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Recreate this iconic movie scene from 300 using just an iPhone and a 3D printer

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Every so often a movie is released that really captures the action in an unusual and innovative way. Often the director and cinematographers have to come up with new technology in order to capture that. But, as with all things tech-related, what was once cutting edge and took up an entire room, eventually becomes possible with the device in your pocket.

In this video, Corridor Crew recreates Zack Snyder’s three-camera rig that was used to film the action scenes in 300, all on three iPhone 13 Pros mounted together.

The secret to those dreamy shallow depth of field shots in Army of the Dead was a 60-year-old Canon lens

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Whether you love or hate Zack Snyder’s latest flick, Army of the Dead (which I have now watched since my last post about it), it sure did have some beautiful cinematography. One shot in particular really stands out. It’s the Michael Bay-esque spinning shot around our heroes as they blast away with their weapons while being told the plan for… Ok, if you haven’t seen it, stop reading now, because there will likely be spoilers here.

If you’ve already seen it, you know which scene I’m talking about – and if you haven’t, watch the trailer above and you’ll figure it out. But that isn’t the only part where we see the ultra-shallow depth of field effect being used to give Las Vegas its slightly surreal appearance. But how did they do it? In an interview with Cinema Blend, Snyder puts it down to the Canon “Dream” 50mm f/0.95 lens.

Viewers “raging” over camera’s dead pixels in Zack Snyder’s Army of the Dead

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For movie watchers, there’s nothing more upsetting than settling in to watch the latest overhyped movie only to turn on your fancy, way-too-big, expensive TV to discover you’ve got dead pixels on your screen. They just sit there, taunting you, spoiling your viewing experience.

That’s the experience felt by quite a few people who sat down to watch the new Zack Snyder Netflix movie Army of the Dead. At least, it was until they realised that those dead pixels weren’t on their TV, but in-camera, recorded for all time in the movie itself, turning their dispair into “rage”.

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