You can set up your Cloud project using either your computer or your iPad. I'll be using my iPad, so let's set it up right now. I'm currently running DaVinci Resolve 18.6, and in the Cloud tab is where you can sign in to your Black Magic Cloud account. I already have a project library created in my Black Magic Cloud account. So let's start by creating a new project. A window will pop up with a few entries to fill in. Firstly, let's give my project the name, my Awesome project. This determines the location where media from the Cloud storage will be synced to. In order to allow multiple users to access this project and collaborate, let's click on Allow multiple simultaneous users. This lets you enable or disable automatic media syncing. For this project, I'm going to select sync proxies only. This option allows compatible devices such as the iPhone that is running the new Black Magic camera app to have access and load media into this project. Let's allow remote camera access so I can demonstrate this later. After the project has been created, head over to the project settings, and under Black Magic Cloud section, here you can select the Codec and format of your proxies. If you're done, click Save to apply your changes. Let's try uploading a file from an iPhone directly into the Cloud project using the Black Magic camera app. Open the Black Magic camera app and sign in to your Black Magic Cloud account. Ensure that the account is a member of the project library. Click on the side bar to review the available projects. As I have previously enabled allow remote camera access. I now see my Awesome project as one of the available projects to upload to. I could either head into the camera tab and record a clip straight from the device, or I can press the gallery button to choose a clip in my gallery to upload to the project. Let's try uploading a clip from the gallery. You can see that it is uploading the proxy right now. Once the proxies are uploaded, your editors back in the studio could access the project, download proxies and start working while collaborators are still on set. My computer is also running DaVinci Resolve 18.6, and I have signed in as a member of the project library in a Cloud tab. Clicking into my Awesome project, a window pops up the first time you open this project. Firstly, I'll choose the location that I want my media to be stored. Secondly, I'm going to select Sync proxies only. Click open. In the media pool here, I can see that the proxies are beginning to download, and I can check the progress of that in a cloud icon over here at the bottom right hand corner of the interface. In the media pole, there is also a new bin that is automatically created called camera loads. This contains the files that have been uploaded through the camera app. I could then begin my job as an editor to create a timeline and start working with the proxies. So I went through and did exactly as this tutorial demonstrated. I can now record directly to DaVinci Resolve from my phone, or I can just record up into the Cloud storage. And that's what I want to show you first. I was able to just upload files from my phone directly to the Cloud storage. And so what I did there is I just dragged files from my all clips into the Blake storage project. And that way, I was able to actually upload those, and then go online. Now I'm on my computer here. And then I could see those files online in the Black Magic Cloud. Then I could download those from the Cloud onto my computer, and then technically, I could use them in whatever app I wanted. So going this route, you wouldn't have to use D Venti resolve. The other way to do it, it's really the way it's designed is you can record footage and go directly into one of your projects. But you have to make sure you have that setting turned on. And so you go in under the Media tab, where it says to selected project. That way, when you're actually recording, see here at the top of the frame, I'm actually recording to my BMD app project. And so then when you click over and see after you recorded, you can see that it's actually uploading and going directly in that project, no manual dragging or dropping required. I So again, for me, this is a feature I probably wouldn't use a whole lot, because majority of what I do is solo work, solo shooting, especially with my phone, for YouTube, et cetera. However, as these phones get better, and of course, now we have Appleg, et cetera, and we are able to shoot more professional projects, you definitely could end up using more shared workflows. And in particular, if you're working with an editor that's out of town, another part of the world, that way you upload the proxies. They can get editing, and then you can upload the originals later when you have more time. Think of event coverage, like maybe shooting video at NAB or something like that, where you're trying to turn stuff around quickly. That's where this comes in really handy. So that's Black Magic Cloud. It's a great option in the phone, and it's especially incredible that it's in a free app. So definitely check it out and see if it's something you want to add to your workflow. 26. Advanced • Wireless Remote Control: So this is an iPad Pro, but the image you're seeing on the screen is not actually coming from the iPad Pro. Where is it coming from? It's coming from this camera, which is about 25 feet away. And the way I was able to do that remote control is that the Blackmagic Camera app has now had a nice update. And so Blackmagic now works on an iPad and also works as a remote control. And that's the big feature now. It more or less acts like FilmiRmote. If you've ever used that app. I was a big FilmiPuser, and so this is one feature from Blackmagic that I've really been looking forward to. I don't use the remote app a lot, but it's sure nice to have when you need it. And so now you can do that and more with the Blackmagic Camera app. So I've got an iPhone 15 Pro Max here, and this is an iPad Pro. It's actually a several year old one, but it seems to work fine. So in this situation, I will use my iPad as the controller and my phone as the camera. And if you had more phones, you could use more cameras and vice versa, I could use the iPad, 'cause now Blackmagic does support shooting video on the iPad. It's more limited than the phone, especially the later generation phones, but it's a nice option to. And so all we do is we go in here to settings, and normally, if I was up here at record, you would scroll down and I would find remote camera control. And you got a bunch of settings here, and use this iPad as initially, I'm going to choose remote Camera control. And so now I can choose whether to make this the controller or the remote camera. I want it to be the controller. And then down here you have other items. Sync record across cameras. That means if you have multiple cameras, you could when you hit record on the remote, it will record on all cameras, which is really nice. Hide remote camera feed. Wouldn't want to do that. And then dim screen, you can dim the screen to save on your battery life. But for right now, I don't need to do any of that. So I'll go back to camera. And then up on the left hand screen here, you have a remote button. And when you go there, then you have another screen that gives you the available cameras. And right now, I do have my 15 Pro Max right here, and so I will select it and now it will connect. I had previously set up a password. It's real simple. You can name it anything you want. It can be as little as one number or one letter, as well. And then from there, you can either select this other stuff down here, synchronize record, match controller, or hide video feed. But again, for this purpose, all I need to do is just touch the screen and we'll go back. And now what we're seeing here is the actual feed from my iPhone 15 Pro. You can see the latency is not great, but it's okay. I'm sitting side by side here to the iPad. For me, more times than not when I'm using the remote control, especially for YouTube, it's when you're filming yourself. And so when you're filming yourself, latency makes no difference because it'll be a lock off shot. One thing to note, though, is being this far from the remote, it does not pick up accurately the pans and tilts, that is, if you're static from this distance, it looks fine, but the images look like they cut on the screen. So this system is not designed for long distances like this, but it is great that you can at least see an image. Now, right now, I am actually shooting Apple Log over here on this phone. So what you're seeing over here is Apple Log. And I have not loaded a let over here. I've got the let on my 15 Pro Max, but it doesn't go across into the iPad. So again, I have all the control here, which is great to control the iPhone. I can do shutter. You can see as I adjust that, it's just on my phone. I can do white balance. I can do the lens, which is really nice. And the latency is pretty good. Pop in there, go to the 24. Got the two times, go back out to the ultra wide. But one thing I need to note here is you want to go to settings when you want to control the actual camera settings, meaning the record settings, you need to go to Camera selection. Right now it's on this iPad, not on A, which is my 15 Pmax. And so if you go to record and you go to, like, ColorSpace, you'll see it has Rec seven oh nine and p3d 65. It doesn't actually have Apple Log. This version of the iPad doesn't support Apple Log. Again, this is a several year old iPad. And so I go by the camera selection. I hit A, iPhone 15 Pro, then I go to record now when I look over here at color space, I'm seeing the phone. So now I've got the Apologe setting. That's just an important reminder when you want to actually select the record settings on this device. You don't have to do that, obviously, when you want to just do the general setting because the general settings, as I showed earlier, that controls everything from here to your phone. And, of course, you can roll. So you roll here, and now my phone is rolling, and it records into the phone. Doesn't record to the iPad, and then I can hit Stop, and there you go. Now I have a clip on the iPhone. One thing though, that's interesting when it's connected is all my other buttons over here are grayed out, so I don't have control when I can't look at that clip. And then over here, they're all great out down here, too. But when you're connected remotely, to my knowledge, anyway, you can't do playback, which is a little bit unfortunate. It seems like you should be able to do playback and see the file you just did. Ite to do playback, I come back up here, I disconnect the connection, and I come over here to my phone, and that's the clip I just recorded. Another new thing they've added, if you go into settings and you have the remote camera control, if you engage that, now they have a way you can sync clips to control or after record. So if you turn that on, you'll now be able to whatever you record on your phone, you would be able to sync those to the controller. As it is right now, they only live on the iPhone that recorded them. So synching those across automatically is a pretty nice feature. But really it's that simple, and it works really well. But I knew Blackmagic would create a remote control because they have a remote control for their other traditional cameras. And so, really, it's pretty great how Blackmagic continues to update this app. And for me, it's the best app out there for shooting professional quality video with your iPhone and now with your iPad and remote control. 27. Best Practices & Thank you: Now, I'm sure you're ready to get out there and shoot some video. But before you hit record, be sure to check out the best practices document in this section. It's a great checklist for what to do before, during, and after your shoot. Thank you again for taking the course. I hope you learned a lot, and I'll see you next time.