<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/"><channel><title>Smartphone on The CineBlog</title><link>https://thecineblog.com/tags/smartphone/</link><description>Recent content in Smartphone on The CineBlog</description><generator>Hugo</generator><language>en-US</language><lastBuildDate>Tue, 03 Nov 2026 20:47:48 -0600</lastBuildDate><atom:link href="https://thecineblog.com/tags/smartphone/index.xml" rel="self" type="application/rss+xml"/><item><title>Tangerine: The Liberation of the Smartphone Sensor</title><link>https://thecineblog.com/stories/tangerine/</link><pubDate>Tue, 19 Mar 2024 00:00:00 +0000</pubDate><guid>https://thecineblog.com/stories/tangerine/</guid><description>&lt;p&gt;The camera is a tool of exclusion. A standard Panavision package costs more to rent for a week than most independent filmmakers will raise in a lifetime. When Sean Baker set out to make &lt;em&gt;Tangerine&lt;/em&gt; with a restrictive $100,000 budget, he did not settle for a cheap prosumer camera. He made a radical, liberating choice: he shot a feature film on three iPhone 5s units.&lt;/p&gt;
&lt;h2 id="engineering-the-aesthetic"&gt;Engineering the Aesthetic&lt;/h2&gt;
&lt;p&gt;Baker understood that shooting on a phone would be dismissed as a gimmick if it &lt;em&gt;looked&lt;/em&gt; like a phone. To combat this, he engineered a highly specific workflow. He attached Moondog Labs anamorphic lens adapters directly to the iPhones. This instantly forced the clinical, square digital sensor into a classic, &amp;ldquo;cinemascope&amp;rdquo; widescreen geometry.&lt;/p&gt;</description></item></channel></rss>