Lights, iPhones, Action: 28 Years Later and the New Wave of Cinema
Danny Boyle’s new movie 28 Years Later isn’t just bringing zombies back; it is also shaking up how movies get made. Parts of the film were actually shot on the iPhone 15 Pro Max, and not just a few shots here and there. We’re talking full-on custom rigs with up to 20 iPhones strapped together to capture bullet time style footage. It’s wild and kind of genius.
These rigs weren’t just handheld either. Some were mounted on cranes, while others were placed on custom setups, all designed to give the crew many angles at once. This gave them the flexibility to play with perspective, movement, and time in the edit, which would have required much more equipment and budget if traditional gear had been used.
Boyle said the technique helped keep actors on their toes as well. Since the phone rigs captured so much coverage, performers could not rely on knowing exactly where the camera was positioned. This created a cool blend of spontaneity and control, which is perfect for a story that thrives on tension and unpredictability.
More than anything, 28 Years Later signals where filmmaking is headed. Tools are becoming smaller, smarter, and more accessible. As a result, this is unlocking new levels of creativity. Directors and cinematographers are no longer limited by tradition. Instead, they are free to experiment, break rules, and reimagine how stories are captured.
As we look ahead, it becomes clear that the future of filmmaking is about adaptability, invention, and bold choices. Whether using a cinema rig or a smartphone setup, what matters most is the vision behind the camera and how far creators are willing to push the limits.
Danny Boyle’s new movie 28 Years Later isn’t just bringing zombies back; it is also shaking up how movies get made. Parts of the film were actually shot on the iPhone 15 Pro Max, and not just a few shots here and there. We’re talking full-on custom rigs with up to 20 iPhones strapped together to capture bullet time style footage. It’s wild and kind of genius.
These rigs weren’t just handheld either. Some were mounted on cranes, while others were placed on custom setups, all designed to give the crew many angles at once. This gave them the flexibility to play with perspective, movement, and time in the edit, which would have required much more equipment and budget if traditional gear had been used.
Boyle said the technique helped keep actors on their toes as well. Since the phone rigs captured so much coverage, performers could not rely on knowing exactly where the camera was positioned. This created a cool blend of spontaneity and control, which is perfect for a story that thrives on tension and unpredictability.
More than anything, 28 Years Later signals where filmmaking is headed. Tools are becoming smaller, smarter, and more accessible. As a result, this is unlocking new levels of creativity. Directors and cinematographers are no longer limited by tradition. Instead, they are free to experiment, break rules, and reimagine how stories are captured.
As we look ahead, it becomes clear that the future of filmmaking is about adaptability, invention, and bold choices. Whether using a cinema rig or a smartphone setup, what matters most is the vision behind the camera and how far creators are willing to push the limits.