The title says it all - but these are the variables/Use case.
I'm a screenwriter - which is a fancy way of saying I write short stories that no one will read.To generate interest in the aforementioned, I've come to the conclusion that I've got to build an audience on short films. I am lucky enough to have a career actor acquaintance whom has agreed to appear in a short that can function as a stand-alone scene from the film I hope to fund and produce.
Even though he'll work for free, I expect that I'll hire a DP/Lighting/Makeup/whatever for his one room/one minute scene. (This will likely be shot in London somewhere, so hit me up with any references for the above talents)
Before I do that, I should cut my teeth and direct something even less ambitious.
So, I've come up w/a 5 page script that I want to shoot as a found-footage/zero budget pic.
I've got an iPhone 13 (NOT PRO) Which I could upgrade in Sept when the iPhone 17 comes out for about $1300.
Or should I get a 'real' camera for a similar budget?
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James Fleming Hi James, you can always hire a camera and lighting rig, rather than buy one? That's a much more affordable option.
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I love the attitude— shoot something yourself instead of waiting for permission.
If you connect with a cinematographer, he’ll already have gear he likes.
If you shoot yourself, stay with the IPhone. If it shoots ProRes at 24fps, choose that setting. Main thing is to use good lighting. Not expensive lights, but think about 3-point lighting, diffusion, etc.
A give away for phone footage is the way it moves. Minimize movement by buying a cheap rig or put it on a tripod. Of course remember to shoot landscape (horizontal).
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Hey, Mike Boas you're right, because permission is never going come. I've got an amazing story (let's assume that is true for a moment). But who is going to back that film and risk tens of millions of dollars gambling on an unproven talent?
And EVEN IF someone did roll up with stacks of cash, then the story would be out of my hands completely.
Today, the only way that being a screenwriter isn't mental masturbation and self-delusion is that you've got to go forth and create, and somehow rise above the noise and build an audience.
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Hey James Fleming This is a fantastic practical question that many emerging writer-directors face! The iPhone 13 vs. dedicated camera decision involves several considerations beyond just image quality.
First, congratulations on taking the actionable step of creating short content to build audience interest in your larger work. This strategic approach has launched countless careers, from Damien Chazelle's "Whiplash" short to Taika Waititi's early work. And having a professional actor committed is a significant advantage that will elevate your production regardless of camera choice.
For your specific situation, here are some thoughts:
The iPhone route offers distinct advantages for your zero-budget found-footage project. The iPhone 13, while not Pro, already captures surprisingly cinematic footage when paired with the right apps (Filmic Pro) and basic accessories (stabilizer, simple lens attachments). For found-footage specifically, the iPhone aesthetic can actually enhance authenticity rather than detract from it. The September upgrade would give you additional capabilities, but might not be necessary for your immediate project.
A dedicated camera ($2-3k range) would likely mean something like a Blackmagic Pocket Cinema Camera 4K or a used Sony A7 III. These provide greater dynamic range, better low-light performance, and more post-production flexibility. However, they also introduce a steeper learning curve, require additional accessories (lenses, memory cards, batteries), and might feel unnecessarily complex for your found-footage concept.
Given your two-phase approach (found-footage project followed by the more polished one-room scene), consider this strategy:
1. Use your current iPhone 13 for the found-footage project - it's perfectly suited for this aesthetic
2. Put the $1300 toward hiring a talented DP with their own camera package for your actor's scene
This approach lets you:
- Start shooting immediately rather than waiting for September
- Hone directing fundamentals without technical distractions
- Apply what you learn to the more ambitious project
- Benefit from a professional's expertise for the higher-stakes scene with your actor
Many working directors never touch the camera themselves, focusing instead on performance and storytelling while collaborating with technical specialists. This might be the most efficient path to creating quality content that showcases your writing and directorial sensibilities.
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Thank you so very much for such a generous and in depth response - I've already posted a job listing here for a DB, but so far, no takers. Will see what happens.
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When it comes to your camera question, both options have merit depending on your long-term goals. If you’re focused on creating no-budget shorts that mimic a found-footage or documentary style, your iPhone 13 (especially with a solid filmmaking app like FiLMiC Pro and a few accessories like a gimbal or external mic) can absolutely get the job done, especially for a gritty, handheld aesthetic. Upgrading to a newer iPhone will improve things like low light and stabilization, but the leap might not be drastic enough to justify the $1300 if your current phone gets the look you want.
On the flip side, if you’re hoping to build out a small kit that gives you more control over lenses, depth of field, and low-light performance, investing in a “real” camera like a used Blackmagic Pocket Cinema Camera or a Sony a6400 could give you more cinematic flexibility and stay within budget, especially if you’re planning to keep producing short content.
No matter what you choose, what matters most is the story and it sounds like you’ve got a great plan in motion. I’d also recommend checking out the Filmmaking Lounge: https://www.stage32.com/lounge/directing and the Producing Lounge: https://www.stage32.com/lounge/producing for additional feedback on crew hiring and production strategy.