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The line between professional filmmaking equipment and everyday smartphones is fading fast, as technological advances and creative experimentation reshape how films are made. This evolution was a key topic of discussion at the MAMI Select Festival last week, where filmmakers like Vikramaditya Motwane and Amrita Bagchi weighed in on the growing role of smartphones in cinematic storytelling.
Motwane, known for his inventive approach to filmmaking, believes smartphones have matured into legitimate tools for serious film production.
“Short answer, yes, absolutely you can use iPhones for professional filmmaking,” he said, citing examples of filmmakers who have used smartphones effectively. He pointed to yearly improvements in camera technology—such as RAW capture, enhanced audio capabilities, and high-resolution video—as factors that continue to strengthen the case for mobile devices in filmmaking.
Bagchi’s film Tinctoria, featured at the festival along with three other films, provided a real-world example. The common thread among all films? An iPhone 16 Pro Max was used instead of a professional camera. Bagchi noted their accessibility: “It’s more democratic, and it’s, of course, more accessible to shoot on an iPhone... there are so many storytellers and filmmakers who can now go ahead and make singles, who can make their music videos, and people can just tell their stories with one iPhone.”
This democratisation is particularly impactful in India, where access to high-end cameras and lenses can be financially prohibitive for emerging filmmakers.
“Smartphones make filmmaking so much easier for a bunch of people who would normally not have the access,” Motwane observed, highlighting the potential for regional cinema and independent voices to gain greater visibility.
Despite their advantages, smartphones are not without limitations. Questions persist about dynamic range, lens flexibility, and low-light performance—areas where traditional cinema cameras still hold an edge. Motwane acknowledged this reality, stating, “You’re not replacing 35mm. You’re not replacing an Alexa 35 or something... But at the same point of time, is it a viable tool for filmmaking? 100%... it doesn’t look like a phone has shot this(Tinctoria) by any standards.”
Globally, several high-profile directors have embraced mobile filmmaking. Sean Baker’s Tangerine (2015), shot on an iPhone 5S, was an early trailblazer. Steven Soderbergh followed suit with Unsane (2018) and High Flying Bird (2019). More recently, Ridley Scott directed Behold, a short film shot entirely on the Samsung Galaxy S23 Ultra. Also, Danny Boyle is reportedly using the iPhone 15 Pro Max to film 28 Years Later, the long-awaited sequel in his zombie thriller series. It’s important to note that these directors often use professional rigs, gimbals, lights and external lenses along with smartphones to achieve their signature cinematic quality.
The integration of artificial intelligence (AI) in smartphones adds another dimension to the conversation. While AI-assisted features—such as computational photography—can enhance visual quality, some filmmakers express concern over creative autonomy. Motwane, speaking cautiously, remarked, “I’m not against AI as a tool, I’m against AI as an overall solution to what doesn’t need to be that solution.”
As the technology evolves, many filmmakers are opting for a hybrid approach. Bagchi summed it up: “The problem is not new technology versus old technology. The problem is forcing one technology on everything… Both can coexist.”
In India’s dynamic and diverse filmmaking ecosystem, the rapid adoption of smartphones could signal a significant shift. It offers aspiring storytellers new avenues for expression while making established filmmakers rethink traditional workflows. As discussions at this film festival in Mumbai and developments in global cinema indicate, the smartphone is no longer just a convenience—it is fast becoming a tool of creative choice in the filmmaker’s kit.
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