April 15, 2025
UPDATE
Meet 4 rising filmmakers bending cultural and artistic traces with iPhone 16 Professional Max
The expertise behind this 12 months’s MAMI Choose: Filmed on iPhone initiatives delve into how India’s diversified landscapes and cultures formed their shorts
Author, director, and actor Konkona Sen Sharma believes that past expertise, a filmmaker’s most necessary software is braveness.
“With iPhone, there’s a lot energy contained in such a compact bundle you could bypass the conventions of mainstream filmmaking,” says Sen Sharma, a two-time winner of India’s Nationwide Movie Awards. “All you want is a superb thought, and the center and dedication to comply with by with it.”
Alongside fellow Indian movie {industry} icons Vikramaditya Motwane, Lijo Jose Pellissery, and Vetri Maaran, Sen Sharma is mentoring 4 rising filmmakers chosen by the Mumbai Academy of the Shifting Picture (MAMI) to create quick movies for the 2025 MAMI Choose: Filmed on iPhone program.
Now in its second 12 months, this system empowers MAMI alumni to push the boundaries of expertise and innovation, capturing their initiatives on iPhone 16 Professional Max and modifying them on MacBook Professional with M4 Max. Two of final 12 months’s taking part movies just lately received 2025 Critics’ Alternative Awards India for Finest Quick Movie, Finest Director (Quick Movie), and Finest Writing (Quick Movie).
“Taking pictures on iPhone permits for full private expression,” says Maaran, writer-director of the upcoming Tamil motion thriller Vaadivaasal. He believes he’s studying as a lot from his mentees as he’s instructing them. “We’re dwelling within the age of democracy in filmmaking.”
This 12 months’s MAMI Choose filmmakers — Amrita Bagchi, Rohin Raveendran Nair, Chanakya Vyas, and Shalini Vijayakumar — are discovering new cinematic worlds by the lens of iPhone 16 Professional Max.
“The distinctive voices of those filmmakers are superbly contextualized by the 4 languages and areas of India during which they’re rooted,” says MAMI pageant director Shivendra Singh Dungarpur.
“These are very passionate individuals with necessary tales to inform,” says Pellissery, the filmmaker behind Malayalam options like Ee.Ma.Yau. and Jallikattu. “Taking pictures on iPhone, they’re pushing their very own limits with incredible outcomes.”
Every filmmaker leveraged the highly effective capabilities of MacBook Professional with the M4 Max chip to weave their tales collectively. “Taking pictures and modifying throughout the Apple household of merchandise provides you a stellar benefit: pace,” says writer-director Motwane, whose work in movie and tv consists of Udaan and Black Warrant.
That lightning-fast efficiency of MacBook Professional alongside the benefit of use of iPhone 16 Professional Max is giving these artists much more artistic management on and off set.
Navigating childhood and alter, legacy, and liberation, Bagchi, Nair, Vyas, and Vijayakumar just lately premiered their tales in Mumbai.
Creating Claustrophobia with Cinematic Mode
With a background in design, performing, singing, and songwriting, Amrita Bagchi feels she was all the time destined to be a filmmaker. “It’s like a confluence of all of the artwork types,” she says.
Bagchi, whose quick movie Succulent received the Grand Jury Prize on the Indian Movie Pageant of Los Angeles in 2022, hails from Kolkata, town in West Bengal, India, that has produced cinematic stalwarts like Satyajit Ray and Mrinal Sen. It’s additionally the house of many a spooky story.
Her new quick movie, Tinctoria, is a psychological thriller impressed by an precise historic occasion: the indigo revolt that arose in Bengal in 1859. It tells the story of a modern-day vogue mogul whose ancestral legacy is constructed on the skeletons of indigo farmers from the colonial period — the ghosts of whom fairly actually come again to hang-out her.
To create the immersive, claustrophobic environment of a thriller, Bagchi is partaking Cinematic mode for the movie’s opening montage. “We’re monitoring bubbles and plastic sheets flying by the air, and the depth of subject is so clear,” she says. “Similar to it’s shot on an enormous, high-budget cinematic digicam.”
Bagchi believes her movie might by no means have been shot by conventional means.
“It was a really bold manufacturing, however with iPhone 16 Professional Max, I can continuously create and improvise,” she says. “That edginess of motion, it’s like visible rap.”
With graphically demanding workflows — like overlaying the industry-standard Rec. 709 coloration house on ProRes Log footage captured on iPhone — she is shocked that her M4 Max MacBook Professional hasn’t lagged as soon as.
“It’s like a rocket machine,” she says. “On a decent schedule I can simply shoot at 4K120 fps on my iPhone, and nonetheless have large flexibility to vary the pacing through the edit on my MacBook Professional.”
The theme of legacy runs robust with Bagchi, and never simply in her movie. “We need to emulate pioneers like Satyajit Ray. He didn’t let the conventions of his time dictate his story,” she says.
ProRes Paints a Coastal Canvas
“Though I grew up in New Delhi, I’ve all the time been uncovered to Kerala’s courageous, daring cinema,” says Rohin Raveendran Nair, a director, author, and cinematographer whose credit embrace Netflix exhibits like Sacred Video games and Black Warrant.
Nair’s quick movie Kovarty takes him again to his roots within the coastal metropolis of Alleppey. A love story tinged with magical realism, it showcases the connection between a typewriter and typist. Qwerty, because the typewriter is christened, is slowly remodeled by the lilting native accent into Kovarty. This acts as a metaphor for the movie’s main theme: change.
The prospect of capturing on iPhone 16 Professional Max was instrumental in Nair’s selection of narrative. “Utilizing iPhone’s small type issue, I might place the digicam contained in the typewriter and seize its POV,” he says. “This, together with sensible results with fish wires, helps carry the gadget to life.”
Nair is framing his standpoint photographs in a 4:3 facet ratio to emulate the verticality of a sheet of paper. These are juxtaposed towards a wider 2:1 facet ratio when capturing the expansive backwater landscapes. For some old-world appeal, he additionally makes use of a bloom filter to create a halo across the highlights.
Nair believes iPhone 16 Professional Max will complement Alleppey’s vivid blue-greens.
“In the future our location is vivid and sunny, the subsequent it’s cloudy and gloomy,” he says. “The digicam captures such wealthy element with ProRes Log in all kinds of lighting conditions.”
Motion Mode Helps Minimize By the Noise
For his new quick movie Mangya, educator and thespian Chanakya Vyas discovered inspiration in an uncommon place. “It could appear out of date, however a newspaper is a superb place to find tales,” he says.
Vyas — whose quick movie Lavatory was nominated for Finest Quick Movie (Narrative) on the New York Indian Movie Pageant — went down a rabbit gap after studying an article about an avian flu outbreak in suburban Mumbai. That, mixed with the devastating lack of his golden retriever, impressed his new quick movie.
Mangya is a coming-of-age story about an 11-year-old boy and his pet, the titular rooster. “Dropping a pet may be very totally different from the lack of one other particular person,” muses Vyas. “What began out as a narrative a couple of lonely boy, ultimately grew to become one about letting go.”
For a key scene within the movie, Vyas is monitoring his actor for 1,000 toes simply earlier than the break of daybreak.
“There’s no time to mount the digicam on a standard gimbal,” he says. “However with Motion mode, I might even shoot a number of takes. The stabilization is simply so spectacular.”
Recording clear sound in a rustic as loud as India could be difficult, however Vyas is incorporating the cacophony into his milieu.
“We’re in a position to layer footsteps, the rooster crowing, and the whirring sound of a fan with distinct readability with the studio-quality mics on iPhone 16 Professional Max,” he says. “The native audio is that good in its bit charge and cadence.”
Out amid the hen coops whereas on set, Vyas depends on the nano-texture show of his MacBook Professional, which dramatically reduces glare and distractions from reflections coming from the overhead solar as he opinions the continuity of his photographs. Nano-texture is a game-changing expertise when working outdoor.
“For a director, crucial factor is how the footage will end up,” Vyas says. “Fortunately the Liquid Retina XDR show on my MacBook Professional provides me an correct illustration of the particular colours we are going to see within the completed model.”
Screaming in Gradual Movement
Rising up in a standard Tamil-speaking dwelling in Chennai, filmmaker Shalini Vijayakumar cherished listening to tales about her mom’s giant household. “Some was humorous, others had been unhappy,” she says.
“Some had been about an uncle who used to speak to ghosts,” she continues. “As a 6-year-old, I might think about myself in my mother’s place — stuffed with tales to inform.”
Her influences all come collectively in her new quick movie, Seeing Pink, a comedic horror movie in regards to the quashed feelings of the ladies in a big Tamil family.
Set within the Eighties, the movie begins with three totally different ladies screaming in horror after seeing a ghost. It ends with them screaming to precise a collective, repressed rage. “It’s like a journey from being scared to being offended,” she says. “The actors take pleasure in simply attending to shout on the high of their lungs. And I scream with them as a result of I’m additionally letting all of it out.”
To depict the scream, Vijayakumar is inverting a historically masculine visible gadget from Tamil cinema utilizing iPhone 16 Professional Max. “I name these the ‘mass photographs’ the place the heroes stroll dramatically in sluggish movement,” she says. “I’m doing that for the ladies in 4K120 fps, and it appears to be like fabulous.”
For extra tightly framed photographs, the 120 mm lens on iPhone 16 Professional Max permits her to carry collectively her narrative, staging, and theme in a single shot that she composed utilizing Procreate on iPad.
“Utilizing the 5x Telephoto lens, I’m in a position to place the boys in entrance as they focus on the destiny of the ladies within the background,” Vijayakumar explains. “There’s a lot storytelling in that one body by that individual lens.”
For all of the complexities of theme, expertise, and method, each Vijayakumar and Seeing Pink possess an ephemeral lightness of spirit. “My hope is that everybody has enjoyable and remembers that ladies screamed in it!”
Vikramaditya Motwane, the award-winning director and program mentor, is satisfied the 4 MAMI Choose filmmakers can carry ahead the legacy of visionaries like Orson Welles and Satyajit Ray. “These filmmakers could be the pioneers who take the digicam to locations we’ve by no means seen earlier than,” he says.
Watch these 4 quick movies on the MAMI YouTube channel.
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