About
As a director, cinematographer, and teacher with decades of experience, I've had the privilege of working on a wide range of productions, spanning TV series, dramas, documentaries, and commercials—across more than 40 countries.
My interest in mobile filmmaking was sparked on October 31, 2023, when Apple chose to film their Apple Event using the new iPhone 15 Pro Max, rather than traditional cameras like Arri or Red. This iPhone's ability to film in Apple ProRes 4K at 60 fps directly to an SSD drive is truly groundbreaking.
The subsequent release of Blackmagic's innovative camera app and the introduction of Apple Log have further expanded the possibilities, allowing the iPhone to achieve impressive visual quality.
I've always embraced new technology early in my career, but this time I find myself catching up. While I’ve used the iPhone for quick pickup shots in the past, I'm now shifting my focus to creating complete productions with it. To support this transition, I’m tapping into the collective wisdom of my Facebook group, which includes hundreds of seasoned smartphone filmmakers, to share knowledge and insights.
Through this website, I’ll be sharing videos, tips, and updates on using the iPhone as a cinema camera, along with showcasing the latest products. I’ll also feature photos of cages and rigs as filmmakers continue to innovate.
Let’s learn together!
Bill Kerrigan
Montreal, Quebec, Canada
Bill Kerrigan
I began my carreer working on 35mm productions.
I'm behind the fence on the back lot of Studeo City Klienburg Ontario.
I began my carreer working on 35mm productions
.About
I'm a director / cinematographer / teacher with over 50 years of experience, having worked on a variety of productions, including TV series, dramas, documentaries, and commercials, in more than 40 countries.
While I've used the iPhone for quick pickup shots in the past, I've recently become interested in using it for complete productions.
On October 31, 2023, Apple surprised the film industry by using an iPhone 15 Pro Max to shoot their Apple Event. The entire event was captured using iPhone 15 Pro cameras, as showcased in this video:
https://youtu.be/V3dbG9pAi8I?si=OBDumsthFi04S7r8
The new iPhone 15 Pro, with its ability to record multiple 4K versions on SSD drives, is a breakthrough. Blackmagic, in collaboration with Apple, has developed a free app that replicates the feel of filming with its BM video cameras. The new Apple Log enhances the visuals, producing amazing images.
These are early days, but with this website, I plan to post videos and information as new products for the iPhone 15 Pro are announced. And as people begin to build their cages and rigs, I plan to post photos here.
Myself and a few friends also have a Facebook page for discussions with other cinematographers who are focused on learning to use the iPhone 15 Pro and the Blackmagic Cam app:
https://www.facebook.com/groups/1719230818546493
Let’s learn together!
Bill Kerrigan
Montreal, Quebec, Canada
I nearly lost my job during my first iPhone production. Years ago, I was filming Hugh Jackman promoting one of the Wolverine films in front of a 30-foot backlit image of the Tokyo skyline. The director wanted the production shot for social media using an iPhone. This was long before smartphones were considered viable tools for professional filmmaking, and I immediately suggested using a Sony FS7 instead. My idea was to shoot with the FS7 and later adjust the footage to mimic the look of a phone, maintaining higher production quality.
But the director was adamant. They explained that their entire social media strategy relied on using iPhone footage to create a consistent aesthetic, and the footage had to be streamed to fans within an hour of filming. Despite their reasoning, I found it absurd to pour so much into the production—an expensive backdrop, studio space, and a full crew—only to film it on a phone. I made my objections known.
I lit the stand-in dramatically to blend seamlessly with the night skyline behind him, but the director wanted flat lighting—classic for social media but, in my eyes, lifeless and uninspired. I argued it wouldn’t look realistic. The tension grew. Frustrated, I relented and adjusted the lighting to their specifications.
Then came the sound issue. As the soundman began setting up the boom mic, I was told to use the iPhone’s built-in microphone instead. That was the last straw for me—I started voicing my frustrations again. The director had had enough and left the set, heading straight to the production manager to request a replacement DP.
Time was against them. Replacing me wasn’t an option, and the production manager, who was sympathetic to my perspective, pulled me aside. “Look,” they said, “just give them what they want. It’s their call, and they’ll take responsibility for how it turns out.”
I complied, though reluctantly. In the end, the shoot wrapped smoothly, and the footage achieved what the director wanted—a quick, authentic feel for social media. At the time, I didn’t understand the paradigm shift that smartphones were about to bring to filmmaking.
Looking back, I see that I was too focused on the tools and not enough on the purpose. The director wasn’t wrong; they understood the medium and its audience better than I did. In hindsight, I owe them an apology—not just for resisting their vision, but for underestimating the potential of the iPhone as a creative tool.
(Note: This photo is not the image I shot.)