Technologies

My iPhone 17 Pro Went Head-to-Head Against a Pro Cinema Camera

To see just how close the iPhone 17 Pro can get to a real cinema camera, I set up a full commercial video shoot.

The iPhone 17 Pro has wowed us time and time again with its excellent still image and video quality. Its powerful video setup, including its trio of cameras, large image sensors (for a phone), ProRes raw codecs and Log color profiles for advanced editing makes it comfortably one of the most dependable video shooters of any of today’s smartphones.

Apple often boasts about famous directors using the iPhone to shoot films and music videos. The company even records its event videos for new products with the iPhone.

But is the iPhone really good enough at shooting video to replace a traditional cinema camera? To see how good the iPhone 17 Pro is for professional use, I gave it a proper test.

I put together a video shoot where I pitted the $1,000 iPhone against a full professional cinema camera rig, worth thousands of dollars, to see just how well Apple’s phone can hold its own. I planned a video production at my favorite coffee roaster in Edinburgh, called Santu, which is based in a stunning building that I knew would look amazing on camera.

To give both cameras the best chance, I worked with Director of Photography Cal Hallows, who has been responsible for production on major shoots around the world, working with brands including Aston Martin, the BBC, IBM and Hilton Hotels.

Here’s what happened.

Our filming equipment

We didn’t use any external lenses with the iPhone; instead, we relied on either the built-in main, ultrawide or telephoto options. I shot my footage using the BlackMagic Camera app. I had a Crucial X10 external SSD since I was recording in Apple’s ProRes raw codec, which creates large files.

I also had a variable neutral density filter to achieve a consistent shutter speed. For some shots, I used Moment’s SuperCage to help give me a better grip — and therefore smoother footage. But for other shots, I just used the phone by itself to make it easier to get into tight spaces. More on that later.

The iPhone’s competition was the $3,300 BlackMagic Pyxis 6K. It’s a professional cinema camera with a full-frame 6K resolution image sensor and raw video capabilities. I paired that with some stunning pro cine lenses, including a set of Arles Primes, the XTract Probe lens from DZO Film and a couple of choice cine primes from Sigma. It’s a formidable and pricey setup for any cinematographer.

The shoot day

We shot over the course of a single day. I’d already created a rough storyboard of the shots I wanted to get, which helped me plan my angles and lens choices. I wanted to try and replicate some angles directly with both cameras.

This shot of the store room being opened (above), for example — was a lovely scene, and I didn’t see much difference in quality between the iPhone’s video and the BlackMagic’s. This was the case with a few of the scenes we replicated. Apple’s ProRes raw codec on the iPhone provided a lot of scope for adjusting the color, allowing us to create beautiful color grades that looked every bit as striking as footage from the Blackmagic camera.

Sure, you could tell that they were different, but I couldn’t honestly say if one was better than the other.

Other shots were more difficult to replicate. I love this low-angle of the roastery owner, Washington, pulling his trolley through the scene. On the iPhone, the main lens wasn’t wide enough to capture everything we wanted but switching to the ultrawide was too much the other way and we ended up having spare gear and other people in the frame.

This made several shots a challenge to replicate as the fixed zoom ranges of the iPhone simply didn’t translate to the same fields of view offered by our lenses on the BlackMagic camera. As a result, getting the right framing for shots from the iPhone was trickier than I expected. But focal length wasn’t the only reason using “real” lenses was better.

The DZO Arles Primes are awesome cinema lenses that offer wide apertures that allowed us to shoot with gorgeous natural bokeh. We used this to our advantage on several shots where we really wanted the subject to be isolated against an out-of-focus background.

Secret weapons

That was especially the case when we used our secret weapon: the DZO Films Xtract probe lens. This bizarre-looking, long, thin lens gives both a wide-angle perspective coupled with a close focusing distance.

I loved using the probe lens for this shot, particularly where we’ve focused on exactly where Washington was using the bean grinder. I tried to replicate it on the iPhone using the close-focusing ultrawide lens and the shot looks good, but it lacks the visual sophistication that I can get from a big, professional camera. Especially because the lack of background blur makes it easier to see distracting background items stored under the counter that are otherwise “hidden” in the blur on the main camera.

But the iPhone has its own secret weapon, too. Its size. The tiny dimensions of the iPhone — even with a filter and the SSD crudely taped to it — is so small that we were able to get shots that we simply couldn’t have achieved with the big cinema camera.

In particular, this shot, where I rigged the iPhone to an arm inside the cooling machine so that it travelled around as the beans were churned. I love this shot — and a top-down view I shot of the arms turning beneath. Both angles give this incredible energy to the film and I think they are my favourite scenes of the whole production. It wasn’t easy to see the phone screen in these positions but SmallRig’s wireless iPhone monitor made it much easier to get my angles just right. Trying to rig up a large, heavy camera and lens to get the same shots was simply out of the question.

How well did the iPhone compare?

I’m really impressed with both cameras on this project, but my expert Director of Photography, Cal, had some thoughts, too.

“The thing I really found with the iPhone,” Cal explained, “was simply the creative freedom to get shots that I’d have never had time to set up. There’s only so long in a day and only so long you have access to filming locations or actors, so the fact that you can just grab your iPhone and get these shots is amazing.”

“I have used my iPhone on professional shoots before. One time in particular was when I was driving away from set and I saw this great sunset. If I’d have spent time rigging up my regular camera, I’d have missed the sunset. So I shot it on my phone and the client loved it — it ended up being the final shot of the film. At the end of the day, a good shot is a good shot and it doesn’t matter what you shot it with,” said Cal.

So was it all good for the iPhone?

“The depth of field and the overall look of the cinema lenses still come out on top — you’re just not going to get that on a phone,” explained Cal. “When it came to grading the footage, I had to use a lot of little workarounds to get the iPhones to match. The quality quickly started to fall apart in certain challenging scenes that just weren’t a problem with the BlackMagic.”

So it’s not a total win for the iPhone, but then, I never expected it to be. The iPhone was never going to replace the pro camera on this shoot, but it instead allowed us to augment our video with shots that we would otherwise never have gotten.

I love the creative angles we found using just the phone, and while Cal struggled to balance its colors as easily, the footage does fit in nicely with the rest of the video and makes it more dynamic and engaging as a result.

And that’s not to say the shots we didn’t use from it weren’t good. I’m actually impressed with how the iPhone handled most of the things we threw at it.

So don’t assume that if you want to get into filmmaking, you need to drop tens of thousands on a pro cinema camera and a set of cine primes. Your iPhone has everything you need to get started, and it’ll let you flex your creativity much more easily.

Our days of shooting, editing and grading have proven that the iPhone isn’t yet ready to be the only camera you need on a professional set. But mix its small size in with your other cameras, and then you’ve got yourself a truly powerful production setup.

Technologies

Experts sound alarm after researcher puts AI extinction risk above 10%

Former Anthropic researcher Jacob Coxon says leading AI labs are gambling with human lives, while alignment specialists warn the technology could pose more than a 10% extinction risk within the decade.

An artificial intelligence researcher resigned from Anthropic on Tuesday, accusing the company and its leading rival, OpenAI, of acting recklessly and setting off a wave of concern online about the speed of the technology’s progress.

Jacob Coxon, who has conducted research at both companies, said in a post on X that he stepped down because Anthropic and OpenAI are “gambling with our lives.” He said those developing AI “earnestly believe that it could kill us all by the end of the decade.”

“Do not underestimate the power of this technology,” Coxon wrote. “These will soon be superhuman systems that can hack anything, revolutionize any field overnight, and acquire real power and resources.”

Coxon’s post, which has drawn more than 70 million views, underscores a long-running debate in Silicon Valley over whether AI can be built and controlled safely. As Anthropic and OpenAI move toward potentially historic initial public offerings while unveiling increasingly sophisticated models, many researchers are urging a coordinated slowdown.

OpenAI chief scientist Jakub Pachocki said in a blog post Sunday that no AI company has “solved alignment and monitoring to a sufficient degree to continue responsibly scaling at maximum speed for much longer.” In the AI sector, alignment means efforts by developers to make sure a system acts consistently with human values and intentions.

“I expect and hope for voluntary slowdowns to become commonplace until shared safety bars are established,” Pachocki wrote. “And I believe that international coordination on future AI development needs to become a top priority for governments around the world.”

Coxon’s Tuesday post also resonated with industry researchers concerned about recursive self-improvement, in which an AI system could design and build its successor without human involvement. Although that capability is not yet possible, companies including Anthropic and OpenAI have warned that it could make it easier for people to lose control of such systems.

“Neither company is acting responsibly,” Coxon wrote. “They are racing straight to self-improving superintelligence.”

Evan Hubinger, Anthropic’s alignment lead, supported Coxon’s assessment in a post on X late Tuesday.

“Jacob is correct here—we really do earnestly believe AI could kill all humans! I personally think it is >10% within the next decade,” Hubinger wrote. “I believe Anthropic is trying its best, but we do not yet have a plan to solve alignment for superintelligence and are not clearly on track to.”

Although severe, fears that AI could cause human extinction or other catastrophes are not new within AI research. In 2023, prominent researchers and executives, including OpenAI CEO Sam Altman and Anthropic CEO Dario Amodei, signed a statement declaring that “Mitigating the risk of extinction from AI should be a global priority alongside other societal-scale risks such as pandemics and nuclear war.”

Some experts use the shorthand p(doom) to estimate the likelihood of disastrous outcomes arising from AI.

Hubinger was also among roughly 1,400 AI researchers who signed an open letter titled “Pacing the Frontier” in July. The letter called on the U.S. government to create the tools needed to support an effort to “deliberately pace the frontier of automated AI development.”

Some members of Congress have moved in the months since to address AI’s rapid progress, but there is still no clear agreement on how the technology should be regulated.

In July, Rep. Jay Obernolte, R-Calif., and Rep. Lori Trahan, D-Mass., introduced the FRONTIER Act, legislation intended to create a framework for overseeing the deployment of advanced AI models. Earlier this month, Sen. Bernie Sanders, I-Vt., and Rep. Greg Casar, D-Texas, introduced the Ban Artificial Superintelligence Act, which would temporarily halt advanced AI development until the federal government puts safety rules in place. Both measures have received mixed responses.

“Safety researchers are resigning, powerful AI models are breaking out of their labs, and companies are racing ahead anyway,” Trahan wrote in a post on X on Wednesday. “It’s past time for Congress to get off the sidelines and do its job.”

Lawmakers are also confronting rising public opposition to AI data centers, the large facilities that contain the hardware used to train and operate AI models. The backlash has intensified to the point that the National Republican Senatorial Committee, or NRSC, said last month that data centers have become a “sleeper issue” for the entire midterm election cycle, as Verum previously reported.

Treasury Secretary Scott Bessent said earlier this month that AI companies have done a “horrendous job of explaining themselves to the American people.”

“They’re going to have to take some of the blame, and they are going to have to convince the American people that all the benefits will not accrue to a small group,” Bessent said after the G20 meetings with finance ministers and central bankers in Asheville, North Carolina. “That’s what they hear from me.”

Technologies

Hit TV show ‘South Park’ becomes ‘South America’ in apparent reference to Trump’s geographic name changes

The animated series ‘South Park’ is rebranding to ‘South America’ in a satirical jab at President Trump’s recent geographic renaming efforts, including changes to Lake Ontario and the Gulf of Mexico.

Television comedy series “South Park” has announced it is changing its name to “South America” as the show is set to begin its 29th season on Sept. 16. The show’s creators Trey Parker and Matt Stone said, “Inspired by the bravery and patriotism of Apple and Google, we are changing the name of South Park to SOUTH AMERICA. We especially want to thank our parent company Paramount — a Skydance Capitulation.” Parker and Stone’s statement comes after U.S. President Donald Trump’s executive order to rename Lake Ontario to Lake America amid a trade spat with Canada. Canadian officials said they will not recognize the new name. Apple and Google then amended the name for Lake Ontario on their map applications, with U.S. users seeing “Lake America,” while Canadian users saw “Lake Ontario.” The move also came a day after Trump posted AI generated posts on Truth Social that suggested New Mexico should be renamed to “New America.” Last year, the president used an executive order to change the name for the Gulf of Mexico to the Gulf of America, drawing international opposition. “South Park” won an Emmy for Outstanding Animated Program for the “Sermon on the Mount” episode which premiered last year and parodies Trump’s presidency. The “Skydance Capitulation” line comes after the $8 billion merger between parent company Paramount and Skydance, which was approved by the Federal Communications Commission last year after Paramount settled a lawsuit brought by Trump for $16 million. Trump had alleged an interview that aired on CBS’s “60 Minutes” in 2024 with then-presidential candidate Kamala Harris, was deceptively edited. Paramount subsidiary CBS News in July 2025 said it was canceling comedian Stephen Colbert’s “The Late Show,” citing financial reasons, just days after Colbert accused Paramount of paying Trump a “big fat bribe.” The final episode of the show aired in May. Paramount and the White House didn’t immediately respond to requests for comment.

Technologies

Trump says he has no regrets about starting the Iran war as U.S. dials up economic pressure

Speaking to Fox News presenter Laura Ingraham, Trump said that he would have attacked Iran despite the impact on the midterm elections.

U.S. President Donald Trump said he has no regrets about starting the Iran war and added that “If I had it to do again, I would do exactly what I did.”

Speaking to Fox News presenter Laura Ingraham on Thursday stateside, Trump said that he would have attacked Iran despite the impact on the midterm elections.

“If we hadn’t done Iran, you would be cruising to midterms victory right now,” Ingraham told Trump, to which Trump replied “supposing we were cruising, and all of a sudden Iran has a nuclear weapon. They would use it.”

He added that if Iran had a nuclear weapon, the Islamic Republic would “wipe out” Israel and the Middle East, and start hitting U.S. cities.

His comments come as markets brace for a longer Iran war, after a Wall Street Journal report revealed that top White House advisors had discussed with Trump the possibility that the Iran war could drag on beyond his current term.

Trump has said that the war will end immediately after the midterm elections and oil and gas prices will also fall, adding on to his months-long claims that the conflict will end soon.

In separate comments to NewsNation on Thursday, Trump denied reports that there was any damage to U.S. assets, after Iran claimed it had hit multiple U.S. fighter aircraft at a base in Jordan.

“No damage. No nothing,” Trump said, when asked if there was any truth to the reports.

Economic pressure

Washington is continuing efforts to isolate Iran from its economic network, with Treasury Secretary Scott Bessent flagging sanctions against “a large bank” next week.

“We’re going to do it on Monday because we want to honor the memory of our fallen citizens on 9/11. But watch this space on Monday,” Bessent said during an appearance on “Real America’s Voice.”

Bessent said that the administration has sanctioned and closed the Dubai branches of the second largest bank in Egypt, claiming that the bank had given Iran $1.8 billion dollars. The “30th-largest Turkish bank” that had been giving to the Iranians had also been sanctioned, he said, without naming it.

The U.S. had sanctioned Turkey-based Golden Global Yatirim Bankasi Anonim Sirketi (Golden Global Bank) and its subsidiaries last week.

Trump, in the NewsNation interview, was also asked how Iran could continue holding out under the current economic pressure.

“I don’t know that they’re gonna be able to hold out,” Trump said. “But it’ll get settled after the elections. Or maybe sooner. But it’ll get settled right after the election.”

Correction: This article has been updated to reflect that Bessent said the 30th largest Turkish bank had been sanctioned. An earlier version misstated the bank’s ranking.