and shot them at 1 fps as they melted onto a large tray of ice. The end credits involved printing out the title cards on paper I would tape to the back of a greasy glass casserole dish; I then added different layers of clear and black liquids that I moved with a hair dryer, shooting mostly at 2 fps with a magnetic clip-on macro lens. In both cases, the result is reminiscent of a Stan Brakhage film or a Jackson Pollock painting. We transcoded the native H.264 footage into ProRes 4:2:2 and edited with Final Cut Pro 7. I worked with colorist Brent Greer for the final color correction, using Blackmagic Design's DaVinci Resolve. We primarily focused on balancing and matching shots, since the footage was so textured and vignetted to begin with. The iPhone 5 camera performed extremely well under bright daylight conditions, but its latitude fell off tremendously when we worked under lower tungsten light levels. I also have to give a lot of credit to our editor, Peggy Davis, who managed to construct a coherent narrative out of such unconventional images. Every image in And Uneasy Lies the Mind was shot with the iPhone 5 - no animations or visual effects were added in post. I truly fell in love with the look of this movie, and I thoroughly enjoyed pushing the limits of this filmmaking technology, even (and especially) when it meant breaking things down and experimenting. The most important question filmmakers need to ask themselves when shooting with an alternative camera system isn't "How do I do this?" but rather "Why am I doing this?" I encourage other filmmakers to use these cameras to explore and push the ways we tell stories. I can't wait to see what they do. Ed. note: And Uneasy Lies the Mind will be released via video-on-demand in September. TECHNICAL SPECS 1.78:1 Digital Capture iPhone 5 Nikon Nikkor AI-S The Turtleback adapter created a vignette that Fosheim could control by adjusting the iris and changing focal lengths. 26 August 2014 American Cinematographer ●