In addition to the affordability of iPhone filmmaking, Ciezata said the iPhone gave him "more control over the production process - when shooting film, you never really knew what you were getting until the film came back from the lab. With the iPhone, I got instant playback so if something isn't working you can adjust accordingly. Additionally, I used the speakers as a microphone to record pickup sound effects and temporary dialogue as well as to upload clips to DropBox for his editor. It's like having a mobile studio in your pocket," Ciezata said.
However, Ciezata said he is not sure if he would shoot an animated feature film with a handheld mobile device due to quality standards. "This rudimentary animation style is great for short comedy, but anything feature length I think you'll lose the audience pretty quickly."
He's produced a 15-minute animation (for an education app being developed by Stanford University and Apple) using the iPad and can see the feature-length possibilities. "With the iPad, I have a digital canvas in glorious HD. I'm working on some longer form content in that style. The quality is so much better," said Ciezata.
Ciezata feels that wide-scale smartphone adoption has begun to create a new aesthetic, but adds, "it will be a long-time before Hollywood accepts it as a new standard." He also cautions that "the indie market is getting flooded with individual content, posing a daunting task for those starting out: How do I stand out? And more importantly: How do I create something meaningful in a culture where films have become a disposable art form?"
Performance artist Fritz Donnelly ends his provocative 2009 short, "Final Request," shot on an airplane in flight, with a simple wish: "Only tax corporations." Over the last five years, Donnelly turned to the mobile phone to make movies he broadly categorizes as "editable performance art."
"The camera gives us an excuse to be spontaneous, or different, or ourselves, so it's important that it be handy." In 2008, he shot Dress Me Up, Tell Me What You Do, a series of videos where the viewer directs or joins the action; it debuted as the HiChristina performance at a Swoon magazine release party. He plans to premier his first feature-length work, "I Like You," next month.
Donelly finds that the mobile device allows him to adapt to each situation's unique conditions. "In 'Dress Me Up,' it worked well for public locations like parks, nightclub stairwells, and city streets; in 'Final Request,' it suited the confined setting at 30,000 feet," said Donelly, noting that in both cases, "the one-take videos were later edited so that I could keep control over the production."
Moving from shooting a short to a feature-length work on a mobile device poses significant challenges. "My earlier works are forms of performance art," Donnelly said, "whereas 'I Like You' is a fictional romantic comedy with a narrative storyline. Shifting to a longer format, especially using a compilation of discreet video - and using mixed cameras, including mobile phones and a Canon 5D still camera - requires acknowledging traditional filmmaking conventions, 'Is it a story?'"
Four years ago, when they were students at USC film school, a professor advised Anna Elizabeth James and Michael Koerbel that shooting movies on an iPhone wasn't the best way to get a job in Hollywood. They now run Majek Pictures and turned to the iPhone out of creative necessity. "We didn't have the money to make the movie we wanted so we turned to the iPhone to exercise our creative imagination," said Koerbel.
James explained that she developed the concept for "All Up to You" with the composer Gareth Coker. However, when she didn't get gig, they revised the pitch into a YouTube video that generated a lot of attention. James notes that the music video was "perfect for the iPhone" and Koerbel stresses it was perfect for "works that are more experimental projects... it allowed us to continue to work with some of our favorite actors and even hire a choreographer for the dance moves. We dressed everyone in homemade 'app' boxes that we made the night before."
"Art pushes technology and tech pushes art," said James. "Actors who work on big sets find it a more comfortable environment in which the camera doesn't get in the way of their acting. It's the integrity of the story that carries a movie's experience and what device one uses is up to the maker."
Watch "Apple of My Eye" below:
Writer and business-development consultant David Rosen regularly contributes to AlterNet, Brooklyn Rail, CounterPunch, Filmmaker and the Huffington Post. The author of the indie classic, Off-Hollywood: The Making & Marketing of Independent Films, commissioned by the Sundance Institute and the Independent Feature Project, Rosen recently wrote for Indiewire about how mobile devices are changing not only the way we watch films, but also potentially the way filmmakers make them. You can read more of his work at: DavidRosenWrites.com.