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DSLR What?

In case you haven’t heard, the DSLR revolution is over.

And in case you’ve never heard of the DSLR revolution, it all started with the Canon 5D Mark II, which was the first Digital SLR (still camera) to take 1080p video back in September 2008. While 1080p recording may not seem revolutionary, HD video camera were already doing this, the image was the revolutionary thing. They images were gorgeous and film-like. The shallow depth of field and the dynamic contract you could get from the images were simply beyond anything even close to that price range (the camera body was around $3,000).

Shallow depth of field is referring to how much of the image is in focus. When you watch some scenes in films, you’ll notice that the subject is in focus but the background is nicely blurred out. This focuses your eyes on the subject. This shallow depth of field gives images that pro look.

Dynamic contrast is a fancy sounding term that really means the range of brightness that will show up on your video recording. Cameras with better dynamic contrast can show all the colors from the very dark to the very bright. This is a great feature, because if you’re filming on a sunny day for example, you’ll still be able to see the blue sky as well as items in the shade. With a camera not so good with dynamic contract, you will only be able to get detail in one or the other.

BIGGER IS BETTER

The reason these DSLR still cameras can take such amazing video is that they have a massive image sensor in comparison to a regular video camera.

The image shows the different size of sensors on cameras. Video cameras had the tiny small boxes in the left hand corner.  Now it’s easy to understand why the picture quality with DSLR cameras is so good!

NOTHING IS PERFECT

Along with the strong point of high quality images, there, of course, has to be a downside!  There were, and are, many problems with DSLR cameras.

• Audio: They don’t have professional audio inputs (xlr or 1/4 inch) and most don’t have good manual controls
• Record Time: Many have a 12 minute limitation, while other give you longer (you can press record again after it stops recording, but you can’t record long lengths continuously)
• View Finder and LCD Screen: There is usually only a LCD screen, which you can’t often rotate. Video cameras usually have both a rotating LCD screen and a viewfinder
• Zoom Control: DSLR’s don’t have the zoom rockers, that make it easy to zoom in and out
• Interchangeable Lens: Many people who own video cameras under $10,000 have only one fixed lens. DSLR cameras have interchangeable lenses, meaning you can swap out your lens. While this is generally a good thing for creative and professional people, different lenses are better for different shots, extra lenses = extra money and makes you slower to react to changes when you have to switch from one lens to another.
• Focus: The only practical way to focus is manually. There is some auto-focus, but they are not good like on a video camera
• Depth of Field: This is generally an advantage, but the shallow depth of field makes it harder to keep images in focus, especially during live events
• Editing: The most popular DSLRs, Canons, encode using the h.264 codec. This codec was not meant to be an editing codec, and thus it is harder to edit as it takes more processing power from your editing system (thus things take longer and may not be real-time like your video camera footage)
• Peaking and Zebras: Peaking sharpens an image, allowing you to focus easier while zebra stripes highlight parts of the image that are overexposed (too bright). This features is not generally available on DSLR’s
• ND Filter: Many prosumer / professional video cameras have a ND (neutral density) filter that shades the lens for bright shooting, like on a sunny day. DSLR’s do not have this built-in

Despite that lengthy list, the image couldn’t be beat… until now. I say the DSLR revolution is over because certain video cameras now come equipped with DSLR sized sensors, such as the Panasonic AG-AF100 and the Sony NEX-FS100. Now, these camera still have some of the same issues, but they also allowed for some fixes:

• Audio: Professional XLR inputs and manual audio controls
• Record Time: With the digital cards, you can record for many hours continuously
• View Finder and LCD Screen: The AG-AF100 has both, the NEX-FS100 only has a LCD (but it comes with a viewfinder add-on)
• Interchangeable Lens: They have the kit lens with auto-focus that you are used to, as well as the ability to put on different lenses
• Editing: They use the AVCHD codec, which work better with editing systems
• Peaking and Zebras: The cameras have them
• ND Filter: The AG-AF100 has one, the NEX-FS100 doesn’t

So, for anyone who is used to shooting with a regular video camera, switching to a large sensor video camera such as the AF100 or FS100 will be easier than switching to a DSLR camera. It should be noted, that a large reason for the popularity of DSLR video cameras is also their price points. You can literally purchase a DSLR body and lens for $1,000 and shoot amazing quality video. Something you can’t do with a regular video camera. The large sensor cameras are in the $5,000 price range, so more expensive of course, but if you are shooting for a living, it may be a necessary extra expense.

If you weren’t aware of these developments in the video camera world, you better get educated fast, as you will begin to see more and more video productions being done on these large sensor cameras with interchangeable lenses. The quality and creativity will ensure this.

Greg Lam operates a Vancouver Video Production studio called Small Biz Doer Videos and is an executive member of the BC Professional Videographers Association, the largest association of its kind in Canada. He also operates a small business website called the Small Business Doer that provides insight and advice to small business owners, with many of the articles being video articles of course!

Wow, this has got to be one of the most amazing video cameras I have ever seen!

It’s inside the tiny Hot Wheels toy car.  And it get a great shot!

Unbelievable.

Priced at $59.99, the Hot Wheels car with a video camera shots at both 30 frames per second and 60 fps.  Shooting at 60 fps will record video that looks better in slow motion.

As pointed out in the video, the tiny size allows you to easily velcro it to a helmet, dashboard, or other out-of-the-way place.  There’s a lot you could do with this although I strongly suspect the majority of users will have a hard time integrating two such vastly different items…a toy car and a video camera.  How many point-of-view shots down the toy race track does one need?

Seems to me you could get real sneaky with this camera and use it as a hidden camera.  You could have it out in the open but since it looks like a toy car and not a video camera, few would realize what it really is.  The sneakiest hidden camera I’ve ever seen before this one was integrated into a hefty pair of plastic glasses frames.  It looked like dorky horn rim glasses and might get a few stares as a fashion faux pas but hardly anyone would ever suspect it was really a clandestine video camera.

We could debate whether  hidden cameras are good or bad, but the fact is, many people use them for a variety of reasons.

Another great use would be as a helmet cam for skydiving, skateboarding or any other sport.  At 60 bucks, it’s quite a bit cheaper than helmet cams I have seen specifically made for that purpose.  It’s so tiny and light weight you can tuck it anywhere!

So whether you are a Hot Wheels fan, a tiny camera fan, or a mixture of both, this “toy” might be for you!

Thanks for reading Video Production Tips.

Lorraine Grula

If an HD model camcorder is on your list, take a good look at the Sony’s HDR-AX2000. It’s a very impressive prosumer-level AVCHD camcorder.   The Sony HDR-AX2000 is cutting-edge, top of the line.

The camera captures either High Def and Standard Def video in AVCHD and MPEG-2 formats.  This is one of the new tapeless cameras.  It records onto either a Memory Stick PRO duo or SD/SDHC cards.  SDHC stands for Secure Digital High-Capacity.    SDHC cards are flash memory cards with a minimum capacity of 4GB gigabytes.

The Sony HDR-AX2000 shoots full 1920 x 1080 HD video, which can be recorded at 60i, 30p and 24p for a variety of looks.

This camera is ideal for recording on to Blu-ray media since the AVCHD2 codec is highly compatible with the Blu-ray format.

If you are going to edit this footage, be forewarned that many video editing programs still can not adequately handle AVCHD2 or Blu-ray.

Like all the cameras in this category, the HDR-AX2000 is a three chip camera for better color and clarity.  It has three 1/3″ CMOS Exmor sensors, which are a less expensive alternative to CCD chips.   CCD (Charged Coupled Device), a CMOS (Complementary Metal Oxide Semiconductor).  Each type has its pros and cons.  CCD gets a slightly higher quality picture but CMOS is still good and so much less expensive.

The pros for the CMOS are that they are much less expensive to manufacture and use WAY less battery power.  The cons include more noise, less clarity and less light sensitivity.

The lens on this camera has quite a long telephoto, with a 20x optical zoom and a built in digital extender to increase that to a 30x zoom.  (29.5mm – 590mm).  The lens is not very wide however, so a handy accessory would be a wide angle lens adapter.  This will let you shoot in the smallest of rooms.

From a practical standpoint, most videographers use a wide angle more often than a telephoto.

The lens has an OIS, Optical SteadyShot Image Stabilization w/Active Mode, which Sony swears will drastically reduce camera shake.  (Pssst. You still need to use a tripod whenever possible. 

Audio recording is professional quality with dual XLR ports.  This means you can plug in two XLR microphones at the same time.  That’s very handy in pro shooting situations.  For instance you could have a shotgun microphone on for general ambient sound plus a wireless microphone on the main person speaking.

These XLR inputs are phantom powered, which means the microphones run off the camera’s power and do not need their own battery.  This is very handy and basically lets you largely forget about your microphone power needs.

CONTROLS ON THE LENS

Cameras in the prosumer (low-grade professional) camera category like this one have much more complex lenses to allow for greater operator control. Automatic controls are nice for the casual user, but pros get more precise control through manual adjustments.

The Sony HDR-AX 2000 has three control rings around the lens–for iris, focus and zoom.  With experience, a videographer will know intuitively which ring contains the image adjustment he needs.

For additional shooting options and image analysis, the HDR-AX2000 gives you four built-in neutral density filters, SMPTE color bars, a zebra display, and a live histogram.  The zebra and histogram can be real handy tools.

Zebra Display
While you are shooting, you can add a striped pattern to bright areas of the video image, and display it in the LCD and viewfinder. You can use this as a rough guide for adjusting brightness, helping to prevent hot spots.

Histogram Display
When the histogram feature is turned on, a graph of the image’s brightness distribution appears. This gives you an objective determination of whether the video image as a whole is bright or dim. You can adjust the camera’s brightness and AE shift while checking this display.

Sony rates this camera in a low-light reading of 1.5 lux with auto gain kicked in.  That will be a fairly grainy picture, but 1.5 lux is exceedingly low.

The HDR-AX 2000 gives you the ability to manually adjust gain, shutter speed, and white balance if you wish or they can all be set to automatic.

This video camera takes still images too.  Still images are recorded directly onto one of the two dual media slots which you can select between.  (Memory Stick PRO Duo media or SD/SDHC media slots.)

The digital output for this camera is an HDMI Connection.  With an HDMI cable you can transfer your data to a compatible HDTVs.  It has a USB2 to transfer to your computer.  There is no firewire.

If you are seeking a camera that gives you lots of control and options as a photographer, the Sony HDR-AX 2000 won’t disappoint.

Click here to see the Sony HDR-AX2000 AVCHD Camcorder at the B&H Photo website.

The Canon XH-A1 records a gorgeous high resolution image, using three 1/3″ 16:9 interlaced CCDs that capture images at 1080i resolution. On the practical side, you can shoot SD with this camera too.

For the advanced videographer, the XH-A1 Canon camcorder features selectable frame rates of 60i, 30 Frame and 24 Frame. 30 is standard for broadcasting, but you get a different look and feel to those differing frame rates and professionals like to have the flexibility.

To get the look and feel of motion picture film, use the 24 Frame rate. The 60i frame rate is well suited for slow motion effects.

The XH-A1 shoots video on miniDV cassettes. MiniDV is a fantastic format IMHO. Editing systems all accept MiniDV and it’s nice to have what you shoot on its own little back-up and storage system. Especially if you are shooting pro. Sticking with miniDV tape instead of going tapeless saves you the trouble of having to store and capture important client footage that needs to be kept.

Tapeless is cool, I like it.  But, in all honesty, you often do not really get the time savings they boast about in transferring your video.  So many folks still like the miniDV format.

The XH-A1 captures still images (not video) onto a removable memory card. You can use any of the following:

• Secure Digital High Capacity (SDHC)
• Secure Digital (SD)
• MultiMedia Card (MMC)

The XH-A1 is an updated version of the award-winning XHA1 HDV camcorder that everybody went gaa-gaa over a few years back. This update is even nicer.

The Canon AH-A1 image sensing mechanism contains three large CCD chips. (Three 1/3″ Native 16:9 CCDs at 1440 x 1080 Interlaced). These robust chips give a sharp, well colorized image.

For audio, you have two XLR inputs and a headphone jack.  That is so important!  Wear headphones to make sure the audio you are picking up is good.

Something I’d never seen before, the flip-out LCD rotates enough to be capable of being viewed from both sides of the camera. That sure would be nice and save your neck from getting too twisted up.

The camera gives you two built-in neutral density filters, a 1/6 density and a 1/32. If you shoot outside a lot, these can be very handy.  Neutral density filters are used to knock a bright light level down so you can better control your depth of field.

Variable shutter speeds allows the advanced videographer to get crisper slow motion and freeze frame images. Variable shutter speeds can also let you eliminate the annoying scan lines you get when videotaping older models TVs and computer screens.

The Speed Range of the AH-A1 under your control includes:

60i/30f 1/4, 1/8, 1/15, 1/30, 1/60, 1/100, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000, 1/15000, CS (Clear Scan)

To get a brighter image in low light, video cameras inject what’s called “noise” into the picture. Noise consists of tiny white dots that give the illusion of a brighter picture. Noise is also referred to as grain. The grainy video image is full of noise.

To shoot in low light, cameras at this level allow you to increase the grain, or noise in the picture. It’s called the gain and is referred to in decibel measurements. (dB=decibel=noise)

The XH-A1 give you extensive control over the variable Gain Selection as follows:

-3, ±0, 3, 6, 12, 18, 36dB

This is a fantastic camera.  If I were going to buy a brand new video camera today, I think this would be it.  And I like them ALL!

To see the Canon XH-A1 video camera at B&H Photo, click here.

Thanks for reading VPT!

Lorraine Grula

Internet Video Gal

Here is a video review of the Panasonic AG-DVX 100B, a popular standard def miniDV camera that lets you shoot in 24p, 30p or 60i.

All the features Panasonic packed into this camera are pretty amazing.

The AG-DVX 100B is an updated version of the revolutionary DVX 100, the first small camera to shoot 24-frame per second video, which simulates the look of film. Huge, expensive video cameras had that nifty little trick down, but Panasonic brought it down to scale for lower-budget cameras.

If you shoot in these alternative frame rates, make sure you have video editing software that candle handle it.

For the price, (lists at $2,595) the AG-DVX is an amazing piece of video machinery. It packs lots of professional features into a 4.19 pound package.

Like all the cameras in this category, (Prosumer, a blend of a low-end professional or high-grade consumer level) the Panasonic AG-DVX is a 3-ship camera. It has 3-CCD, 1/3″ Interline Transfer-Type chips.

For quality audio recording, the AG-DVX 100b features two XLR inputs.  The camera also has a headphone jack too.

In reading all of Panasonic’s sales material on this camera, it seems clear they designed this camera for quality run-and-gun shooting, like news gathering and documentary style shooting.

It does well in low-light situations, it has a wider than average lens, plus it has a user-friendly mix of manual control, automatic and auto pre-set. For example, it has three buttons the user can customize to activate anything from the SMPTE color bars to the auto tracking white balance.

It also has unique features that allow it to be easily used in a multi-camera shoot. For instance, connect via firewire (IEEE 1394) and you can transfer or synch time-code, or transfer and match up user files containing camera parameters for a more uniform image between cameras.

For times when you want to mount the camera in a hard-to-reach position, you have wired remote control over zoom, iris, focus, and record/pause.

Even though this is a standard def camera, you can shoot in widescreen 16:9. The AG-DVX100B features three 16:9 Wide Modes, including something they call the “New Squeeze Mode” With the standard lens, you can record in letterbox mode or the newly added squeeze mode. This gives you extra flexibility when using the AG-DVX100B together with equipment from other manufacturers.

Activating the Aspect Ratio function on the LCD allows for a letterbox display for easier framing when shooting in Squeeze Mode or when using the Anamorphic lens. If you want to take this to the max, you will need to use the optional 16:9 conversion lens (AG-LA7200G, sold separately). Using the conversion lens will let you take full advantage of the higher image quality made possible by using all of the CCD pixels.

A quality lens is all important for a quality video camera. This one comes with a Leica Dicomar including an OIS, or Optical Image Stabilization system. It’s zoom out is wider than some, starting at 4.5mm, which is equivalent to a 32.5 mm on a 35mm still camera. It’s a 10x optical zoom, 4.5 – 45mm (10 x Optical Zoom) f/1.6. 10x is not a terribly long zoom and the short zoom was one of the most commonly listed consumer complaints.

On a practical level, a wide angle lens is much more advantageous and useful than a telephoto lens. The wide angle helps is small areas and most rooms you will find yourself shooting in are way too small!

In telephoto mode, you can focus at a minimum distance of .6 meters, or 1.9 feet. That’s good and close for a fully zoomed in shot. The lens also has a macro feature.

One cool feature was that they slowed the servo zoom (automatic) down from 20 seconds to a dramatic 30 seconds. So a nice, super slow zoom is easy with this lens.

As with all video cameras with the prosumer class, the videographer using the Panasonic ag-dvx100b has manual control over all of the many functions that affect picture quality, like shutter, white balance, exposure, focus and so forth.

If you are in a situation that calls for speed, all of these controls can be set to automatic if you wish. The sales literature brags on the speed of their auto focus but I know I will never like auto focus!

If you are in a dark place with no way to add light, the camera allows you to kick in some gain. (Video Noise) Your variable gain selection follows:

0dB, 3 dB, 6dB, 9dB, 12dB, 18dB O dB Fixed during Slow Shutter Mode

As a higher end camera, the photographer also has control over the shutter. You can set a range variable from: 1/24 sec – 1/2000 sec (Different Ranges for Different Recording Modes)

In reading the mostly stellar consumer reviews, the short zooming capacity (10x) was one of the major complaints. Even so, most people LOVED this camera.

Here is a fairly typical comment. To quote one consumer review: “I always shoot in 24p and this camera by far gives you better looking mini-dv video footage than any other camera in its price range. As a media study student…I have had access to many different cameras…I’ve used them and tested them and this one by far comes out on the top of my list…as a non HD camcorder.”

All in all, this is an extremely versatile video camera that gives you all the features normally found in camera costing (and weighing) three times as much.

Click here to see the at the Panasonic AG DVX 100B video camera at the B&H Photo website.

Panasonic AG-DVX100b Specs

Some guys over at the ZURB Blog came up with a way to get 3D video out of two iPod Nanos!  Here’s their configuration.

And below is one of their resulting videos.  Here, it just shows the two virtually identical shots side by side.  But if you go watch it at You Tube, you can click a little “3D” on the bottom right of the player and you can see it mixed in any one of a dozen ways.  Without the 3D glasses it looks like a bum acid trip, but with them it’s pretty convincing.  (All 3D looks horrible without the glasses so please do not get me wrong here.)

Such creativity deserves to be applauded IMHO.   3D is more popular after some recent Hollywood hits, so good to know you can do it on the cheap!

If you want to read more about exactly how they made the very low budget 3D video, then head on over to their blog to read more.

Thanks for reading VPT
Lorraine Grula

It’s become such a big trend major film schools like NYU are adding mobile video production to their curriculum.  An NYU student, Julianne Mosoff, contacted me the other days for an article she was writing.  She wanted the perspective of an “old-school” video producer like me.

Since most of the video cameras I used weighed 30-40 pounds and my neck and spine are all banged up today because of it, I’m quite thrilled by the capacity of a tiny portable telephone that takes video.

Julianne did a great job researching the subject and wrote an informative article that I have reprinted below.  You can also find it on her class blog.

At the same time, my favorite online video hosting service, Veeple, (the ones who provide the interactivity I use in all my videos) announced today that they are developing the capacity for interactive cell phone video.  Here is the video demonstration they recorded.

I applaud Doug and Scott Broomfield of Veeple for their innovative online video service if not their fashion choices.  

The portability of cell phones make them an incredible tool for certain video- making situations.

I learned early in my career that sometimes the best video is taken by a “fly on the wall.”  There are times when being able to be discrete will capture better video you ever could with a huge camera that makes everyone self-conscious.

Most people will probably use cell phone video just for playful, impromptu quickie productions meant for fun.  I imagine most serious video production will still be done with cameras that provide more capability than a wafer-thin gadget designed primarily for phone calls.

That said, cell phone production is becoming popular enough to generate accessory products meant specifically for cell phone video production.

Anything that makes videomaking easier for more people is great in my book.

Below is Julianne’s article.

The Silicone Screen: Cell Phone Cinema
By Julianne Mosoff

As technology expands and improves, cell phones have become an increasingly popular method for viewing and recording video.

It’s a Wednesday night at NYU’s Tisch School of the Arts, and a group of students are crowded together watching a funny video that junior Elisabeth Brown made for her experimental film class. The class roars with laughter at Brown’s video, a clip showing a bunch of old women dancing at a wedding mashed up to a popular Britney Spears song. They applaud when the clip is over, and as the crowd disperses something interesting becomes clear: they were watching her video not on a computer, not on a television, not on a projector—but on right her cell phone.

In the past three decades, cell phones have morphed from large silicone bricks to pocket-sized multifunctional devices capable of just about anything. Cell phones can now do much more than just call and text—they can watch and record video, too.

On a YouTube clip viewed more than 1.4 million times, “David Lynch on the iPhone,” the unconventional American filmmaker is clear on his feelings about this new phenomenon: “Now, if you’re playing the movie on a telephone, you will never in a trillion years experience the film. You’ll think you have experienced it, but you’ll be cheated. It’s such a sadness, to think you’re seeing a film on your fucking telephone. Get real.”

Not everyone in the film industry, and especially the under 30 crowd, agrees. Picture and video quality on cell phones has increased exponentially, making images on all phones, not just the iPhone, clearer and more detailed than ever. Now, industry professionals are beginning to turn to the small screen as a serious medium for shooting and watching video.

“David Lynch is upset about anybody watching film and television or longer form genre projects on the phone,” says Karl Bardosh, an NYU Tisch School of the Arts professor and self-proclaimed cell phone cinema guru, “but I think in this case he was simply misinformed.”

Professor Bardosh is sitting in Dojo, a café nearby NYU where he often brings his film students for one-on-one meetings, sipping from a cappuccino. He is one of the primary figures in what he calls the cell phone cinema movement, and is currently taking a semester off from teaching to organize two cell phone film festivals in the Dominican Republic and Australia.

“It provides an option to the masses of people out there, because they’re carrying a phone in their pocket anyway!” says Professor Bardosh excitedly in his thick Hungarian accent. “It opens up all kinds of opportunities.”

Cell phone cinema has made it easy to plan, shoot, edit, and distribute films—all by using a device so small it fits right in your pocket. But it’s one thing to record and compile random video clips, like many cell phone users do, and quite another to actually plan out a cell phone movie that includes all the elements of traditional filmmaking. Anyone can play around with a cell phone and make a short movie, but  a number of people are taking the genre seriously and using it’s artistic and practical advantages to create great cell phone films.

Lorraine Grula, a professional videomaker and writer of videoproductiontips.com, almost can’t believe how far technology has come since she started in the field decades ago. “It’s just amazing to me that these teeny-tiny gadgets can, in some respects, do more than the 30 or 40 pounders I lugged around for years,” she says. “I think today’s cameras are totally amazing.”

There are a variety of people creating video with their phones, but all are made in pretty much the same way—with mobile phone cameras that are standard in almost all models. The newest phones shoot picture and video at up to 12 megapixels—comparable to a typical point-and-shoot digital camera—and some even record high-definition video. Video can be uploaded right onto a computer for editing, and now applications like Final Cut Pro for the iPhone and new Nokia models allow editing right on the phone.

Along with being functional, cell phone video cameras offer some unique advantages over the traditional video camera. They are easy to use, less expensive, require less set up and crew, and are much smaller and lighter. They can shoot both long and short films in any genre, and are often useful for capturing images and video of breaking news events.

Grula points out another advantage of the cell phone camera—their ease of mobility, which allows the cell phone videomaker to essentially film anything. “If you’ve got something like a teeny tiny camera, you can go anywhere. You have more mobility, you have more freedom, you have a lot more ability to get where you need to be,” she says. “It opens up a whole nother realm of things you can do.”

Obviously, there are also limitations when shooting with a mobile phone. Most phone cameras are not equipped with a digital zoom, and video shot with the handheld device is often not as steady. A number of gadgets are availability to improve the quality of footage, though, such as interchangeable iPhone lenses that zoom and external microphones that improve audio quality.

Mark DiCristofaro, a former student of a cell phone film class offered at Boston University in 2006, says that he and his classmates were able to overcome these disadvantages while shooting their projects. “We adjusted the way we filmed the series we shot in order to accommodate the medium we were shooting on,” says DiCristofaro.

For example, when working on the short web series about college students for class, DiCristofaro and his classmates attached the phones to rolling dollies that were used to get a steady shot, and would use small lights to illuminate each scene. Each student had a role in the production of the series, similar to a professional film crew with a director, cinematographer, and sound guy. They treated the medium as if they were shooting with a traditional video camera instead of tiny mobile devices, and found that their videos were just as good.

The beauty of cell phone cinema is that it allows anyone to try out a new art form and distribute their movies without spending hundreds or thousands of dollars on equipment. With 285.6 million cell phone subscribers in the United States—91% of the population—according to CTIA – The Wireless Association, so the potential market is huge. And because of the easy accessibility of cell phones, users can watch videos at any time: while waiting for a bus, standing in line for coffee, or anywhere else on the go.

Some cell phone filmmakers enter their movies in mobile-made film festivals to gain recognition and sometimes even cash prizes. There are a number of film festivals specifically for cell phone films, showing that mobile-made movies are being taken as a serious viewing and recording medium. These film festivals often showcase shorts between 30 seconds and 3 minutes long and include the categories of comedy, drama, documentary, music videos, among others. Even the Sundance Film Festival now offers a section for films made for cell phones.

While many cell phone users learn how to create movies by trial and error, there have been a few college courses that teach filmmaking specifically for the mobile platform, such as the class that Mark DiCristofaro took. DiCristofaro says that learning how to shoot video with a cell phones and learning how to overcome particular challenges made him a better filmmaker overall. “I say without hesitation that working in that class has certainly contributed to my thought process in creating narrative work,” says DiCristofaro.

Professor Bardosh offered a similar class at NYU in the fall of 2009, where each student worked on individual video assignments. Elisabeth Brown, an NYU junior who took Professor Bardosh’s cell phone cinema, especially enjoyed making music videos and short comedy skits. “With a cell phone you can literally film any thing you want at any given moment,” says Brown. “It really says something about how far technology has come.”

NYU’s cell phone cinema class was also invited to participate in the Indian Film Festival in New York, where each student’s 1-minute film was shown on the big screen at the Quad Theater in front of over 250 people. “The theater was packed,” says Professor Bardosh, “and they were absolutely blown away that these short films caught on cell phones held up to regular theatrical projection!”

Andreas Allica, a former NYU film student who has worked closely with Professor Bardosh on a number of projects, stresses the point that cell phone videos don’t have to be watched just on the cell phone, they can be watched anywhere. “I think the innovation of cell phone videos has added to the ever-expanding accessibility of cinema,” he says. “You can shoot a video on your cell phone and then watch it on your TV, your computer, on your friends’ computers and cell phones.”

Even professionals are intrigued by the concept of cell phone video and are jumping on the bandwagon. “Quite a few established filmmakers are joining the camp,” says Professor Bardosh. “They find it fascinating and play with it for a while.”

Director Spike Lee teamed up for a year-long project with Nokia in 2008 to create a compilation video of short user-submitted cell phone clips, and actor and filmmaker Gary Oldman recently directed a music video using a Nokia N93 phone. Amateur filmmakers and established professionals have found that the most successful cell phone videos are often short—between 30 seconds and 3 minutes—and often comedic.

That’s not to say that a full-length film can’t be made on cell phones, though. Aryan Kaganof’s film “SMS Sugarman” was shot with 9 Sony Erikson phones, and the 87-minute long movie was the first full-length film shot solely on mobile devices. “SMS Sugarman” has received much critical acclaim and will next be screening at the British Film Institute, according to Kaganof.

Cell phones are also unique among filmmaking mediums in that they can also broadcast live video. After taking another sip of his cappuccino, Professor Bardosh pulls out his iPhone and opens up Ustream, one of his new favorite applications, and presses the ‘record’ button. He points the camera at himself and suddenly, he is being broadcast across the Internet. “This image can be seen all around the world—live,” he says.

And though the mobile device is smaller and less complex than a traditional film camera, a cell phone film can still show just the same amount of artistic vision. Grula points out that as long as someone’s got a great idea for a story and the tenacity to carry it through, they can make a good cell phone video that compares to one made on a video camera. “With the video you take on your cell phone in the end, the viewer isn’t necessarily gonna know that it’s any different than if you did go in there with a traditional camera,” she says. “There’s not really any difference, you’re just working with a smaller machine.”

Cell phones are not expected to replace the traditional video viewing sources of movies, TV, and computer, but they certainly are taking their place as “the fourth screen.” And as the most portable and easily accessible, it seems that cell phones might even become the most prevalent screen there is.

“I want to emphasize again and again—this isn’t meant to replace anything, it is just an addition,” says Professor Bardosh. “It simply opens up more opportunities.”

Almost finished with his cappuccino, Professor Bardosh picks up his iPhone one more time and quickly pulls up the David Lynch YouTube video. He presses ‘play’ and watches it again, laughing as Lynch rails against the small screen that he is now appearing on.

“I understand that he’s concerned about the quality of image,” Professor Bardosh says, “but my question is this: Can he turn the tide of teenagers and mass consumers who simply ignore what he says and keep watching stuff on the small screen? I don’t think so. I don’t think just he himself can stop that movement.”

How to Make a Cell Phone Film in 5 Easy Steps

A cell phone film is much easier to make than a traditional film. Cell phone cameras are smaller, lighter, cheaper, and require less set up and a smaller crew, making it the most easily accessible medium for shooting video.

Mark DiCristofaro, a Boston University graduate who has had much experience with cell phone cameras, says that filming with a mobile phone was fun and also practical. “We were able to go wherever we wanted with the phone, and everything was on a smaller scale,” he says. “We had smaller lights, smaller tripods, smaller dollies, all that—there was little limitation as to where we could go and what we could do.”

You don’t have to be a film student to enjoy this new medium, though. With a little bit of work, anyone can make a great cell phone video that follows the elements of traditional filmmaking. Here’s how to do it.

Step 1: Plan

The most important part of any film is the story. “You can’t just take the cell phone and make a great video that somebody wants to watch if you don’t pay attention to your storytelling,” says videomaker Lorraine Grula. Figure out all of your elements—plot, scenes, characters, and write out a detailed script. You should pick a target length and genre—most cell phone videos are between 30 seconds and 3 minutes, and comedy videos seem to be the most popular.

Cell phone films should be planned out with a storyboard in the same way as a traditional film. The storyboard should show each shot you plan to shoot to tell your story and if it’s done right, you shouldn’t run into any problems while filming. The storyboard can be drown out from scratch on paper, or you could download and print a PDF of an already-made storyboard from a website. Apps like Storyboard Composer for the iPhone an also be downloaded to help with this stage.

Step 2: Shoot

Open up the video recorder on your phone and take a few test shots. Once you’re set up, you’re ready to assemble your actors into their places and call out, “Action!” You’ll probably want to shoot a few takes of each shot so you have options to work with when editing later. Follow your storyboard closely so you get everything you need for your film, but don’t hesitate to improvise  as you go.

There are a number of things you can do while shooting to make your cell phone video better. Grula recommends trying to remain as steady as possible—“You’re not gonna get good footage if you’re waving your camera around,” she says. You could build a dolly to hold your phone steady, or you could use a small tripod. You can also improve the audio by adding an external microphone, or improve the shot by attaching an interchangeable lens that allows you to zoom. If your cell phone doesn’t record for the full length of the shot you want to record, work with a partner—have her cell phone start filming as yours stops.

Step 3: Edit

Now that you have the shots you need, it’s time to start editing them together. You can download the footage to your computer using a cable, and then edit it on iMovie or Windows Movie Maker. For the more advanced cell phone cinematographer, professional editing software Final Cut Pro is great for working with cell phone videos.

Some cell phone models even allow you to edit right on the phone. You can purchase the Final Cut Pro app for the iPhone and some new Nokia models, and if you’re looking to save some money, the Reel Director app for iPhone works similarly.

If you need for a different type of clip to tie your shots together or to set a scene that maybe you were unable to film yourself, you might want to check out stockfootageforfree.com, where you can download video clips to add to and enhance your project—for free! Make your film as cohesive as possible, making sure that each shot flows seamlessly into the next, as savvy viewers will certainly pick up on mistakes made in the editing state.

Step 4: Finish

You now have a mostly-complete film, but there are some finishing touches you can add to your film to make it even better. You could put music in some scenes to establish a mood by simply adding it right from your computer or iTunes account, or you could add in the ending credits.

Cell phones record video in all types of format—3GP, AVI, MOV—but you should probably convert your file to an MP4, a standard video file that ensures your film will display correctly on all mediums, whether on the cell phone or computer screen.

If you put your finished file on a DVD, you can watch it right on the TV, and you can even project your film onto a bigger screen. Generally speaking, bigger screens lead to less quality, but high-quality cell phone video cameras can compensate for this.

Step 5: Distribute

When you’ve reformatted your film, there are a number of ways to post it online. You can upload your video to YouTube or Vimeo from your computer, and you can also upload right from your phone with the push of a button—an advantage that no other filming medium has. Check out the Qik or Magnify Mobile apps for iPhone for another ways to get your movie up online.

Now, you should try to get as many views to your video as you can, and you might want to post a link on your Facebook or Twitter. The key is generate some buzz for your video so that you get as many pageviews as possible.  You might also want to do a quick Google search to see if there are any cell phone film festivals currently accepting submissions. Receiving critical acclaim from a film festival is a great way to earn recognition for your film, and some even offer cash prizes to winners.

Lorraine Grula is extremely excited about the possibilities that shooting by cell phone offers to young filmmakers, and thinks that just about anyone can follow these simple steps and make a great cell phone video. “The best advice for a young filmmaker is just do it,” she says. “Just get out there and do it.”