Corrected cinema-print timing. The printer now preserves the relative sensitivity of the print layers and uses corrected density targets. This changes colour, especially saturated blues and yellows.
Stock-balanced lighting by default. RAW photos, processed photos and video use the selected film's native source light. RAW white balance remains part of decoding and no longer automatically selects the film-exposure light.
Source Illuminant controls. Choose Stock Native, a daylight or tungsten preset, or a custom temperature from 1000 to 25000 K. Warmth and Tint refine that choice. Settings are saved per edit and remain independent of the printing and viewing lamps.
Independent print viewing. Changing Viewing Illuminant no longer changes the print's developed dye densities. Reflection-paper setup uses a fixed exposure translation.
Digital contrast correction is optional. Channel Contrast Match now defaults to zero. Existing edits with an explicit nonzero setting retain it.
Existing RAW and print edits may render differently. Stock Native is a balanced emulation choice, not a reconstruction of the original scene light. Select an explicit source to simulate a lighting mismatch.
For Apple silicon Macs running macOS 14 or later. The installer includes the Mac app and plugins; restart Resolve or Final Cut Pro after updating.
Changes since Fotufilm 1.7.1, through main at eac63e2 on September 10, 2026.
A new Mac editing layout. The inspector follows Film, Expose, Develop, and Print. Grade sits in Expose, with separate Shadows, Midtones, and Highlights tabs. Selective and Crop are in the canvas toolbar, and Print includes Export. With Normal selected, Film and Develop explain that film simulation is off.
Saved selective edits. Color, Light, and Subject adjustments remain visible after closing Selective, save with the photo, support undo and redo, and appear in photo exports. Subject masks follow crop and rotation.
Native Mac Settings and clearer help. Settings opens in its own window with General, Output, and Film Model tabs. Changes apply immediately. Short help buttons after labels replace long descriptions in the editing panels, Settings, and Film Workshop.
Scanned-negative import. Open a negative, sample its clear film border, choose a film, and preview a positive before importing at full resolution. Four-corner cropping straightens the image and preserves the selection through rotation, mirroring, undo, and export. Conversion is approximate; measured scanner profiles are not included.
All 40 films, with updated tone curves. The complete catalogue is included without activation. All 40 source profiles are now available under CC BY-SA 4.0, and 33 use sampled characteristic curves that follow their digitized source points. The bundled catalogue and removal of Buy packs already shipped in 1.7.1 build 12.
Updated paper and cinema-print rendering. Six paper and print-film models now use data digitized from manufacturer publications. Corrections to dye mixing, printing balance, and projection light change colour and contrast. Cinema prints use a corrected mid-grey target, and Kodak Vision 2383 has separate red, green, and blue response curves.
Diffuser and condenser enlargers. Choose the enlarger head when printing a negative onto photographic paper. The condenser increases contrast most strongly in silver black-and-white negatives and also accounts for silver retained by bleach bypass.
Revised grain and edge controls. Reversal films have updated color-separation and grain calibration, with cleaner highlights and stronger deep-shadow texture. Film Workshop preserves custom reversal-grain settings. Fringe Amount and Fringe Radius control development-related colour fringes around edges on supported films; existing edits keep them off.
An experimental halation option. Layered Transport models light passing through a film stack. Legacy remains the default. Both models now use the same capture-light reference to preserve neutral balance. The new option uses illustrative constructions where measured stacks are unavailable, needs more memory, and is unavailable for donor-layer stocks.
Updated temperature and tint behaviour. These controls change the light exposing the film. RAW imports retain their capture-white information, and fixes keep output calibration and printing balance consistent with the selected film and medium.
Video improvements. Added Apple Log 2 / Apple Wide Gamut decoding. Fixed intermittent flat white frames during video export under memory pressure and improved recovery from render-preparation failures.
More consistent app and plugin controls. Control ranges, choices, and availability follow the same definitions. Resolve and Final Cut gain Fringe Amount, Fringe Radius, and Enlarger controls. Push follows the selected film's measured conditions, and Bleach Bypass offers Off, Half, and Full.
Browser improvements. The experimental browser editor now follows the Mac layout and supports camera RAW and scene-linear EXR imports. WebGPU pipeline reuse speeds up repeated renders, and tiled rendering supports images up to 120 megapixels. Fixes address tile boundaries, stage previews and stale cached runtimes.
Existing edits may look different because film curves, temperature/tint, print rendering, and reversal grain have changed. Restart Resolve or Final Cut Pro after updating the plugins.