Ethical AI video tools for filmmakers.

Over the past few years, generative AI tools have burst onto the scene, promising to revolutionize how films are conceived, shot, and edited. From text-to-image generators that help you storyboard in seconds to AI-driven color grading suites that match cinematic palettes with a single click, AI in filmmaking offers both promise and fear for the damage it might do to employment in the industry. Netflix’s recent admission that they used AI to generate a scene in their new SCI-FI show has not done much to allay people’s fears. For first time filmmakers without access to Hollywood budgets these tools can be intoxicating. Platforms like Runway ML and Luma AI let indie creators whip up visual effects on a shoestring budget. Things have never felt more creative.

Yet beneath this creative gold rush lurks a less glamorous reality. Many of today’s AI video models are trained on vast caches of unlicensed footage scraped from the internet—raising serious questions around copyright, creative attribution, and legal liability. Filmmakers who bank on these tools can find themselves staring down takedown notices or, worse, infringement lawsuits, all while lacking transparency about where the training data came from.

This is where an “ethical AI” video model becomes more than just a buzzword. By insisting on openly licensed, opt-in datasets—and backing it up with indemnity guarantees—tools like the newly launched Moonvalley’s Marey aim to give filmmakers the legal peace of mind and creative control that every storyteller deserves.

Why “Ethical AI” Matters to Filmmakers

Moonvalley’s Marey isn’t just another text-to-video toy—it’s built on the promise of openly licensed training data, so you can create without wondering if your next clip will land you in legal hot water. In an era when other generative tools have scraped copyrighted footage (sometimes without recourse for creators), Marey stands apart by using only content from partners who have explicitly opted in and by offering an indemnity policy to shield you from takedown notices

Transparent Licensing & Creator Rights

• Exclusive, opt-in datasets. Moonvalley contracts “data brokers” and content owners to assemble fully licensed video libraries—no grey areas, no future disputes

• Opt-out & data deletion. Any creator whose work ends up in Marey can request removal. And if you supply your own footage, you can delete it from the model at any time.

• Indemnity guarantee. If someone claims Marey output infringes their rights, Moonvalley’s policy promises to have your back, letting you focus on the art instead of the paperwork

Democratizing Filmmaking, Ethically

We are all about democratizing film here at the festival so for us any tool that will open filmmaking up to the masses is worth looking into. For an independent filmmaker the biggest selling point is that it democratizes access to the top AI storytelling tools, especially for people who have long felt shut out of traditional filmmaking. It can cost hundreds of euro to rent equipment and a limited budget can inevitably end up limiting the scope of the stories people are trying to tell. Tools like Moon valleys Marley coupled with your mobile phone will help open up worlds to new voices in the industry- secure in the knowledge that every frame is legally sound.

Granular Creative Control, Guilt-Free

It’s not just about ethical filmmaking, it’s also about control. Moon valley’s Marey’s is also about giving it’s about filmmakers the tools to refine every shot:

• Frame-by-frame tweaks: Change camera angles, background elements, even lighting after generation.

• Source-footage remixing: Drop in your own clips and let Marey reframe them for new environments—from suburban roads to country highways

All without risking uncanny resemblances to unlicensed content—so your creative choices stay exactly that: yours. Behind the scenes, they’re also expanding their creator-partnership network, so the pool of ethical training footage keeps growing—and so does your peace of mind.

Takeaway: Ethics + Empowerment

The cat is well and truly out of the bag with this stuff. We even have an AI category at this point for Christ’s sake. (Something we have taken some heat on). What it’s about now is putting guard rails on it, making it fair for creatives.

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28 Years Later shows exactly how adventurous smartphone filmmaking can be. When the cameras started rolling on May 7, 2024, in the rolling hills of Northumberland, director Danny Boyle and Oscar-winning cinematographer Anthony Dod Mantle made a bold choice: leave the big rigs behind and shoot primarily on an iPhone 15 Pro Max. Alongside action cameras, drones, and a few traditional digital and film cameras, that single pocket-sized device became the engine driving every eerie, wide-angle frame.

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A sequel 23 years in the making

Directed by Danny Boyle and written by Alex Garland, 28 Years Later reunites the creative duo behind the landmark 28 Days Later (2002). Set nearly three decades after the original Rage Virus outbreak, the film follows survivors living on a quarantined island who must confront new horrors when the virus resurfaces following a breach in their safe haven

28 years later

Why iPhones? Why not!

Boyle made headlines by shooting much of the film on iPhone 15 Pro and Pro Max devices—marking the biggest blockbuster yet to fully embrace this consumer-grade format. His aim: replicate the gritty, visceral feel that made the first film so gripping. Just as the original used Canon XL-1 camcorders to replicate how people would have captured the apocalypse back then, this sequel employs modern counterparts—iPhones—to deliver a raw intensity and agile mobility across remote locations

How many IPhones did they use to film 28 Years later

At this point we have all heard about the “Poor Mans bullet time” but it truly is special. To capture key scenes, Boyle’s team used a custom rig housing up to 20 iPhones, creating an effect with simultaneous multi-angle filming. The result is a truly unique innovation allowing the edit to jump to different angles of the same shot or sweep around an arrow has it mashes into a zombie’s head. This setup, alongside compact drones allowed unprecedented flexibility during the rugged outdoor shooting in rural Northumberland.

“It’s very light, it’s cheap, and it allowed us to go to places that were very remote and bore very little evidence of human presence for many, many, many years,” Boyle told IndieWire in June 2025.

The iPhones shot in 4K/60fps, in a widescreen 2.76:1 aspect ratio. Similar to how Stephen Soderbergh deployed it in Unsane, the wide scope enhances the sense of unpredictability within the frame.

Why did Danny Boyle use IPhones to film 28 Years Later?

In interviews, Boyle stressed that the choice was not gimmicky or purely marketing-driven—he intended to evoke the same sense of documentary-like immediacy as in the first film. The narrative, set “28 years after,” called for modern consumer technology to maintain authenticity. As cinematographer Anthony Dod Mantle explained, iPhones allowed lightweight, immersive shooting, with actors often handling them directly.

What is 28 Years later actually about anyway?

The narrative takes place…28 Years later after the original. It focuses on a family of survivors of the rage virus live on a small island. This family includes Jamie (Aaron Taylor‑Johnson), his 12-year-old son Spike (The excellent Alfie Williams) and Isla (Jodie Comer) When one of the group leaves the island on a mission into the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors.

The cast also includes Jack O’Connell in a small role while Cillian Murphy (Jim from the original) is credited as an executive producer, though he doesn’t appear onscreen he has been confirmed as having a larger role in the second and third films in the trilogy (Thats right, it’s a trilogy which they hid in the marketing)

Was 28 Years later successful

Released June 20, 2025, across the UK, US, and Canada, the film debuted at around $30 million. With a production budget of approximately $60 million (some reports say $75 million), it grossed roughly $62.8 million, so far so good. The movie has a 7.2/10 on rotten tomatoes and an 89% on rotten tomatoes so we can expect the movie to have legs moving into the summer

What comes next? The Bone Temple trilogy

28 Years Later was shot back-to-back with its sequel, 28 Years Later: The Bone Temple, slated for release on January 16, 2026. Has we mentioned Cillian Murphy returns in a supporting role, hinting at his character’s deeper importance in filming the trilogy’s final part.  Boyle steps back for this one and Candyman director Nia DaCosta takes the helm for the second installment

F1 the movie filmed with Iphones?

Find out how that movie is using custom iphones to film scenes in our other blog

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Why shoot it on an iPhone?

Of course we fully get it but Director Karia said capturing a full narrative on an iPhone was “invigorating.” He loved how its compact size let him get close to the characters—small camera, big emotional impact.

DoP Stuart Bentley adds that having “this amazing camera in your pocket” puts professional-quality filmmaking into everyone’s hands. With features like Cinematic mode, dynamic range that shines at night, and ProRes Log for deep colour control, it’s a creative game-changer.

Behind the scenes from Big Man short: Credit Apple

Breaking down the IPhone 16 Pro Specs

• Cinematic mode: Auto-focus and beautiful bokeh to guide viewers’ eyes.

• 4K at 120 fps: Slow-mo captures trampoline moments in striking detail.

• Low‑light magic: Moonlit arcades, dim studios, night scenes—all handled beautifully. (We have come a long way):)

• ProRes Log workflow: More control in editing for that cinematic polish

Ahh it is more then just the tech

This isn’t just a flex about IPhones and what you can do with them—it’s proof that heartfelt storytelling doesn’t need expensive gear. Its all about barrier free filmmaking. As Bentley puts it: “If you’re hungry and passionate about cinema, there’s no reason you can’t make an amazing film.”

Where can I watch it?

Big Man is available to watch now on YOUTUBE

For more news check out our blog on the new F1 movie using modified IPHONEs to capture the breakneck speed of racing

Shot a film yourself on a phone? Submit it here for the festival next year.

The post Stormzy Stars in iPhone‑Shot Short Film ‘Big Man’ appeared first on DUBLIN SMARTPHONE FILM FESTIVAL.

More Days of Thunder: The Birth of F1 the movie

The movie, directed by Joseph Kosinski and produced by Jerry Bruckheimer of Top Gun Maverick Fame. The movie stars Brad Pitt as a retired racing legend mentoring a hot-shot newcomer, played by Damson Idris. Real F1 maestro Lewis Hamilton serves as producer, ensuring every downshift rings true. Filming took place at Grand Prix venues from Abu Dhabi to Mexico City, with Pitt and Idris behind the wheel of real race cars—no CGI stand-ins here

Why Broadcast Cameras Just Wouldn’t Cut It

Traditional onboard cameras used in F1 broadcasts are optimised for live TV: compact, robust, but limited in dynamic range and resolution. For a cinematic release, these specs fall flat—literally. At blistering speeds and under searing sun, the filmmakers needed something with higher resolution that could stand up to the dangers of F1 racing. Apple’s solution? Strip down an iPhone, supercharge its internals, and pack it into a form factor that meets F1’s rigorous design and weight tolerances

Custom iPhone Module

At the heart of the module lies the same 48-megapixel sensor rumored to be in the iPhone 15 Pro’s ultra-wide camera, tethered to an A17 Pro-class chipset for real-time processing. A neutral-density filter cap sits over the lens to tame highlights on sunlit straights, while an iPhone battery nestles inside for power. All this hardware is married to custom firmware—running on an iOS core—that logs footage in Apple’s ProRes Log format, primed for ACES-compliant color grading in post

The IPAD Pit Crew

Beyond raw hardware, Apple developed a companion iPad app that hooks up via USB-C to the module. From here, filmmakers can tweak frame rate, shutter angle, ISO, and white balance on the fly—no pit stop required. Need to hit record as you blast through Turn 1? Tap the iPad. Pause recording mid-lap? Easy. This direct-control workflow, synchronized with ProRes Log encoding, gives DPs unprecedented creative freedom atop 200 mph thrills

Tested to the Limit

Squeezing smartphone guts into an F1-grade package meant engineering for extremes. Apple’s test rigs subjected the module to prolonged heat cycles, seven-figure G-forces, and bone-rattling vibrations that would shatter any consumer device. The end result passed Formula One’s stringent durability benchmarks, proving that an “iPhone cam” could withstand race-day chaos without skipping a frame.

A New Chapter for iPhone Cinematography

The custom F1 camera didn’t stop at one-off hardware. The development process birthed two major firmware features now rolling out to iPhone 15 Pro users: native Log encoding for ProRes capture, and support for ACES color workflows. In other words, indie filmmakers can now shoot Log-format video on their phones and grade it alongside big-budget studio footage. Apple’s gamble here lays the groundwork for a democratized filmmaking future

Beyond the Finish Line

Apple’s F1 project is more than a flashy marketing campaign—it’s a statement of intent. By fusing smartphone innovation with Hollywood storytelling, Apple is signaling a shift: consumer tech can drive professional artistry, not just consumer convenience. If F1 delivers on its promise of full-throttle authenticity, expect more blockbusters to trade traditional cinema rigs for pocket-sized powerhouses. Ready for Apple’s next act? It’s not just on stage—it’s screaming down the track at 220 mph.

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Welcome to The Mobile Filmmaking Revolution, your weekly deep dive into how pocket-sized gear, AI wizardry, and real-world storytellers are reshaping the art of moving pictures. Every Monday and Thursday, we’ll spotlight the latest breakthroughs in sensor tech and editing algorithms, unpack how AI is becoming your new best assistant on set, and celebrate the gritty, soulful tales captured by filmmakers wielding nothing more than a smartphone. Think of this as your go-to newsletter for inspiration, hands-on tips, and a dash of industry gossip—served with a side of “holy-cow, that was shot on a phone?” excitement. Strap in, grab your device, and let’s redefine what it means to make movies—one frame at a time.

Sensor Wars: Snapdragon’s 200MP Breakthrough

 

 Qualcomm’s upcoming Snapdragon 8 Elite 2 Ultra is rumored to debut a 200 MP, 1‑inch-class sensor—think cinema-level light gathering in a phone chassis. This sensor boost will enhance low-light performance, widen dynamic range, and deepen color detail. Filmmakers will be able to record ProRes-grade footage without relying on rigs or external recorders—redefining “pro gear” for mobile storytellers.

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On July 6, the Dublin Smartphone Film Festival is proud to present an exclusive Documentary Filmmaking workshop hosted by the internationally acclaimed and multi-award-winning filmmaker SJ Van Breda. This event offers aspiring filmmakers a unique opportunity to learn from one of the industry’s most accomplished professionals.

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LODI was filmed on an iPhone 14 Pro using Filmic Pro and Moment apps. Courtney chose a 1.33:1 aspect ratio, which gives the film a unique visual style and enhances its intimate and personal narrative.

A little bit about Courtney

Courtney is a multi-talented actor, poet, film producer, and director. 

Born and raised in southern Oregon, Courtney began her filmmaking journey by creating rap parody films for school projects using a borrowed Canon XL1. Her career advanced to production roles in major films such as Transformers: Bumblebee, Top Gun: Maverick, and Mission Impossible: Dead Reckoning Part I.  She is the Creative Executive on the feature development team at Lucasfilm, one of the world’s leading film and entertainment companies. That’s right, she works in a galaxy far, far away.

We asked Courtney questions about LODI, mobile filmmaking life and challenges. Here’s what she had to say. 

Can you tell us about LODI?

“This is an incredibly personal story that took a lot of time and courage to share. I decided to film on an iPhone 14 Pro because it felt akin to how I would document a trip with my family. [It’s also] way easier (and cheaper) to film with a phone when you shoot 11 pages in one day and drive over 200 miles in a vintage Mercedes with no A/C”.

What are the top 3 things you have in your film kit bag for mobile filmmaking? 

“I always have a pretty good lighting setup. I usually bring a gimbal and then always remember to bring a charger. That is essential!”

What was the last movie that made you cry?

“The last movie that made me cry was Ghostlight [Directed by Kelly O’Sullivan and Alex Thompson]. I got to see it at a Film Festival, and it was a really beautiful story about a family dealing with past trauma”. 

What were the greatest challenges in making LODI?

“One of the main challenges in making the short film was the fact that it was so hot outside. When we were shooting, the cameras kept overheating, so we would put the phones in a little cooler and let them take a break between our takes. 

What is your biggest fear as a filmmaker? 

“One of the biggest worries I have about making a film is if it’s going to resonate with anyone. That’s the whole reason we tell stories. I want to speak to people’s hearts, to inform the way they change their relationships or live in the world. So that’s always the greatest hope but also the greatest fear that no one’s going to like or watch the thing you make. I’m very honoured and excited that Lodi is playing for the Dublin Smartphone Film Festival. I’m very grateful to the programmers. It’s always just a joy to know that people around the world are going to see your film”

Submit your film today—we’re excited to see your work!

We loved Courtney’s film LODI and learning about her journey in filmmaking. Whether you’re a budding or experienced mobile filmmaker, if you have a story to share, why not share it with the world? The Dublin Smartphone Film Festival is a fantastic opportunity to showcase your work and connect with our community of filmmakers.

The post Courage and Creativity: An Interview with Award-Winning Filmmaker Courtney Coker appeared first on DUBLIN SMARTPHONE FILM FESTIVAL.

Marketing Tip 1: Know your audience

A critical success factor for any short film is knowing your audience. Understanding who your audience is will shape not only the creation of your short film but also its marketing strategy and the choice of festivals you submit to.

Practical steps in identifying your audience

Research Similar Films:

Look at films with similar ideas to yours and identify their audiences. Examine how these films succeeded in reaching their viewers and where they may have fallen short. Learn from them. 

Create Audience Personas: 

Personas are the backbone of any marketing strategy and a great way to focus your efforts. Consider demographics, psychographics and media consumption habits. Ask yourself, ‘Who would be interested in watching my story?’

Social Listening:

Read social media comments and conversations about similar films or genres to learn about audience interests and likes.

Marketing Tip 2: Plan your promotional footage

Start planning what promotional stills and behind-the-scenes (BTS) footage you need before filming. Why plan BTS and promotional content early? Well, there are many reasons;

• Clear Direction: Knowing what kind of promotional material you need in advance allows you to create a cohesive and consistent marketing message that aligns with your short film’s vision.
• Time Efficiency: When you’re in the thick of production, time is precious. A plan allows you to capture BTS content without disrupting the filming process.
• Storytelling: BTS content can tell the story of your film’s creation, engaging your audience and building a community around your project even before its release.
• Marketing Assets: The more material you have (stills, interviews, video diaries, etc.), the more assets you have for various marketing campaigns and festival submissions.

Tips for Planning Promotional Content

The Role of a Professional Photographer

If your budget allows, hire a professional photographer to take key BTS and promotional film shots. Professional photographs in your arsenal offer numerous benefits that can enhance the film’s appeal, marketing, and archival value. 

• Enhanced Visual Appeal: High-quality, professional images significantly elevate a film’s aesthetic for festival juries and film audiences.
• Expertise in Storytelling: Skilled photographers can capture the essence of scenes with dynamic compositions and adept lighting management, enhancing the story’s visual narrative.
• Marketing Reach: Using professional photos across posters, social media, and press releases can expand the film’s promotional reach and engagement potential.
• Efficient Workflow: Photographers can capture valuable BTS content without interrupting the primary filming process. .
• Valuable Archival Content: High-resolution images serve as key archival material for future retrospectives or special editions, adding long-term value.
• Cost-Effective Investment: While hiring a photographer adds to initial costs, the benefits of increased festival acceptance, audience reach, and overall film impact generally far outweigh the investment.

Marketing Tip 3: Build a Strong Online Presence

Before you even think about submitting your short film, ensure you have a professional online presence, such as a website, dedicated page or social media channel for your film. Include important information, a compelling synopsis, cast and crew details, and eye-catching visuals. A solid online presence can help build anticipation and credibility. 

  Source: iwalkwithghostsfilm offical instagram page

Document your journey and share it. Create a buzz by posting about the production process, interesting anecdotes, and sneak peeks.

Create engaging teaser content like trailers, posters, and behind-the-scenes footage.

Tailor your material for different platforms. What works on Instagram might not work on Facebook or X. Make sure your content is easily shareable and formatted correctly for each platform

This continuous engagement can build an invested following for your film’s festival journey.

Marketing Tip 4: Use festivals to spotlight your film

Festivals are a valuable way to showcase your short film. There are a few simple steps to maximise the benefits of your film festival submission.

Understand the Festival Landscape

Each festival has its character and audience, so it’s essential to research to find a good fit for your film’s genre, style, and audience. Use platforms like FilmFreeway to streamline the submission process. Remember to look beyond the big names. Smaller festivals can offer more personalised attention and may be more receptive to films from independent filmmakers.

Maximise Every Film Submitted

For smaller festivals, each film submission is an opportunity to promote both the film and the festival. Even if a film isn’t accepted, just the act of submission and the festival’s acknowledgement can be used as a marketing tool, celebrating the film’s attempt to engage with the festival community.

Network

Network at festivals, even if your film isn’t showing. Building relationships with other filmmakers, festival programmers, and attendees can lead to opportunities for collaborations and screenings.

Feedback and Adaptation

Pay attention to feedback. If your short film isn’t accepted, find out why and use that information to improve your marketing strategy or the film itself. Adapt your film’s length or content based on the trends and preferences of your target festivals.

Create a Compelling Press Kit

A well-crafted Electronic Press Kit (EPK) can make a significant difference. It should include a synopsis, director’s statement, high-resolution stills from the film, bios of the key cast and crew, and any notable facts that make the film stand out. The more professional and polished your EPK, the more serious festivals will take your film.

https://youtube.com/watch?v=cbuo_oR3O1Y%3Fautoplay%3D0%26mute%3D0%26controls%3D1%26origin%3Dhttps%253A%252F%252Fwww.dublinsmartphonefilmfestival.com%26playsinline%3D1%26listType%3Dplaylist%26list%3DPLaI4BbpCunp9Wf5Pvms-fb_zv_dS1w_cR%26showinfo%3D0%26rel%3D0%26iv_load_policy%3D3%26modestbranding%3D1%26enablejsapi%3D1%26widgetid%3D1

Keep Marketing Alive Post-Festival

Even after your film has been accepted into a festival or secured distribution, continue your marketing efforts. Through Q&A sessions, social media, and filmmaker interviews, engage with your audience. Positive buzz can lead to more opportunities and increased visibility.

Marketing Tip 5: Authenticity is Key

In your marketing efforts, don’t compromise your authenticity. Whether through a heartfelt director’s statement or a quirky, self-aware social media post, let your genuine passion for your film shine through. Authentic marketing resonates with audiences and festival juries alike.

Conclusion

Remember, marketing your short film for festivals is not just about getting your film shown; it’s about creating a presence in the industry. All marketing material should promote your film and tell a story about who you are as a filmmaker. With a smart strategy, even films that aren’t selected can gain traction and attention, setting the stage for your next project.

Embarking on the film festival circuit is a journey of storytelling within your film and the narrative you create around it. A thoughtful marketing approach can make all the difference in achieving festival success.

The post In the Spotlight: Marketing Tips for Short Film Festival Success appeared first on DUBLIN SMARTPHONE FILM FESTIVAL.

In a world where smartphones are ubiquitous, why not leverage their power to create your very own film? We have you covered with some handy tips to help you shoot your next high-quality production entirely on your trusty mobile device. From finding inspiration to selecting the right audio and video equipment, we will guide you through the process.

First things first, get inspired!

As they say, reading makes for good writing and the same holds true for smartphone filmmaking. Check out other successful smartphone films like Tangerine or keep up with the latest at events like the Toronto Smartphone or even our own festival, the Dublin Smartphone Film Festival

Now, lets talk about sound.

Nothing breaks immersion more than bad audio, so make sure to invest in quality sound equipment. Consider adding a RØDE microphone, like the VideoMic ME, or even a separate sound recording device, shotgun mic, and professional sound recordist for the ultimate audio experience.

On to video equipment.

Don’t be afraid to use a camera rig and other accessories with your smartphone. A grip mount and lens kit, like those from Moment, can help take your filming to the next level. And don’t forget to check your phone’ s storage space so you can capture multiple scenes without running out of space.

But wait, there’s an app for that!

While its best to keep your phone free of excess apps, some can actually help you achieve better shots. Check out Filmic Pro for advanced camera features,

By combining all of these elements, you will be amazed at the cinematic quality you can achieve with your phone. Of course none of this matters if you have not spent time working on your story. Start there, get some great actors, stunning locations and then find the tech you can afford to tell your story. In most cases this will be your phone

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