The LAST Cinematic iPhone Tutorial You’ll Ever Need

0:04[Music]

0:09Earlier this year, I went on a trip to

0:11Japan and I challenged myself to bring

0:13only my iPhone. No professional cameras,

0:16no gimbals, nothing else. The challenge

0:18was simple. Could I make a cinematic

0:20travel video with just an iPhone? And

0:23the answer was 100% yes. I was very

0:26impressed by the capabilities of the

0:28iPhone. And the main reason I decided to

0:29bring only the iPhone was because it was

0:31more of a family holiday trip. I still

0:34wanted to make a video about the trip,

0:35but didn't want to lug around. Big

0:37camera bags with professional cameras

0:38and take away from the actual holiday

0:40itself. So, with the new capabilities

0:42and features on the new iPhones, I

0:44thought taking my iPhone 16 Pro that I

0:46had just bought at the time was the best

0:48choice for this trip. Since then, I've

0:50been using it for so many projects. And

0:52in this video, I'll break down exactly

0:54how I shoot, the gear I use, and how I

0:56color grade the footage to make it look

0:58cinematic. So, first of all, my gear and

1:00phone setups. I have two main setups.

1:03The first setup is my cinematic setup

1:05where I use a free well case that

1:08enables me to magnetically attach a

1:10variable ND plus polarizer filter, which

1:13allows me to shoot with manual settings

1:14inside of the iPhone to lock my shutter

1:17speed and get natural motion blur and

1:18correct the exposure with the ND filter.

1:20I've tried many filter and case setups

1:23over the past year with the iPhone, and

1:25the Freewell case and variable ND plus

1:28polarizer filter is by far the best

1:31setup I have used with the iPhone. So,

1:33if you're interested in seriously

1:34leveling up your iPhone shots and want

1:36to get this ND filter setup for your

1:38phone, I have a special affiliate link

1:39in the description below where you can

1:41pick yourself up one of these Freewell

1:42cases and variable ND polarizer filters.

1:45With this setup, I also use a newer

1:47phone mount which allows me to attach my

1:50phone onto any tripod with the base

1:51plate and also has a 1/4in screw slot on

1:54the bottom where I can use different

1:56attachments like this small rig magic

1:58arm to get super creative shots that

1:59I'll talk more about later in this

2:01video. The next setup I use is my more

2:03simple run and gun setup where I use a

2:06quadlock case. And the Quadlock case

2:08allows me to attach my phone onto my

2:10motorcycle inside of my car and also to

2:12use this special Quadlock selfie stick/

2:15tripod which packs away really really

2:17nicely into my bag and is really good

2:19when I'm going out for rides or just

2:21quick trips where I don't want to bring

2:22my full professional camera setup but

2:24still get super high quality footage out

2:26of the phone. With this setup, I can't

2:28use ND filters and use manual settings.

2:30But that's okay. The auto settings

2:32coming out of the iPhone look amazing

2:33and that is the point of my iPhone

2:36setup. I want it to stay as much as an

2:38iPhone setup as possible. I don't want

2:39to rig it out with handles, all this

2:41crazy stuff. I want to keep it as simple

2:44and as iPhone as possible. What app do I

2:47use to film on the iPhone? I don't use

2:49the native camera app. I actually use

2:51the free Black Magic camera app. And

2:54this app unlocks pro camera settings

2:56within the iPhone and different video

2:58codecs as well that you can't get in the

3:00native camera app. It allows you to

3:02adjust manual settings like shutter

3:04speed, ISO, and a bunch of other pro

3:06tools. So, let's just jump into the

3:07Blackmagic camera app, and I'll show you

3:09exactly what settings I use, and then

3:11we'll go from there. First of all, we'll

3:12jump into the settings here, and I'll

3:13show you the best settings that I use.

3:15Here in the codec, this is where the

3:17normal camera app doesn't allow you to

3:19choose different codecs. So, I use Apple

3:21ProRes 42:2LT, which is more of a middle

3:24ground of Apple ProRes. If you were to

3:26choose Apple ProRes 42:22 HQ, your

3:29storage in your phone and also even your

3:31computer will fill up very quickly. So,

3:33I use kind of an in between, which is

3:35Apple ProRes 42:22 LT. And even if the

3:38LT version is racking up too much

3:40storage, I would recommend using the

3:41H.265 option with the max bit rate. You

3:44honestly won't really be able to tell

3:46much of a difference, but I like to

3:47choose Apple ProRes as it's more

3:49efficient editing in my computer and

3:51better for color grading. Resolution, of

3:53course, 4K. Next, for color space, we're

3:55going to change from Rex 709 to Apple

3:57Log HDR. And this is the main thing that

4:01makes shooting on iPhone so powerful

4:03that it has its own real log color

4:06profile that's shooting in 10 bit.

4:08You'll notice when shooting in log, the

4:09footage straight out of the camera looks

4:11super dull, washed out, and no contrast

4:13at all. But that log profile is what

4:15gives you the flexibility to further

4:17color grade your footage in post and get

4:19a better cinematic look. And we'll be

4:21getting more into that later on in the

4:23video. Next, I have enable vertical

4:24video mode turned on because if I want

4:26to be able to shoot a vertical video for

4:28stories, I can and it won't be locked in

4:30the horizontal mode. So, with that

4:32enabled, you're able to switch between

4:34horizontal and vertical. Then, you want

4:35to make sure you have lock white balance

4:37on record enabled. And that's if I'm

4:39using an auto white balance, but usually

4:41I have my white balance set manually.

4:43Shutter measurement, I have this set to

4:45speed. You can use angle and just set it

4:47to 180° shutter angle, but when I'm not

4:50using manual settings within the

4:52Blackmagic camera app, I like to just be

4:53able to see what shutter speed I'm

4:55shooting at instead of trying to figure

4:56out the calculation of the shutter

4:58angle. Next, for audio, if you're using

5:00the actual iPhone for your audio in the

5:02iPhone microphone option, just select

5:04auto and while you're out filming, the

5:06iPhone will choose which microphone that

5:08best suits the situation where the audio

5:10is coming from. But if you are using a

5:12physical ND filter on your phone, you

5:15want to make sure to select bottom

5:16because if you're on auto and using a

5:18physical ND filter, there is actually a

5:20microphone right here where the cameras

5:22are and sometimes the auto option can

5:25start using this microphone that is

5:27underneath the ND filter and the audio

5:29will sound really muffled. So, if you

5:31are using an ND filter, like I usually

5:33do, you want to select bottom so it uses

5:36the bottom microphone only and doesn't

5:38automatically go to the microphone that

5:40will be behind the ND filter and ruin

5:42your audio. But if you're not using a

5:44physical ND filter, just leave that on

5:46auto. This is my favorite feature about

5:48the Blackmagic Camera app, and that is

5:50the LUTs feature. You are able to

5:52install log LUTs directly into the

5:54Blackmagic camera app to preview how

5:57your look is going to look while you're

5:59out filming. So, in the iPhone edition

6:01of my LUT packs, it comes with lots

6:03specifically designed to be used within

6:05the Blackmagic camera app. Trying to

6:07expose looking directly through the

6:09dull, washed out log footage is very

6:11hard. So, importing these log monitoring

6:14lots is really important to correctly

6:15expose your footage and also just get

6:17inspiration while you're out shooting.

6:18Now, remember, these LUTs are to just

6:20monitor what the footage is going to

6:22look like while you're out filming to

6:23get correct exposure. and then when you

6:25import it into your editing software, it

6:27will still be the log color profile that

6:29you need to then color grade. However,

6:31within the Blackmagic camera app, there

6:33is an option to record L to clip. So,

6:36basically baking that L into the clip

6:38you're filming. So, you don't need to do

6:40any color grading later on. And I use

6:41this when filming things like stories or

6:43videos I want to get out straight away.

6:45I just select record lot to clip, choose

6:48which lot I want to use, which suits the

6:50scene the best, film it, upload it to

6:52Instagram stories without having to do

6:54any adjustments, and it looks super

6:55cinematic already, thanks to using the

6:58bakedin lot. If you're interested in

7:00using the lots I specifically designed

7:02for the Blackmagic camera app, you can

7:04find my lots linked below in the video

7:06description. And those are all the

7:07internal settings I use within the

7:09Blackmagic Camera app. Now, for my

7:11manual settings when shooting with an ND

7:13filter, first of all, I shoot at either

7:1530 frames per second, 60 frames per

7:17second, or 120 frames per second is

7:20actually possible within the iPhone,

7:22which is so sick. Now, depending on what

7:24frame rate you're shooting at for your

7:25shutter speed, you want to double it for

7:27your frame rate. So, if I'm shooting at

7:2830 frames, for example, I will then lock

7:31my shutter speed at 1 over 60. And that

7:33is following the 180° shutter rule. So,

7:36I'll lock in my shutter speed at 1 over

7:3860. And then for ISO, you just want to

7:40keep it as low as physically possible. I

7:43went on a research obsession trying to

7:45figure out what the dual native base ISO

7:48for the iPhones was. Like for my Sony

7:50A74 in Slog 3, the base ISO is 800 and

7:54the dual native base ISO is 3,200. I

7:57tried to figure out exactly what those

7:59values were within the iPhone for Apple

8:01log. And basically the base ISO option

8:04is the lowest ISO option and the dual

8:06native base ISO option on the 24 mm lens

8:10is 1250. So there are different base

8:13ISOs for each different lens option. As

8:16you know the iPhone has three different

8:18lenses. So at that point I was like I

8:20just want the iPhone to be a simple

8:21setup physically and internally within

8:24the settings. I don't want to get too

8:26technical with any of that stuff. So,

8:27yes, shooting at the correct base ISO

8:29for your log profile will get you better

8:31dynamic range, but I'm shooting on an

8:33iPhone and I want to keep it that way. I

8:35want to keep it as simple as possible.

8:36So, depending on the lighting situation,

8:38I keep my ISO for all three lenses just

8:41as low as possible. Then, for white

8:43balance, depending on the lighting

8:45situation outside, I'll honestly just

8:47select one of these presets. So, if it's

8:49sunny, I'll select the sun preset and

8:51lock that in and my white balance is

8:53good to go. And if it isn't perfect, I

8:55can easily make those changes later in

8:56editing because I'm shooting in Apple

8:58log, which we will be getting into the

9:00color grading process later in this

9:02video. Those are my manual settings when

9:04using my cinematic setup with the iPhone

9:06using ND filters. But sometimes I just

9:09have my phone with me with the simple

9:11quad lock case setup and I don't have my

9:13ND filters. That's where I just have the

9:15iPhone set to complete auto settings.

9:17I'm still using the Blackmagic camera

9:19app. I'm still shooting in Apple log,

9:21but everything else is set to auto, like

9:23auto shutter speed, auto ISO, and auto

9:26white balance, where the white balance

9:27locks onto whatever the white balance is

9:29once I hit record. And this way, I'm

9:31able to use the iPhone like an iPhone

9:34with no other accessories, but still get

9:36super high quality footage and advanced

9:38capabilities to color grade that log

9:40color profile later in editing. Then you

9:42want to click this little option down

9:44here and make sure you have rule of

9:45thirds grid enabled so you can better

9:47compose your shots and also turn on the

9:50level so you can make sure your shots

9:51are level. Then the L option right here

9:53is how you can choose which L you are

9:56previewing or if you have record L to

9:58clip enabled which L you are baking into

10:00your footage and I just have all my

10:02iPhone monitoring lots installed into

10:04the Blackmagic camera app from my V2 L

10:06pack iPhone edition. Next to that we

10:08have the stabilization options which is

10:10really really cool. You can choose to

10:12turn stabilization completely off. And

10:15that is so cool and useful for so many

10:18ideas I've had to shoot with the iPhone.

10:20And of course, you can choose from these

10:21other stabilization options if you want

10:23to have stabilization turned on. I'm

10:25usually choosing standard or turning it

10:27completely off. And then we have our

10:29lens options. And of course, you know,

10:31the Pro versions of the iPhone have

10:33three different lenses. And in the

10:34Blackmagic camera app, you have the

10:36option to choose between these lenses.

10:38We have a 13 mil, a 24 mil, a 48 mil,

10:41which is I believe just a croppedin

10:43version of the 24 mil lens, and then a

10:46120 mil lens as well. And as I mentioned

10:48before, all of these different lenses

10:50use different sensors which have

10:52different base ISOs. So that's why I

10:54just didn't care about the base ISO

10:56options and the dynamic range at that

10:58point. Apalog is powerful and good

11:00enough, so I just yeah, have it at that.

11:02And I think the 13 mm lens, the super

11:05wide lens, is my favorite lens to use

11:08because it has a really close focal

11:10distance, allowing you to get the camera

11:11really close to objects and still having

11:13it in focus. And I've had lots of fun

11:16using this feature to get super creative

11:18shots. Getting really close to my

11:20computer screen to get super dynamic

11:22quick cut behind the scenes editing

11:24looking shots. mounting my phone to the

11:25Small Rig magic arm setup and getting it

11:28really close to logos or different

11:29camera setups I have going to get behind

11:31the scenes shots. And it's just super

11:33cool and pretty much nearly impossible

11:35to do with a normal professional camera

11:37like my Sony A74 because of how heavy it

11:40is. And I would need to attach some sort

11:41of macro lens or a macro adapter.

11:44Whereas the iPhone has a super wide,

11:46super close focal distance lens right on

11:48it inside of this tiny form factor that

11:51I can mount pretty much anywhere to get

11:53those super creative close-up locked on

11:56shots. And actually, that reminds me,

11:57when I'm getting any of those close-up

11:59locked on shots, I have stabilization

12:01turned off. So, you don't get that

12:03stabilization wobbly look. You just have

12:05stabilization turned off and it'll be

12:07locked on to whatever you have the frame

12:09set on. I briefly mentioned frame rates

12:11earlier on in the video, but I want to

12:12talk about one of my favorite features

12:14in the iPhone, which is 120 frames per

12:18second. Now, it only allows you to shoot

12:20120 frames per second in the main 24 mm

12:22camera, but this little iPhone shooting

12:254K 120 frames pers 10bit Apple log HDR

12:30in Apple ProRes 4:22 is just crazy. I

12:34had so much fun in Japan playing around

12:36shooting at 120 frames per second. the

12:39footage comes out so nice and you're

12:41able to slow the footage down to 25% in

12:43a 30 frames per second timeline. And in

12:45the other two lenses, you're able to

12:47shoot up to 60 frames per second, which

12:49is still pretty good slow motion, being

12:50able to slow down to 50% in a 30 frames

12:53per second timeline. Now, the phone

12:54setup and phone settings is only half of

12:57the process. We're going to jump into Da

12:59Vinci Resolve now and I'm going to show

13:00you the exact steps I take to bring the

13:03log footage out of the iPhone and

13:05transforming it to looking beautiful and

13:07cinematic with my LUTs and Cinekit Power

13:09Grade for Da Vinci Resolve. So, let's

13:11jump into it. We now have Da Vinci

13:13Resolve open and I have a few iPhone

13:15clips loaded in here to grade. Now,

13:17first I'm going to show you how powerful

13:18my iPhone log combination lots are to

13:21color grade your footage in pretty much

13:23one click. So, let's open up the color

13:25page tab in Da Vinci Resolve. And for

13:27this first clip here, we're going to

13:29find lots. Open that up. Go to the JV2

13:32lot pack. We'll open up the iPhone log

13:34lots and select combination lots. The

13:36monitoring lots inside of the iPhone

13:38edition are to be loaded into the

13:39Blackmagic camera app where the

13:41combination lots are to be used in an

13:42actual editing software to color grade

13:44later. So, open up the combination lots.

13:46I'm editing on a MacBook Pro, so we're

13:48going to select Mac. And let's just

13:50select a lot here. We'll go with Serene.

13:52And bam. That is graded. That before and

13:54after looks so good. We can scroll

13:56through a couple of these to see the

13:59different looks we can achieve with the

14:02different lots. That is looking really

14:04sick. We'll jump over to the next clip

14:06here and select another lot. Actually,

14:08let's go with serene. Yeah, that looks

14:10sick as well. We'll jump to the next

14:12clip and let's go with horizon. That

14:14looks insane. Even night footage coming

14:17out of the iPhone looks sick shooting an

14:20Apple log. Oh yeah, that looks really

14:22nice. I'm happy with that one. Next

14:24clip. Let's go with Horizon,

14:27actually. Let's go serene. Yeah, that

14:29fits the vibe a bit more. Next clip.

14:31This is the same location, so we'll go

14:32with Serene as well. Literally, one

14:34click and that iPhone log footage is

14:36looking sick at the Supercross in Utah.

14:39Let's go with Echo. Look at that. One

14:42click and we're taking it from log to

14:45rec 79 with a creative look in one with

14:47that combination L. And look at that.

14:49All these six shots graded very simply,

14:52quickly, and easily using my log

14:55combination lots for the iPhone.

14:56However, that is the fast and efficient

14:58way to grade this iPhone log footage.

15:00But now, I'm going to show you how I

15:01take this iPhone log footage even

15:03further and grade it with my Cineit Da

15:05Vinci Resolve power grade. So, for this

15:07first clip here, let's erase that node

15:09and we'll go up here to the gallery and

15:11I'll drop on my CKit power grade right

15:13there. This power grade is working

15:15inside of a Da Vinci wide gamut color

15:16space. So, we have a CST in and a CST

15:18out here. I'm not going to go too in-d

15:20depth into all these details in this

15:22tutorial. My CI kit and LUT packs come

15:24with really in detail tutorials on all

15:27of this color grading and Da Vinci wide

15:29gamut information, everything like that.

15:30And the CST in, these are the CST

15:33settings you want to use for Apple log

15:34footage. The input color space, we're

15:36going to change to recre 2020. And the

15:38input gamma, we're going to change to

15:40Apple log. And as you can see, that

15:43transforms our log footage to rec 709.

15:45Then I'm going to jump into the exposure

15:47node and adjust my gain. I'm going to

15:49lift it up a little bit and also drop

15:51the gamma for a bit of natural contrast

15:54there. That looks clean. Looking at the

15:55vectors scope, the white balance

15:57actually looks perfect. So I'm going to

15:58leave that as it is. We'll add a bit of

16:01HSV saturation to make that red pop

16:03there. We'll enable the look compound

16:06node and open this up. And in the 709 L

16:09one, we're going to go find my JV2 L

16:11pack. Open the rec 709 creative lots

16:14because this footage has been

16:15transformed to rec 79. So we need to use

16:17a rec 79 lot, not the combination lot.

16:20Then for this clip, I'm going to select

16:22Summit. We'll go to the Kia and we'll

16:24turn that key output gain to about 0.6.

16:27And that looks fire right there. That's

16:29before and after the L applied. Looking

16:32so sick. We'll go out of the look

16:34compound node and I'm going to enable

16:36some effects that I have built into this

16:38syndicate power grade. We're going to

16:39enable hellation bloom. Keep the radial

16:42blur enabled and also the RGB split.

16:45Adds a nice little RGB split to all the

16:46edges here and looks super sick. And

16:48that's before and after the effects.

16:52And honestly, for this clip, I am going

16:53to enable a bit of grain. And I'm very

16:55happy with that grade. That is looking

16:57sick. The next backflip shot in the

16:59snow. Again, we'll drag on the CI kit

17:02and input our CST settings here. Now,

17:05the white balance on this one looks a

17:07little off to me. So, I'm going to open

17:08up my linear white balance node and go

17:11to my gain wheel and kind of bring that

17:14somewhere. I think looks better. Yeah,

17:17that looks so much better. We took all

17:18of those reds out of the whites. Just

17:20looks a lot cleaner now. Exposure

17:22honestly looks pretty good. I'm going to

17:23lift up the gain a little bit. Then,

17:26we'll open up our look node again and

17:28apply another rec 79 creative lot. I'm

17:31going to go with serene. And we'll turn

17:33that output down to about 50%.

17:36Yeah, I'm happy with that. We'll go out

17:38of the look node and enable some

17:40effects. Let's turn off vignette and

17:42keep bloom, hellation, radial blur, and

17:44the RGB split enabled. That before and

17:47after of the effects looks really good.

17:50And honestly, that is that grade done.

17:53Looking so sick. Okay, let's have a

17:55little bit of fun with this night shot.

17:56Again, throwing on the syndicate,

17:58applying our CST settings, and we'll

18:00just check our white balance. Looks a

18:02little bit off. Let's fix that slightly

18:05there. Yep, much cleaner. Now, in our

18:09exposure, I'm going to bring the gamma

18:10down a little bit and also lift up the

18:13gain again for that natural kind of

18:16contrast. Using exposure tools, I can

18:18add some more contrast using this

18:20contrast node. But for this clip, I

18:22think we don't need it. I will bump up

18:25the saturation with the HSV saturation

18:27and lift up the gain to boost that

18:29saturation a little bit more as well.

18:31Very subtle, but that's clean. Again,

18:33enabling and opening up the look node

18:35and we'll find another clean Rex 79 L.

18:38Let's go with Vidial. Yeah, that looks

18:41so sick.

18:43Sheesh, that looks so cool. Let's open

18:46up the effects. And again, we'll

18:48probably have hellation bloom. Let's

18:51enable the vignette for this one. Radial

18:52and RGB split. enabled for the effects.

18:55And let's soften the image a little bit

18:57as well. Yeah, I'm really happy with

18:59that. We also have a masks compound node

19:01where you can add some masks if needed,

19:03but it's not needed for this shot. That

19:05is beautiful. I'm really happy with that

19:06clip as well. Okay, let's skip these two

19:08clips. They look pretty good just using

19:11the combination lots and we will go to

19:13our last Supercross clip here. Let's

19:15delete that node and throw on the cine

19:17kit again. Now, let me demonstrate to

19:18you how you can still use the

19:20combination lots with the syndicate. So

19:22for our CST in, we're going to leave it

19:24as Rex 79A as the input. And in our look

19:27compound, we're going to open that up

19:29and disable the 709 L and select

19:31combination L. Enable that and go back

19:34to our iPhone log lots. Combination lots

19:36Mac and just select one of these. Let's

19:39go with horizon. And bam, that is

19:41transforming our footage from log into

19:43Rex 79 and applying the creative look in

19:45one. That's why inside of this look

19:47compound node, I have these options to

19:49apply a combination lot or just a 709 L

19:52on its own. And as you can see, these

19:54lots are in a parallel node because you

19:56can actually combine lots to create an

19:58even cooler, unique look. But I'm happy

20:00with how this is looking for this grade.

20:02So, we'll jump out of the look node now.

20:04And we'll turn down the highlights a

20:06little bit and also lift up the gamma to

20:10balance out this shot a bit. Let's

20:11enable HSV saturation, but turn it down

20:14ever so slightly. So, it's not too

20:16powerful. And we'll jump into the

20:17effects. Again, I'm not going to enable

20:19hellation. I am going to enable bloom.

20:21We'll turn off vignette, turn off radial

20:23blur, and keep RGB split. That's looking

20:26really nice. Adds a subtle effect to

20:27that. I think I want to cool the shot

20:29off a little bit. So, we'll go into the

20:30temp node here. This isn't a white

20:33balance fix or adjustment. This is more

20:34of a creative adjustment with the temp

20:37node here. So, we'll go to our temp

20:38sliders here, and we'll just go minus

20:4050. That's a little too much. go minus

20:4330 to cool off this image ever so

20:45slightly. And that is looking really

20:48nice. I'm happy with that. And that's

20:50it. That is how I color grade my iPhone

20:53log footage to make it look as cinematic

20:55as possible using my log lots and or

20:58cineit power grade for Da Vinci Resolve.

21:00As I mentioned earlier, the Cineit and L

21:02packs come with more in-depth tutorials

21:05into my color grading process. So, if

21:07you do pick up any of the kits, you will

21:09have those to watch and learn from as

21:11well. I have one more bonus tip for the

21:13iPhone that is really cool, and that is

21:15the slow shutter effect that you can do

21:18in more professional cameras like my A74

21:20here. The slow shutter effect is

21:22basically turning your shutter speed

21:24down past the frame rate. So, for

21:26example, I'm shooting at 30 frames per

21:27second. I'm going to turn my shutter

21:28speed all the way down to, let's say, 1

21:30over 110th of a second, and you'll get

21:32that stuttery motion blur, slow shutter

21:35effect. Now, you can't do this in the

21:37free Blackmagic camera app yet, but

21:40hopefully eventually they bring that

21:41update out. But you can do it in the

21:43Moment camera app. Now, the Moment

21:46camera app is free, but the slow shutter

21:48effect is an in-app purchase, I believe.

21:51Well, it was when I first got it around

21:538 months ago, I believe. And this allows

21:55you to do the slow shutter effect within

21:58the iPhone. And that is so powerful. So

22:00nearly everything you can do within my

22:02A74 here, a professional camera, I can

22:05do within this little iPhone. And that

22:07is my full breakdown of my iPhone setup

22:10and settings to get the best cinematic

22:12results out of your iPhone. Something

22:14you bring with you everywhere. But yeah,

22:16the iPhone 17 was literally just

22:18announced a couple days ago, and I

22:20wouldn't mind getting my hands on that.

22:22From what I've seen, there are a couple

22:23awesome features that have been brought

22:25to the new iPhone 17, like open gate and

22:28a couple other things. But for now, my

22:29iPhone 16 Pro is absolutely doing the

22:32job. If you enjoyed, please show this

22:34vid some respect. If you learned

22:35something new, let me know in the

22:36comments down below. And if you want to

22:38watch another video like this, click up

22:40here and I'll see you over there.

22:43[Music]