Filmtone: Film LUT Editor

Photo exports now save as JPEG instead of a short MP4. Pick an image, apply a Look, and export it directly to Photos as a still image. When editing video, you can also save the current frame as a Look-applied JPEG while keeping normal video export as MP4. This update also refines Filmtone's Texture Engine for grain, density response, and highlight roll-off. Rec.709 and other display-referred sources now keep clearer separation between Stone and Urban, while sky-like bright flat areas hold back grain more carefully. Camera Profile handling for D-Log / D-Log M and other log sources has also been tightened, reducing extra tone compression after input conversion so blacks stay easier to judge after applying a Look. It also improves take picker legibility and adds an in-app update notice for future App Store releases.

The optical glow effect is now consistently named Deep Glow. Choose Subtle, Balanced, or Strong, with the same setting applied to preview and export. Existing edits remain compatible.

v1.2 strengthens the iPhone grading and export workflow. Filmtone can now handle separate .cube LUTs for Source Profile and Look, with independent 0% to 100% amount controls for each slot. Preview and export color handling are better aligned, and P3/HDR sources avoid unsafe mezzanine routes. Cache management now keeps active sources and unsaved exports protected while pruning old temporary files. The preset list gains inner glow treatment, and the editor adds liquid glass top chrome for a more polished workspace.

v1.3 makes Filmtone usable from first launch. Five built-in Filmtone Looks — including Filmtone Signature — are available immediately, each with 0–100% intensity. Imported .cube LUTs are reusable from the library, and you can save the current grade as a Look to apply the same tone to another clip. The Camera Profile picker now adds Panasonic V-Log and Sony S-Log3 alongside the existing Apple Log / Apple Log 2 auto-detection.

v1.4 refreshes the editor as a full-screen Liquid Glass workspace and makes Look the main starting point for color. Preview stays at the center, while the bottom rail lets you choose a Look, adjust its strength, and check the result without leaving the editing surface. Creative Pack 01 adds two built-in Looks: Stone and Urban. Each one has its own 3D LUT and carries Filmtone-style optics, including rgbShift, bloom, halation, diffusion, lens softness, grain, and vignette. These are not plain preset wrappers. The Look itself now carries a color and light direction. The old preset-centered presentation has been reorganized around Looks that can be reused as a finish. Built-in Looks, saved Looks, strength, Quick controls, and advanced adjustments now fit into one clearer editing path: choose the direction, tune how much it applies, then refine details only when needed. Stone and Urban are designed as real built-in Looks. Alongside the bundled .cube LUT, each Look stores small lens color separation, highlight glow, grain behavior, edge falloff, and softness. Look strength is adjustable, so you can pull the effect back when it is too much for a source or push it further when the source needs more shape. Saved Looks now keep more than color. They also preserve glow, grain, and optical details, so applying the same Look to another source can reproduce the same tone more reliably. This makes it easier to keep a small set of exports aligned without rebuilding the same adjustments from scratch. Built-in Looks can also act as starting points for your own saved Looks. Apply Stone or Urban, tune strength and adjustments for the source, then save the result when you want to reuse that direction later. The saved Look stays focused on the finishing state rather than the original input source, so it is easier to apply again on another source. Quick controls and advanced adjustments are now separate states. Start with broad brightness, contrast, and saturation changes, then go deeper only when the source needs it. Advanced adjustments remain available for glow, grain, lens softness, and the optical details that shape the final look. This separation is meant to keep quick finishing quick while still leaving room for detailed work. A light edit can stay in Look strength and Quick controls. A deeper edit can move into advanced adjustments for glow, grain, lens softness, and other optical choices without mixing those states into the broad correction controls. The strength sheet now shows the active Look name, so it is clearer which Look you are changing. Choosing a Look, adjusting its strength, refining details, and exporting should feel easier to follow. Divider spacing and sheet rhythm were also refined so the editing controls read more clearly while you work. The two .cube LUT slots, Source Profile and Film Look, remain available. Source Profile keeps input-side handling separate from the final Film Look, which helps when working with Apple Log, Apple Log 2, S-Log3, V-Log, Rec.709, and your own LUT choices. The export flow follows the same structure. Pick media, choose or save a Look, adjust strength, use Source Profile or Film Look when the source needs a .cube LUT path, compare before/after, then export from iPhone. The UI changes are designed to keep that path visible instead of scattering the work across unrelated controls. This update also cleans up sheet presentation, help display, and picker presentation paths around the full-screen editor. The result is a more direct flow from choosing media, picking or saving a Look, refining the finish, and exporting from iPhone. The goal of v1.4 is not just to add more controls. It is to make Filmtone start from a clear Look decision, then keep strength, Quick controls, advanced adjustments, Source Profile, Film Look, save, and export in one readable path. Creative Pack 01 provides the starting Looks, and saved Looks make the result reusable.

v1.5 focuses on faster Quality video export and cleaner Log source handling. - Quality video export now routes Glow and Vignette optics through a Metal path for supported video exports, reducing processing time while preserving the optical finish. - Source Profile adds DJI D-Log, DJI D-Log M / D-Gamut M, Canon C-Log, and Canon Log 3 / Cinema Gamut. - Backlight Veil adds a new optical adjustment for soft haze around strong backlight, with Off, 1/8, 1/4, and 1/2 strengths. - Save to Photos after export is more reliable. - Files import and mezzanine cache validation were tightened so incomplete cache files are not reused. - Export sidecar output and Swift contract checks were cleaned up for more reliable future tuning.

This release brings together the iPhone editing flow, quality export path, Look behavior, Backlight Veil, Source Profile controls, highlight marker foundations, Desktop handoff, and cache management. It includes the product work accumulated across the recent 1.5-series builds and the 1.6 release candidate. Quality export has been strengthened with a Metal-based optics path for Glow and Vignette. The goal is to keep the light bloom, edge falloff, softness, and finishing direction you check in the editor closer to what you get in the saved result. This gives the full-screen editor a more dependable path from preview to local export. The Look flow still starts from the same decision: choose the direction, tune strength, then adjust light and texture only when the source needs it. Stone, Urban, saved Looks, Quick controls, detailed adjustments, Glow, Backlight Veil, and Source Profile now sit in a clearer structure without mixing input correction and final color treatment. Look and Backlight Veil now work together more consistently. In some cases, applying a Look and then selecting Backlight Veil could make one side of the effect feel reduced. The merge behavior now follows the same max-merge approach as the macOS version, so color direction and veiling light hold together more reliably when both are active. Backlight Veil selection is also carried through the project state and export request instead of depending only on a temporary editor-level selection. When a Look and Veil combination is chosen, that identity is preserved for preview, export, and sidecar output. This helps the exported file keep the same intent as the edit you made on screen. Camera and Source Profile controls are clearer. If the automatic conversion LUT is not the right choice for a source, the full-screen editor now shows the active Camera profile directly in the lower controls. The previous generic LUT trigger has been replaced with a Camera control that shows the current profile, and the profile sheet now uses a clearer Change action. Source Profile and Film Look remain separate .cube LUT slots. Source Profile is for input handling such as Apple Log, Apple Log 2, S-Log3, V-Log, and Rec.709. Film Look is for the final color treatment. Keeping those roles separate makes it easier to work with Log material or a custom LUT without confusing input conversion with the creative finish. Highlight marker export foundations have been added. Selected moments in a video can now be represented in the project and sidecar flow, making it easier to carry those decisions into the next editing step. Instead of treating export as only one finished file, Filmtone can preserve more information about the moments you selected while checking color and tone. Videos longer than five minutes now show a Desktop handoff sheet. Short finishing work can stay on iPhone, while longer footage can be guided toward the Mac workflow when it needs a larger screen or a longer editing session. The goal is to keep Filmtone iOS focused on quick color decisions while still giving long material a practical next step. Cache management has also been improved. A user-initiated cache release action is now available, and older temporary files can be cleaned up more proactively when storage is low. This helps repeated import, preview, and export work leave less temporary data behind. Other fixes and refinements include export panel text cleanup, Source Profile sheet adjustments, stronger sidecar generation checks, contract tests for the Look and Backlight Veil path, and refreshed App Store metadata for film grade, LUT, color, photo, and video discovery. The overall editing flow remains the same: choose a Look, tune strength, adjust light and texture when needed, compare the result, then save or share from iPhone.

This release adds a native iPhone recording flow for moving from capture into film-style grading without leaving Filmtone. The capture screen records 4K24 ProRes 422 HQ in Apple Log 2 with stabilization, then hands the clip into the editor. When an external SSD is selected, Filmtone keeps the high-quality master on the SSD and creates a local proxy for editing on iPhone. This keeps large files out of local storage while still letting you review the Look, adjust the image, and export from the phone. Without an SSD, Filmtone uses a short internal recording mode and makes that state visible. The capture screen has also been redesigned. Look, lens, ISO, shutter, exposure compensation, and white balance are organized as a camera cockpit so the common choices stay close while detailed values only appear when needed. Stone, Urban, and the current Look direction can be previewed while shooting and are carried back into the editor after recording. Export sidecars now record whether an export used the capture master or the proxy fallback. This makes it easier to understand what was handed to the next step, especially when a master lives on an external SSD. The empty state and onboarding surfaces were also updated toward the Apple Liquid Glass direction, with clearer entry points for Photo Library, Files, and Recording.

This release improves the native capture flow for real shooting sessions. You can keep recording multiple takes, then choose the take to open in the editor with a focused preview instead of being forced out of capture after each clip. Recording preview is lighter in the hot path. When stabilization and a Look are active together, Filmtone uses a visible lightweight monitor mode for capture while preserving the full-quality rendering path for editing and export. Stone, Urban, Noir, and imported .cube creative LUTs can now be selected from the capture screen. LUTs that look like technical transform LUTs are flagged, and the selected direction carries through capture, editing, and export provenance. This update also tightens capture orientation handling, storage-pressure warnings, and package stability.

This release restores audio through iPhone capture and normal video export. Filmtone records microphone audio for clips captured in the app, keeps audio from imported videos during normal exports, and checks the completed output file before treating audio as preserved. Highlight-reel exports remain silent by design. Advanced controls now include Texture softness. It reduces hard fine detail and digital edge acutance separately from lens/periphery softness, with conservative source-aware tuning when metadata identifies iPhone, Apple Log, or similar sources. The capture, editor, and export internals were also tightened, including stronger capture package persistence, sidecar audio diagnostics, and clearer export failures.