Fotufilm documentation

Getting started

Open a photo or video and choose a stock under Film. Choose the film size under Format, then adjust exposure and colour. Press and hold the image to see the original; on Mac, click and hold.

On iOS, Fotufilm checks your device on first launch to set camera and memory limits. Interactions use visual feedback without app-generated haptics. On iPhone, controls and transitions use gentle motion without bounce or staggered entrances. Panels follow your drag and can reverse smoothly. Pull a panel's top handle downward to begin collapsing it into its rounded button immediately; a short pull settles back open. Pull upward to enlarge a resizable panel. These transitions also respect the system Reduce Motion setting.

Platforms and licensing

Fotufilm runs on iPhone and iPad (iOS 18+) and Mac (macOS 14+). On iPhone and iPad, Fotufilm is free with no restrictions: every film, photo and video editing, the camera, supported RAW capture and import, Lab controls, custom film authoring, optical lens filters, and every photo and video export. A free copy shows an Unlicensed tag, and the photos and videos it develops carry a small FOTUFILM watermark in the lower-left corner, lettered like film edge printing. Exporting an unchanged original adds no watermark. If you would like to support development, you can subscribe or buy once from the tag, from Settings, or from Remove Watermark on the export screen. Either one removes the tag and adds a Watermark switch to the export screen; Fotufilm remembers your choice.

The Mac release includes photo and video editing, batch export, the standalone fotufilm command-line renderer, and host plug-ins for DaVinci Resolve and Final Cut Pro.

Importing photos and video

Photos

Fotufilm opens JPEG, HEIC, PNG, TIFF, and supported camera RAW files using embedded color profiles. Camera RAW decodes as scene light to preserve highlight headroom for the film shoulder and halation stages. For Adaptive HDR HEIC, expanded linear highlight ratios are retained while normalizing alternate-rendition gain offsets with a single frame-wide exposure placement shared by the apps and the fotufilm command-line renderer. Automatic and Full Range use the SDR rendition only to measure this exposure placement; Standard Range sends the tone-mapped SDR rendition to the film model.

On Mac, files open via standard file dialogs, drag-and-drop, or Finder context menus (Open With → Fotufilm or Services → Open in Fotufilm). Original RAW data remains untouched for unedited RAW export.

On iPad, open a photo or video from the photo library, from Files, or by dropping it on the editor. A file shared to Fotufilm from another app, or opened with Open In, opens in the editor too.

Scanned negatives on Mac

Choose File → Import Scanned Negative… with an unconverted scan or RAW file. Select Preview Positive, then Import Positive. Automatic conversion estimates color balance without a drawn reference; the full-resolution positive opens with Normal selected and Crop ready. Conversion is approximate: review color and tone, especially with clipped scans or strongly colored subjects. Use unadjusted scans with their file color profile and choose Linear Samples only for a known linear scan. Border sampling remains an optional manual override; choose Auto to return to automatic conversion. Cancel preserves the current photo.

Rolls of negatives

In the desktop and browser editors, each directory of a library folder is a roll; a subfolder is a roll of its own. Opening one photo from the library brings every picture of its roll into the strip below the photograph, in the library's order; choosing several photos opens just those. A frame opened for the first time starts from the film, clear film, light frame and roll balance of the roll's frame edited last.

The Roll panel of a scanned negative balances the whole roll. Measure Roll reads the highlights of every frame and balances each frame on the roll's median colour; each frame keeps its own exposure, so a darker frame does not print darker. The balance is kept with each frame's edit and the shown frame's change can be undone. Balance This Frame Alone returns one frame to its own colour and Balance Every Frame Alone returns the roll. Measure again after cropping or adding frames; a roll shot under several lights is better balanced frame by frame.

On iPhone, a roll is a folder on the shelf with a name and a date. Choose + → New Roll…, name and date it, then fill it from a folder in Files (every picture in it and in its subfolders, in name order), from several files, or from several photos in the order they were picked. Each frame opens on the film the first frame's base looks like. Rolls appear on the shelf's Negatives side ahead of scans in no roll; a roll's menu adds frames, renames or redates it, or deletes it with or without its frames, and a scan's menu files it in a roll or takes it out. The Roll page of the Negative deck measures the roll as above.

Scanned negatives on iPhone

An unconverted scan of a colour or black-and-white negative opens from + → Convert Negative, from Photos or Files: camera RAW and DNG, or a TIFF, JPEG, or HEIC that carries its colour profile. It opens in the photo editor as a scanned negative and stays on the shelf, its edit kept beside it.

The title chooses the film the scan is read as; Normal reads it as a plain positive and develops it like a photograph. The Negative deck holds the scan's own reading. Film Base picks clear film from the frame, between frames or at the film's edge, or estimates it from the thinnest film of the scan, and lists the films the base looks like. Colour separates colours a scan has muted: a camera or scanner channel sees a little of every dye in the negative, not just its own. Set Scanned Under to White Light for a camera or scanner, or to Red, Green and Blue LEDs for exposures under each LED merged into one scan, which have little crosstalk to undo, then raise Crosstalk Correction (0–100%, default 0). The frame's highlights read as before, so its exposure and colour balance stay its own; it applies with Normal as well as with a film. For white-light camera scans the correction is not yet fitted to a measured camera: high values turn warm areas red, so start around 30 to 50%. Light Source evens the scan out by a photograph of the bare light source, and Roll balances the frame with its roll. The Print deck offers every output medium with its lamp, viewing, screen conversion, scan exposure and colour, scanner look and dodging, and print frames; Light & Color and the Grade deck work as on a photograph. Camera-only controls, such as Pre-flash, Scene Light and HDR range, are left out. Dust takes dust and hair off the scan, as below; while it is open, a tap on the picture marks a spot or keeps one. Settings pasted onto a negative keep its own reading, and a film that cannot read negatives is not pasted onto one.

Scanned negatives on iPad

An unconverted scan of a colour or black-and-white negative opens from the negative button in the toolbar, from Photos, Files, or a negative already on the shelf. It opens in the editor as a document, as on iPhone, and stays on the shelf with its edit kept beside it. A scan opened for the first time starts on the film its base most looks like; the film menu chooses another, and Normal reads the scan as a plain positive.

On a negative read as a film, the inspector shows Film, Light & Color, Crop and Roll. The Film panel leads with the scan's own reading. Negative lists the films the base looks like and how likely each is, and Show Negative shows the scan as scanned. Film Base reads the scan against clear film: turn on Pick Clear Film and tap the film between frames or at its edge on the uncropped negative, or choose Estimate to go back to the thinnest film of the scan. Colour Separation sets Scanned Under and Crosstalk Correction, as on iPhone. Light Source evens the scan out by a photograph of the bare light source, taken with the same camera setup, and keeps it for every scan made on that light. Dust takes dust and hair off the scan; with Mark Dust by Tapping on, a tap on the picture marks a spot or puts one back. Each change is a step of the edit's history and can be undone.

In the library, the Negatives section holds the scans on the shelf, and Rolls lists each roll by name and date. New Roll… makes one; a roll's menu adds frames from a folder, renames or redates it, or deletes it. A library folder can be imported as a roll, or set to open its pictures as negatives. A scan's menu files it in a roll or takes it out. The Roll panel measures the roll as described under Rolls of negatives, and the other frames' prints on the shelf are redrawn with the roll's balance. Settings pasted onto a negative keep its own reading.

Dust blocks light, so it is found as film denser than the film around it and sharper than picture detail, measured against the film's own grain; on colour film it must also be grey, since dust blocks every colour alike. Busy and repeating picture, such as foliage, raises the bar. Each spot is rebuilt from the clean film around it, with that film's grain put back. Detection works from the visible scan alone, without an infrared channel, so it can miss very small or faint dust and dust on busy picture.

Negatives converted in the earlier iPad converter reopen as documents with their crop and reading. Conversion is approximate: review colour and tone, especially with clipped scans or strongly coloured subjects.

Video

Standard video decoding reads tagged SDR, HLG, and PQ into a unified scene-linear Rec. 2020 input, preserving declared HDR headroom. For processed standard HDR, a clip-wide exposure placement removes brighter alternate-rendition offsets without compressing highlight detail.

If a clip uses log encoding or has missing or inaccurate color tags, specify the encoding explicitly under Film → Source → Encoding. Supported transfer curves and gamuts include Apple Log, Apple Log 2 / Apple Wide Gamut, S-Log3 / S-Gamut3.Cine, S-Log3 / S-Gamut3, S-Log2 / S-Gamut, F-Log / F-Gamut, F-Log2 / F-Gamut, F-Log2 C / F-Gamut C, and HLG / Rec. 2020. Fotufilm models physical emulsions rather than in-camera digital film-simulation modes.

Source interpretation

Automatic respects the range stored in the file container. Full Range preserves all decoded highlight detail. Standard Range tone-maps HDR prior to film simulation; use this only when Automatic misinterprets range.

Camera calibration and color space

The simulation engine operates internally in scene-linear Rec. 2020 with a D65 white point in 32-bit floating point per channel. All incoming pixels are linearized and mapped to scene reflectance, where an 18% neutral gray card sits at 0.18 and a 90% diffuse white reflector sits at 1.0. Emulsion layer absorption, interlayer chemical diffusion, and halation evaluate entirely in this physical scene-linear space.

Measured camera spectral profiles

For supported camera RAW captures, Fotufilm bypasses generic matrix estimates and evaluates measured 3-channel sensor spectral sensitivities from 380 nm to 780 nm at 5 nm increments, using the Academy Software Foundation dataset (rawtoaces-data).

Bundled measured spectral profiles include:

• Sony: Alpha full-frame (ILCE-7M3, ILCE-7M4, ILCE-7CM2, ILCE-7RM2, ILCE-7RM3, ILCE-7RM4, ILCE-7SM2, ILCE-7SM3, ILCE-9), APS-C (ILCE-6400), and compact (DSC-RX100M4).
• Canon: EOS R series (EOS R, EOS RP, EOS R5, EOS R5 Mark II, EOS R6, EOS R6 Mark II, EOS R10), EOS 5D series (EOS 5D, 5D Mark II, 5D Mark III, 5D Mark IV, 5DS), EOS-1D series (EOS-1D X Mark II, EOS-1Ds Mark II, EOS-1Ds Mark III), APS-C / Rebel (EOS 100D, 200D, 200D II, 600D, Digital Rebel XTi, EOS M), and PowerShot S90.
• Nikon: Z series (Z f) and D series (D850, D810, D800E, D700, D200, D70, D7000, D5300, D5100, D3300).
• Fujifilm: GFX 100, X-T3, and X-T4.
• ARRI: ARRI D21.
• Hasselblad / DJI: L1D-20c (Mavic 2 Pro) and L2D-20c (Mavic 3).
• Panasonic: Lumix DC-GX9.
• Insta360: Insta360 X5.

Native video log profiles

Video inputs support exact inverse opto-electronic transfer functions and wide-gamut transformations directly to linear Rec. 2020:

• Apple Log: iPhone 15 Pro / Pro Max and iPhone 16 Pro / Pro Max in native Rec. 2020 primaries.
• Apple Log 2: iPhone 17 Pro / Pro Max on iOS 26. The same curve as Apple Log over Apple Wide Gamut, converted through Apple's published primaries.
• Sony: S-Log3 in S-Gamut3.Cine or S-Gamut3, and S-Log2 in S-Gamut.
• Fujifilm: F-Log and F-Log2 in F-Gamut, and F-Log2 C in F-Gamut C.
• Broadcast HDR: ITU-R BT.2100 HLG in Rec. 2020 (diffuse white mapped to 75% per BT.2408).

Unlisted cameras and standard formats

For camera models without bundled spectral measurements, RAW stills decode scene-linearly using container DNG/EXIF color matrices with zero contrast boost, tone compression, or gamut clipping. Standard stills and SDR video convert from tagged source color spaces (Display P3, Rec. 709, sRGB) directly into linear Rec. 2020 before entering the film pipeline.

The editor

Edits are non-destructive; export uses current settings without modifying original files. On iPhone and iPad, an edit of a photograph from the photo library keeps a link to the library original rather than a second copy, so the edit reopens only while the photograph remains in the library; edits synced through iCloud keep their own copy. The editor surfaces controls across Film, Lens, Light & Color, Selective, and Crop.

In the desktop and browser editors, drag the edge between the photograph and the film list or the inspector to resize that panel; the widths are remembered. Double-click an edge to restore it. With an edge selected, the arrow keys move it, Shift moves it further and Return restores it. The photograph keeps at least 420 pixels.

Library and photo strip on iPad

Tap Library in the toolbar, or press L with a keyboard, to browse Edited Photos (every photograph with a kept edit, including those synced from iPhone) and folders added from Files with Add Folder…. A folder's subfolders are listed under it. Search by name, sort by Newest, Oldest, Name or Rating, show only photographs with a minimum rating or with an edit, and change the thumbnail size. Tap the stars on a photograph to rate it; tap the same star again to clear the rating. Touch and hold a photograph to open or rate it. In Edited Photos, Remove from Library deletes the edit and the copy kept with it, not your original; in a folder, Rename… and Delete File… change the file itself.

Opening one photograph brings the rest of what the grid shows into the photo strip under the editor, and Select chooses several to open on their own. Only the photograph shown is read; tap another in the strip to show it. Hold Command or Shift as you tap, or touch and hold, to choose photographs, and press Command-A to choose them all. Paste Settings and presets then apply to every chosen photograph.

Preview behavior

• On iOS, resting stills develop at display canvas density (capped at 2560 px on the long edge). While adjusting controls, the preview displays a half-density copy for interactive responsiveness.
• When panning or zooming stops, the visible region is redeveloped at current display magnification. Film previews use bounded GPU tiles, including neighboring pixels for grain and halation, so Super 8 detail does not require one large GPU allocation. Layered colour separation still renders the complete virtual frame and uses more memory at high zoom.
• Frosted chrome maintains control legibility without modifying canvas color values.
• Press and hold (or click and hold on Mac) to view the unprocessed source frame.
• Show Negative displays the developed negative density before print processing.
• The real-time histogram monitors tonal distribution across the current stage. Its vertical pixel counts use a logarithmic scale so small populations remain visible beside large peaks; horizontal tone values remain linear.
• New Grain Pattern rerolls the pseudo-random grain distribution while preserving the stock's calibrated spatial density and clump statistics.

Copy settings and presets

Copy Settings takes the chosen sections of the current edit — Stock, Grain, Emulsion, Lab, Filters, Correction, Exposure, Balance, Color, Grade, Source Interpretation, Output, Lamp, Geometry or Local — and Paste Settings applies them to another photograph as one step that Undo reverses. On the desktop and on iPad, it applies to every photograph chosen in the photo strip; Undo reverses it on the one shown. A preset keeps a chosen set of sections under a name on this device and applies to any photograph. Sections that are not chosen keep the photograph's own values. Geometry, Local and Source Interpretation are left out unless chosen, and each photograph keeps its own grain pattern. Settings that name a film which is not installed cannot be pasted.

Film controls

The Film inspector selects the emulsion and configures the physical development model. Controls that do not apply to the chosen stock or medium are hidden automatically.

The current catalogue uses the corrected spectral response for 19 color negatives, calibrated density response for seven black-and-white films, and calibrated curves for all twelve transparent reversals. These are the default profiles; no experimental pack selection is required. Individual dye spectra and response beyond the published measurements remain estimates.

Black-and-white profiles follow the published density response for a specific development process. Acros II uses D-76 at 7 minutes, T-MAX 100 at 6 minutes, and Tri-X 400 at 6 minutes. Double-X uses D-96 at 6½ minutes; HP5 Plus and FP4 Plus use ILFOTEC HC 1+31 at 6½ and 8 minutes respectively. Delta 3200 uses ILFOTEC DD-X 1+4 at 9 minutes, with its documented development choices available in Push / Pull. Rising curves continue gradually into an estimated highlight shoulder beyond the published exposure range. The shoulder shape and ultimate density there remain estimates.

Infrared Color gives foliage red and coral tones and skies teal-cyan, with soft highlights and fine grain. Its creative spectral palette and tone response build on Kodak EIR’s reversal dye formation. Select it directly for ordinary RGB photos; no additional filter is needed. Green paint, fabric and other colors can shift too. The look estimates foliage’s infrared response from visible color and does not measure infrared light.

Kodak Aerochrome 1443 adds the aerial film’s AR-5 reversal response and more pronounced grain. It uses its own published spectral and dye curves with the same visible-color foliage approximation. Select it directly for RGB photos; its colors are an infrared-inspired rendering.

LomoChrome Purple turns greens violet and yellow subjects pink, with cyan-blue skies. LomoChrome Turquoise gives blue skies golden-orange tones and warm subjects blue-cyan tones. LomoChrome Metropolis keeps recognizable colors with muted saturation. Select any of these films directly; no additional filter is needed. They are creative approximations of Lomography’s visible-light C-41 color negatives, numerically fitted to the ColorChecker patches in the manufacturer’s comparison scans. Their spectral sensitivities remain inferred, and the color match is approximate.

On iPhone, open Film → Emulsion to find Fringe Amount beside Edge Contrast. Try 5–20% with a Fringe Radius of 50–150 µm. The radius must exceed the film’s narrow inhibitor radius to act. The fringe color follows the film’s layers; these controls model development chemistry rather than lens aberration. Setting Fringe Amount to 0% preserves the existing transport. These settings are saved with photo and video edits.

In the iPhone photo and video editors, the Films strip shows one tile per film on Digital Reference, the same output a new edit opens on. Reversal films show it as their Direct Positive, and Normal remains available. Photo paper, release print and transfer variants are not separate strip tiles; they remain available under Output.

The lab controls are listed above with the emulsion: push and pull, bleach bypass, expired film and long exposure.

Lens controls

Lens correction compensates for geometric optical distortion, peripheral illumination falloff, and lateral chromatic aberration. Enable Correct Lens to apply embedded DNG lens profiles or calibrated camera profiles.

Light & Color

Light and Color adjustments apply in scene-linear space prior to film exposure. Grade adjustments apply down-pipeline after the print stage.

In the Mac editor and plugins, Source Illuminant defaults to Stock Native, following the selected film's reference light: 3200 K for 500T, for example. Choose a daylight or tungsten preset, or Custom and a temperature from 1000 to 25000 K, to simulate another source. This is stock-balanced emulation, not recovery of the original scene spectrum. Warmth and Tint refine that light; warmer light means lower Kelvin and positive tint adds green light. The stock's calibration reference stays fixed.

RAW decoding retains its as-shot white, independently of the film's source light. Source edits do not decode the RAW again or change the printing head or viewing lamp. Custom Kelvin uses a smooth daylight or Planckian spectrum, not a measured LED or fluorescent spectrum. Existing RAW edits that relied on automatic capture-light simulation can look different. Explicitly stored camera-light overrides are retained as Custom.

Three-band Grade

Applies post-print color balance and level trims across Shadows, Midtones, and Highlights. Encoded Grade evaluates the trim on final non-linear output encoding rather than scene-linear light; keep disabled for standard workflows.

Print controls

In the iPhone photo editor, open Print → Frame; on iPad and Mac, use the Frame menu under Print in the inspector. Choose None, Film Border, Slide Mount, a Paper Border at 4 × 6, 5 × 7, 8 × 10, or 5 × 5 inches, Carrier Border, Emulsion Border, White Mount, Black Mount, or a Square Post, Portrait Post, or Story canvas. On iPhone the frames stand on a horizontally scrolled strip of framed previews, like the film strip. Film Border follows the stock’s native format, or an explicit Film Gauge choice, with physical aperture proportions, perforations, and the stock’s own base color. Negative stocks show their developed negative on a standard light box, including the color mask; reversal and instant film stay positive. Every choice other than Film Border and Slide Mount restores the selected output medium. Documented film-edge names and identification codes follow the stock and gauge, with dark lettering on negatives and light lettering on reversal film. The typeface and edge exposure are approximations; frame numbers represent a sample position, not capture metadata. Unknown markings and production serials are omitted. Paper fronts remain unlettered. Sheet film uses the stock’s documented notch pattern where available; unknown codes are omitted. Paper Border uses the selected Ektacolor Edge, ENDURA Premier, Crystal Archive, or Ilfochrome paper as a 4 × 6, 5 × 7, 8 × 10, or square 5 × 5 inch print; the crop is centred on the sheet, never stretched to it. Its base follows the paper model and Viewing Light. Ilfochrome has a smooth, dark unexposed margin. Paper Border is inactive for screen, scans, negatives, and cinema print film. Crops are fitted inside the physical aperture without stretching or resampling the developed image. Negative film is delivered in SDR. Frames are saved with the edit, included in Undo, Redo, and photo exports, and add to export dimensions. Frames are offered in the iPhone, iPad and Mac photo editors, not video.

Slide Mount shows a reversal transparency in a plain 2 × 2 inch card mount (a 70 mm square mount for 120), with the typical mounted aperture for the gauge. The crop is fitted inside the aperture without cropping; any rebate showing beside it is the stock’s own maximum density. It is offered for slide film in 35mm and 120 and views the transparency on the light box like Film Border. Carrier Border is the darkroom look of a negative enlarged through a filed-out carrier: the clear rebate prints as a dark line at the paper’s maximum density, inside the white margin of an 8 × 10 inch print. It needs a negative stock on Ektacolor Edge, ENDURA Premier, or Crystal Archive. White Mount and Black Mount are plain margins that follow the crop on any film and output. Square Post, Portrait Post, and Story fit the photograph, uncropped and centred, inside a display-white 1 : 1, 4 : 5, or 9 : 16 canvas with a 5% margin, ready to post from any output including the Digital Reference. Border Width, below the frames on iPhone and under the Frame menu on iPad, Mac and the web, widens or narrows the margin of a Paper Border, Carrier Border, mount or posting canvas, from 0% (no margin) to 300% of its preset. A paper sheet keeps its size, so a wider easel margin prints a smaller picture; a mount or canvas grows around the photograph. Film Border and Slide Mount follow physical dimensions and have no Border Width. A Film Border’s own settings — Edge Printing, Frame Number, Frames and Camera — stand in the same places, where the stock and gauge offer them. When a Film Border shows only part of the photograph, drag the picture to choose the part the film shows; on iPhone and iPad, drag with one finger while the picture is fitted to the screen.

Emulsion Border prints the strip of film just outside the camera gate around the photograph, inside a paper margin. That strip saw no light through the lens, so its tone is what the chosen output makes of unexposed film: the stock’s base on a negative, its maximum density on a slide. Its grain is the stock’s own, and bright edges of the picture glow into it through the film’s halation and scatter. The band is as wide as the gauge leaves between the gate and the perforations or the film’s edge, and its inner edge is the soft shadow of the gate. It needs a film and a roll or sheet film format; reflection outputs use the selected paper’s base for the margin and other outputs a neutral white mount. It is available in the iPhone and Mac apps.

All twelve transparent reversal profiles now use smooth, monotonic density responses. The normal slide stocks and Aerochrome retain published curve shapes and dye spectra; Infrared Color keeps its creative tone and palette. Spectral Status A matching preserves the film-density response through direct viewing and Ilfochrome printing. Unmeasured curve ends continue gradually toward estimated limits. Velvia’s overlapping source traces are less certain than the other fits. This calibration does not change Instax.

Output Medium converts negative density into positive display or print values. Digital Reference converts color negatives through a shared spectral receiver, preserving their individual layer curves and dye interactions. Match Film selects the film’s default output medium. Color reversal films default to Digital Reference, which supports HDR delivery. They also support Ilfochrome Classic CPS.1K (Cibachrome) and Ilfochrome Classic CLM.1K (Cibachrome) positive paper, with normal and medium contrast respectively. Their color response is approximate. Paper output and negative films render to standard dynamic range. Standard direct reversal output uses a calibrated highlight roll-off to prevent clipping bunching below paper white.

Screen Conversion selects one of three conversions for color negatives on Digital Reference: Reference Exposure holds calibrated mid-gray and the film's contrast; Graded Print keeps film-base blacks and softens highlights; Auto Levels (default) meters the frame's bright regions and places them near white. The control appears under Output in the iPhone photo and video editors and is saved with the edit. Fixed modes keep exposure consistent between frames; Auto Levels can vary with framing or a changing scene. The iPhone camera also meters Auto Levels for each frame, including when Highlights and Shadows are at zero.

The curve shapes are shared across stocks. Each film's green-layer response sets its black anchor, and Auto Levels also depends on the image. The model preserves color-layer differences rather than independently balancing the channels. It is an idealized receiver, not a measured scanner. Existing color-negative edits can render differently. Black-and-white, reversal, instant film and other output media retain their existing behavior.

For color negatives on Digital Reference and Lab Scan, Cyan / Red, Magenta / Green and Yellow / Blue correct the colour. Positive values reduce red, green and blue respectively; negative values move toward the opposite color. On Digital Reference they run after Auto Levels and before the output curve; on Lab Scan they change the light each of the film's layers receives, so a correction is the same from shadows to highlights. Equal positive values darken the image; use Scan Exposure to compensate if needed. Reset CMY clears all three together. The controls are saved with the edit and available in both photo and video editors. They are hidden for other output media, monochrome and reversal film. Their −1 to +1 range is relative, not calibrated to scanner button steps.

Lab Scan produces an editable positive and sets up each frame the way a minilab scanner does: the scan's contrast rises, at most 1.5 times the film's own, until the frame's brightest content would scan near white, with a backlit subject opened up partway. The density is set on the frame's median, taking out half of a misexposure, so a flat frame or a dusk keeps its key. Each colour record is levelled on its own, so greys stay grey while the film keeps the exposure it had and bright colours keep their hue. Exposure and Scan Exposure still lighten or darken the scan, and the scanner then finishes the frame the way a minilab's processing does. The camera and editor set it up the same way. Photo export defaults to a lossless 16-bit Display P3 TIFF with an embedded color profile. Other file types remain available. TIFF preserves the developed image; it cannot restore detail missing from the source or film response.

Ilfochrome uses published density-range and midtone-contrast specifications with approximate color response. It supports Viewing Illuminant and optical printer controls; increasing paper exposure makes the positive print lighter.

Cinema-print timing preserves the relative sensitivity of the print layers and uses fixed density targets. Viewing Illuminant changes the light used to view the developed print, not its dye densities. Channel Contrast Match is an optional digital correction and defaults to zero; explicitly saved nonzero settings are preserved.

Lamp

On iPhone, open Print → Lamp beside Output. Mac and iPad show the Lamp group in the print inspector. It is available when a negative is enlarged onto reflection paper. Enlarger selects Diffuser or Condenser.

Enable Simulated Printer to expose the paper through a synthetic tungsten lamp and magenta/yellow filters. Channel Contrast Match is disabled while this profile is active. Switching it off retains the lamp settings for later. Settings are saved with the edit and participate in undo, previews and exports.

Lamp Temperature

2800–3600 K; default 3200 K. Changes the spectrum illuminating the negative.

Paper Exposure

−6 to +6 EV; default 0. One stop doubles exposure at the paper and darkens the positive print.

Magenta Filter

0–1.20 optical density; default 0.40.

Yellow Filter

0–1.20 optical density; default 0.50.

The profile keeps a fixed reference calibration, so lamp and filter changes retain their exposure and colour effects. These controls use illustrative filter spectra and relative exposure, without calibrated seconds, lamp-voltage behaviour or reciprocity failure. Film exposure and the finished print’s Viewing Illuminant remain separate controls.

Frame & Selective

Crop and perspective

• Aspect constrains cropping to standard aspect ratios or freeform framing.
• Straighten applies planar rotation up to ±15°.
• Vertical and Horizontal rectify Keystone perspective distortion.
• Rotate and Flip apply 90° increments and axial mirroring.

On Mac, Four-Corner Crop lets you position each corner independently. Leave Crop or press Return to straighten the selected area. Rotation and flipping keep the corners attached to the image; undo, saved edits, and full-resolution export retain the selection. Drags use a cached display preview and commit one edit on release; film thumbnails refresh after leaving Crop. Choose an aspect ratio for a rectangular crop, or Reset Crop to start again.

Selective edits

Isolates subjects or color ranges for localized pre-exposure correction (Exposure, Highlights, Shadows, Temperature, Tint, Saturation, and Vibrance). Boundaries are refined with Edge, Feather, Range, and Softness controls. Selective edits are saved with the photo and included in photo exports. On iPhone, tap Done to keep the changes or Cancel to discard them. Undo and Redo include selective changes. Subject masks follow crop and rotation. Show Mask is a temporary preview and is never exported. Selective masks apply to still images.

Camera

The iPhone camera renders the selected film in the live viewfinder. Normal displays the decoded camera image without film simulation. The LIGHT control selects the simulated Source Illuminant. New sessions default to Stock Native, so each film uses its own reference light. D65, 2856K, 3200K, 4300K, 5500K, and 6500K are explicit overrides and stay fixed when films change. Previously saved explicit selections are retained. Capture white balance stays fixed at D65, independently of this control; it is not automatic. The selected source carries through to saved photos and their editable recipes. LIGHT is unavailable in Normal mode, where no film is simulated.

ISO, shutter speed, and white balance sit inside the bottom of the live picture on a borderless ultra-thin material panel with no added colour tint. The full values stay visible as camera readings change, including when the panel stays the same width. Tap a value to open its adjustment ruler. Swipe values with the same momentum, snapping, and selection feedback as the editor’s film strip; Auto restores the selected setting. A appears only when a setting is manual and restores ISO, shutter speed, aperture, and white balance to automatic control. The panel animates width changes and the appearance or removal of A, with shorter transitions when Reduce Motion is enabled.

On a lens with a variable aperture (the iPhone 18 Pro main camera, iOS 27 or later), the panel also sets the aperture in the lens’s recommended ƒ-stops. Lenses with a fixed aperture do not offer it. A held aperture fixes the exposure the same way a held ISO or shutter speed does.

Before layer exposure, colors outside physical spectral boundaries are mapped back to the spectral locus boundary. Each film responds through its calibrated spectral sensitivity curves.

Still capture

Settings → Camera → RAW Capture defaults to Apple ProRAW. This mode uses the regular live video preview and requests lossless Apple ProRAW for still photographs where the selected camera supports it. ProRAW uses an approximately 12 MP sensor readout to prioritize the moment the shutter is pressed over 48 MP resolution. Framing is unchanged; the app uses the largest supported size up to 12.5 MP, or the smallest advertised size when the camera has no size in that range. The live preview is not a ProRAW stream. When applying a film, Fotufilm develops the ProRAW original into a finished HEIF photograph and preserves the DNG for later edits. The camera prepares a photo-quality live session before the shutter is pressed. Apple Log is used only when it supports that configuration and the same preview framing; otherwise the preview uses supported HLG or native video. For SDR output, the preview uses the photograph’s SDR conversion. New captures start with Exposure at 0 EV. ProRAW development uses the RAW decoder’s baseline exposure without an added preview-matching or metadata-based correction. The original DNG is unchanged. ProRAW development preserves the file’s recorded white balance, including its tint correction. The selected film light is retained in the preview, saved photograph, and editor. If a full-resolution film render exceeds the available memory budget, the finished HEIF uses a smaller size while the full-resolution ProRAW original is retained. ProRAW mode never falls back to Bayer RAW. Cameras without ProRAW save their 14-bit Bayer RAW reading as a DNG at approximately 12 MP, taken from the same prepared live session so the photograph shows the scene at the shutter press; zoomed and front-camera photographs on those cameras are processed. When such a camera has no HLG format that also takes full-quality photographs, the preview uses native video. Both RAW options are disabled on iPhones without Apple ProRAW support. The choice is remembered between launches; Reset to Defaults restores Apple ProRAW. On cameras that offer both readings, the viewfinder's settings row also shows a RAW mark naming the current one; tapping it switches between Apple ProRAW and Bayer RAW without leaving the camera, and the Settings choice follows.

Full-resolution film development and saving continue after the photograph opens in the editor. Fotufilm processes one photo at a time. If you return early, the camera resumes when that photo finishes so live preview and another capture do not compete with its full-resolution render. Still photos are requested when you press the shutter, without waiting for finger release. ProRAW, Bayer RAW on cameras without ProRAW, and processed stills use zero-shutter-lag buffering where the current camera configuration supports it. Processing and saving can continue after exposure without changing the captured scene. Long exposures, flash, and manual exposure can still affect capture timing. ProRAW retains lossless encoding and quality-prioritized processing; developing and saving can still take time.

Select Bayer RAW to enable native Bayer still capture and the experimental Bayer viewfinder. On supported cameras it develops successive RAW readings into a preview of up to approximately two megapixels. It targets 24 frames per second and lowers preview resolution when sustained processing load or heat requires it. The selected film, exposure, zoom, and device temperature can still reduce the displayed rate. Preview decoding uses a faster draft path and limits automatic shutter time to the preview frame interval. Saved photographs retain the full-resolution still workflow and its normal exposure range. Zoom crops the RAW preview without changing the sensor's native magnification. Cameras without Bayer preview support continue to use their available video preview. Video mode uses its own video capture pipeline.

In Bayer RAW mode, supported hardware requests native Bayer RAW at the greatest reported bit depth. The viewfinder briefly pauses while the camera captures and develops the full-resolution photograph, then resumes on returning to the camera. For Bayer captures, Fotufilm stores the delivered 14-bit samples without quantization, together with the camera's capture metadata, in a DNG compressed losslessly where the device offers a lossless RAW codec. These negatives preserve the captured precision for later edits. Zoom does not prevent Bayer capture: a zoomed photograph keeps the whole sensor reading and opens in the editor cropped to the zoomed framing, which can be widened back to the full frame. Grain keeps the size it has at the lens's native magnification, as it would through a longer lens. When the lens or geometry prevents Bayer capture, Fotufilm requests lossless Apple ProRAW where available. Native 10-bit HEIF / YCbCr serves as secondary fallback; 8-bit readings are used only when no deeper format exists.

The retained negative decodes to scene-linear Rec. 2020 Float32 and develops through the Metal optical graph, producing a linear 16-bit float Digital Reference master. Reversal film and Normal derive either a 10-bit HLG / Rec. 2020 HEIF or a 10-bit Rec. 709 HEIF; negative film saves the Standard derivative only.

Video capture

Video capture requests Apple Log 2 where available, then Apple Log, falling back to 10-bit HLG, with native 8-bit YCbCr reserved for cameras without deeper stream support. Any other source the lens and clip size offer can be chosen instead: Apple Log 2, Apple Log, HLG, or 8-bit Display P3 or Rec. 709. On iPhone 16 Pro, video uses native 10-bit 4:2:2 Apple Log. The camera develops every stock on Digital Reference. Normal and reversal film under Reference Exposure support HDR delivery; negative film and the levelled slide conversions record SDR. The top-right GRAIN control toggles real-time grain simulation (limiting capture to 30 fps). Leave GRAIN off for video without simulated grain. Grain-free rendering reduces processing time, but sustained 4K at 30 fps is still being validated on iPhone 16 Pro.

Video reads the camera’s bi-planar scene signal directly into the Metal optical graph at native capture resolution, forming the 16-bit float Digital Reference master read directly by the live viewfinder. Recording does not round-trip through display-referred intermediate buffers.

The sampled-curve engine update preserves every curve point and caches cubic coefficients for camera rendering. See the iPad performance measurements for the tested baseline and device limits.

Video editing

On iPhone, open a ProRes Log clip and choose More → Input Color Space. Select Apple Log · Rec.2020 or Apple Log 2 · Apple Wide Gamut to match the recording. S-Log, F-Log, and HLG profiles are also available. Standard follows the file’s SDR, HLG, or PQ color tags; camera log profiles must be selected explicitly. The selection applies to playback, thumbnails, and export. Photos clips remember their selection when reopened; files imported from Files keep it while the editor is open. Reset Grade keeps the selected input color space.

Video uses the same Film, Lens, and Light & Color stages as stills. Scrubbing or pausing renders full preview resolution.

Encoding

Converts tagged SDR, HLG, and PQ to scene-linear Rec. 2020. For camera log footage, explicitly select the profile used when recording.

Cadence

Native preserves source timing; 16, 18, or 24 fps assigns exported frames longer motion duration.

Preview quality

Modulates interactive playback resolution without changing export geometry.

Supported tools

Crop and Selective masking apply to stills only.

Exporting

Photo export

On Mac, you choose where the file is saved before it is developed. On iPad, the finished file is offered afterwards: Save to Photos, Save to Files…, or Share….

Export queue on iPad

Photos can be edited first and developed together later. In a photo's export options, choose the resolution, file type, compression and metadata, then Add to Queue instead of Export. Each queued photo keeps the edit and settings it had when it was added; later edits to the photo do not change a copy already waiting, so the same photo can be queued again with other settings or another edit. The queue button appears in the toolbar once something is queued; on iPadOS 26 and later its badge counts the photos waiting or ready to save.

Render All develops the waiting photos one after another at full quality while editing carries on, and Stop halts the queue after the photo in progress. When they are done, the developed files are offered together to Save to Photos, Save to Files…, or Share…. Files not saved yet stay in the queue under Save…, and leave it once they have been saved. The queue is kept across relaunches. The originals stay in Edited Photos, so a photo deleted from the library before it is rendered fails with a note; videos are exported one at a time.

Video export

On iPhone and iPad, every film starts on Standard grain, for photos, videos and Reset Grade alike. Choose Film for one photo or video with its Grain Model control; the choice is saved with that edit. Faster Export is enabled by default and uses accelerated Metal processing at full source resolution, including HDR and ProRes. Film grain requires Maximum Detail.

Browser demo

The CPU and WebGPU film renderers use the same scene-linear film model. WebGPU uses hardware float32 arithmetic and GPU display encoding, checked against the CPU reference for linear, 8-bit and 16-bit output quality.

Use the browser editor to develop photos and videos with Spectrum 2 controls. The layout follows the Mac app, with Film, Expose, Develop and Print panels, Satoshi typography and Material Symbols Rounded icons. It opens with an empty canvas, ready for your own photos or videos. Choose a film and output medium, crop or rotate the image, inspect pipeline stages and export the result. Media is processed locally in your browser.

The + menu offers Image, Video and Negative imports. More options groups automatic adjustments, saved edits, tools and help. Panels, menus and dialogs animate between states and respect reduced-motion preferences.

More options also opens Open-source licenses, the Privacy policy and Terms in a separate tab, keeping your editing session open.

On phones, Film opens a horizontal strip of previews. Swipe to browse and tap to apply a film; Film settings opens its controls. Expose, Develop and Print open below the photograph. Tap Film again or close the strip to give the image more room. Pinch to zoom around your fingers and drag to pan. After movement pauses for 300 ms, the visible region develops at physical screen resolution, including Retina displays. The last sharp region stays visible until its replacement is ready; continued movement cancels obsolete work.

The Fotufilm startup bar animates while preparing shaders, negative conversion and 16-bit output, then fades out. Its label shows the current stage; compilation time varies, so it does not estimate a percentage. If a preparation step makes no progress for 90 seconds, the editor restarts on the CPU and resumes any pending preview. Cold preparation usually takes a second or two. The editor remains usable with CPU previews while the GPU prepares.

The demo retains all 47 films. Aerochrome, Infrared Color, Lomochrome Metropolis, Purple, Turquoise and Phoenix use fixed profiles: exposure, grading, grain amount, crop, source illumination, output media and export remain available. Film customisation, optical filters, Auto Adjust and print frames are unavailable for these six films; the Film panel identifies them.

Library: add folders of photos to browse them together, including subfolders. The library lists JPEG, PNG, WebP, AVIF, HEIC, TIFF, EXR, camera RAW and video files, and shows each folder separately or all at once. Search by file name, sort by name, date or rating, and filter by rating or by photos you have edited. Rate photos from one to five stars. Opening a photo restores its last edit, and later changes are saved to the library automatically. The library remembers what each folder contains, so even a folder of 100,000 photos appears at once and is checked for changes in the background. Removing a folder forgets its ratings and edits; the files themselves are never changed or uploaded.

Thumbnails come from the preview a camera or phone embeds in the file where it is large enough, so RAW folders appear without developing every frame; videos show their first frame. A Halide kernel compiled to WebAssembly resamples them in linear light and applies the camera orientation. Thumbnails, ratings and edits are kept in the browser's storage for this site. Chrome and Edge remember added folders between visits, asking again for access after a restart if needed. Other browsers add a folder for the current session only; its ratings and edits return when the same folder is added again.

RAW opening previews use bounded strips without loading a second image-engine runtime. If the preview worker stops, preparation resumes from the decoded pixels. Full-resolution samples remain available for editing and export. Cancelling also stops preview initialization.

Open a photo, supported camera RAW file or linear RGB EXR. EXR imports retain negative and above-white floating-point values through cropping and rendering. Embedded chromaticities are converted to the engine's linear Rec.2020 working space; files without chromaticities use linear Rec.709. The browser supports flat, single-part RGB half-float or float EXRs up to 120 megapixels and 512 MB. Export offers 8-bit PNG, JPEG or WebP and lossless 16-bit Display P3 TIFF with an embedded colour profile.

Automatic negative conversion preserves pixels with clipped or out-of-gamut colour channels in wide-gamut scans. Such channels are clamped individually during the approximate inversion; they no longer turn the entire pixel black. Nonfinite samples and wholly unlit pixels remain excluded. The Negative import offers Contrast, the conversion curve's slope at mid-grey in stops from the automatic value, and the editor's Exposure, Highlights, Shadows, Temperature, Tint and Saturation; the positive opens with those adjustments applied and still editable. It also suggests which installed films the scan's clear film base looks like, from each film's spectral model: a starting point rather than an identification, most reliable on raw or linear scans that show unexposed film or the bare light past the film's edge.

Histogram: drag the heading to move the graph and the lower-right corner to resize it. Focus either handle and use arrow keys for keyboard control; Shift makes larger steps. At small sizes, the controls and axes fade away. Drag the graph itself to move it, or enlarge it to restore the controls. H or the toolbar closes it. Position, size and selected modes are retained when reopened during the editing session. Reduced-motion preferences disable transitions.

Choose Log or Linear pixel counts and RGB, Luma, Chroma, OKLab L or OKLab a/b. Luma measures encoded brightness; Chroma shows Cb (blue/yellow) and Cr (red/cyan) differences from −0.5 to +0.5. OKLab L measures perceptual lightness from 0 to 1, while a/b measures green–red and blue–yellow balance from −0.4 to +0.4. Colour-balance views mark the neutral centre. Histogram analysis reads the sampled pixel colour space directly, including in Safari on iPhone. Analysis respects the preview’s sRGB or Display P3 primaries; OKLab decodes into linear light before conversion. Curves use light smoothing without changing raw counts. The graph dims while an updated preview is analysed, then transitions to the new counts.

Video: open MP4, MOV, M4V, WebM or MKV files when the browser supports their video codec. Use Play, Pause and the position slider below the preview. Set Trim in and Trim out in seconds. All film, output-medium, exposure, color, crop, rotate, flip and pipeline-inspection controls apply to the current frame; export applies the finished settings throughout the trim range. Preview playback can skip frames while the film engine is busy. Export renders every frame with its original timing, including variable frame rate, and varies the grain seed per frame.

The video player offers five-second skips, a full-width seek bar, precise time, selection looping, preview mute and playback speed. Video settings contains input color space, trim and export audio. Preview mute does not change exported audio. Space/K plays or pauses; J/L and arrow keys skip; M mutes while the viewer or player is focused. Video timing/status text stays hidden below the preview. Camera-log and tagged color conversion runs in a WebGPU worker where supported, with CPU fallback.

Input color space offers the same choices as the Mac app: Standard, Apple Log / Rec.2020, Apple Log 2 / Apple Wide Gamut, S-Log3 / S-Gamut3.Cine, S-Log3 / S-Gamut3, S-Log2 / S-Gamut, F-Log / F-Gamut, F-Log2 / F-Gamut, F-Log2 C / F-Gamut C, and HLG / Rec.2020. Select the format used when recording; log encodings are not detected automatically. Standard follows supported SDR, HLG or PQ color tags. HEVC Main / Main10 4:2:0 uses a software decoder when native decoding cannot expose original pixels. Native decoded YUV planes retain 10- and 12-bit code values where exposed by the browser; curve and gamut conversion produces scene-linear Rec.2020 floats before film processing. Unsupported native pixel formats or color tags report an error instead of silently tone-mapping the input.

Export video offers MP4 / H.264 and WebM / VP9, full resolution or a smaller long edge, and Medium, High or Very high quality. Output is 8-bit SDR. The primary video track is exported; Include audio preserves available audio tracks with synchronized timing, copying compatible audio or transcoding when required. If audio cannot be preserved, export reports an error; choose another format or disable Include audio. Odd output dimensions are padded by one pixel for codec compatibility. Input color space, trimming and audio settings are included in undo and saved edits.

Videos stay on this device. Input is read from the selected file in bounded chunks; export encodes frames one at a time with backpressure and writes to a chosen disk file. Where the browser has no save picker, export uses browser-managed disk storage and provides a Download link when complete. Save that download before dismissing it or leaving the page. Cancel and failed exports discard their temporary output. There is no whole-file memory fallback or fixed input-file size limit; disk quota, browser codec support and available memory for an individual frame still apply. Video frames above 40 megapixels are rejected. Closing the page clears the current editing session.

Film rendering requires WebAssembly. The demo uses WebGPU when the browser supports its required features, with a CPU fallback. Normal can use the scene-linear reference when the WASM runtime cannot start. Large images and Layered Transport can take longer to develop. Layered Transport uses the film's default output medium and does not expose individual pipeline stages. RAW photos with a detected capture light require Legacy halation.

Settings

Starting Film and Format

Sets defaults for newly opened media; the film is Gold 200 until you choose another. Match the Film applies native stock dimensions.

Suggest a Film

Predicts an initial stock based on scene characteristics; manual selection always takes precedence.

Photos and Videos Range

Default SDR or HDR delivery targets. Negative films default to Standard SDR.

Photo Quality

Accurate evaluates non-linear film curves directly; Fast uses 3D LUT interpolation. macOS defaults to Accurate; iOS defaults to Fast.

Video Quality

On iPhone, Faster Export is the default and uses accelerated full-resolution Metal processing. Maximum Detail uses the reference renderer. On Mac, Full processes at source resolution; Fast processes internally at 1080p before upscaling to export geometry.

Video File Size

Sets output encoding bitrate: Automatic, Smaller Files, Higher Quality, or Maximum.

Film Model

Default toggles for Disc Grain, Estimated Halation Shape, interlayer diffusion barriers, and edge contrast inhibition.

Custom films

Film Workshop is temporarily hidden on Mac and iPad, including its menu and keyboard shortcut. Existing custom films remain available. On Mac, use Load custom pack… in the film sidebar to import a custom film package (.fotufilmpack). Stocks define emulsion type (color negative, reversal, monochrome), physical format, sensitometry curves, spectral sensitivity distributions, dye density partitions, grain statistics, halation parameters, and print response.

Importing adds verified packs to the local library; malformed or incompatible definitions are rejected.

Mac packs and plug-ins

Desktop download

Download the desktop app for Mac. The Linux AppImage, an alpha, is attached to the newest pre-release.

In the desktop app, a new photo starts with Output Medium on Match Film, so the print matches the film: RA-4 paper for a still negative, the stock's release print for a motion negative, and the direct positive for a slide. Changing the film keeps the print matched, an output medium you choose yourself stays where the next film offers it, and photos edited before keep their output.

Host plug-ins

Reopening a saved Final Cut or Motion project retains its film format, output medium, lens choices and texture-stage controls.

The 1.8 desktop release includes all 40 public film profiles under CC BY-SA 4.0, attributed to Fotufilm (fotufilm.com). Sampled characteristic curves require matching app and plugin builds. The macOS app bundles plug-ins for DaVinci Resolve and Final Cut Pro, installable from the Plugins menu:

• DaVinci Resolve: Installs an OFX bundle system-wide (requires administrator credentials). Restart Resolve after installation.
• Final Cut Pro: Enables the FxPlug extension and registers its Motion template under Effects → Fotufilm.

Each Mac release also attaches Fotufilm-OFX-macOS-<version>.zip, the signed Resolve plug-in on its own, for copying into /Library/OFX/Plugins by hand or with a plug-in manager.

For where to place the node and how to grade around it in either host, see colour grading with Fotufilm on the support page.

DaVinci Resolve controls

The Fotufilm inspector groups controls in the order the light passes through them: Input, Film, Light & Colour, Lens & Filters, Development, Grain, Halation, Colour Separation, Output and Pipeline. Input, Film and Output start open; Pipeline holds Stage and Render Mode and starts closed. The Final Cut Pro plug-in uses the same groups in the same order. Controls are disabled when the selected stage, stock, medium or parent setting cannot use them; Texture Only selectors are hidden in other stages.

Release prints time a correctly exposed gray card to about 1.0 density above clear film (10% transmission); photo paper retains its 18% gray target. The output medium sets this aim for every camera stock. Release-print midtones are darker and highlights have more room than with the previous paper-gray timing. Kodak 2383 uses separate red, green and blue curves.

Release printing uses an approximate UV-blocked tungsten RGB additive printer, separate from the xenon viewing light. Its filter passbands are approximate because complete measured spectra are unavailable in the source sheets. ETERNA-CP retains its published dye curves; their disagreement with the published Gray curve leaves its neutral spectral calibration uncertain.

Motion-picture negatives can be printed onto six cinema print films: Kodak Vision 2383, Kodak Vision Premier 2393, Fujifilm ETERNA-CP 3513DI, Kodak EXR 5386, Agfa CP30 and Fujifilm ETERNA-CP 3521XD. EXR 5386 is the print film Kodak made before Vision, with lighter blacks than 2383. Agfa CP30 is Agfa-Gevaert's last release print. ETERNA-CP 3521XD is Fujifilm's deeper-black print. Each one is timed to its manufacturer's published aim densities. Fujifilm publishes no dye or sensitivity spectra for 3521XD, so it uses 3513DI's spectra with its own published curves. The command-line IDs are exr-5386, agfa-cp30 and eterna-cp-3521xd.

Red Light, Green Light and Blue Light re-time a print on cinema print film the way a lab's colour timer does, in printer points from 1 to 50. 25-25-25 prints the film's published aim. Each point changes that light by 0.025 log exposure, about a twelfth of a stop. More red light adds cyan to the print, more green adds magenta and more blue adds yellow; raising all three together makes the print darker and lowering them makes it lighter. Each light acts on its own printer beam, so a beam that also reaches a neighbouring layer of the print film moves that layer slightly too. The lights appear for negatives only, in Print → Adjust on iPhone and iPad and in the Output section on the Mac and in the browser. The command-line flags are --printer-red, --printer-green and --printer-blue.

Command-line renderer

The standalone fotufilm binary composites scene-linear Rec. 2020 associated alpha before film exposure, allowing additive light at zero alpha to trigger halation and tone reproduction. Background defaults to black; specify alternative scene-linear backgrounds using --background white or --background R,G,B. Rendered output is opaque.

Application updates

Select Check for Updates from the application menu to poll for new builds. Updates download the signed installer verified against published release checksums, refreshing the app and both host plug-ins simultaneously. Turn on Include Pre-releases in Settings to be offered pre-release builds as well as final releases.

Mac keyboard shortcuts

Privacy and permissions

• All image and video development executes locally on device hardware. Media is never uploaded.
• Camera permission is required solely for viewfinder and capture.
• Photos permission enables reading and saving images without scanning library contents.
• No advertising, tracking, or analytics SDKs are included.
• Share Crash Reports (disabled by default under Settings › Privacy) transmits sanitized crash stack traces with app and OS version. Reports never contain media, filenames, edit parameters, geolocation, account tokens, or persistent hardware identifiers, and are purged within 30 days.
• The Mac app needs no activation. It may fetch update manifests; pack downloads happen in the browser.

Troubleshooting

Still need help? Email support@fotufilm.com with your device model, OS version, Fotufilm build number, selected film, and any error message.