• Faster, More Stable Focus: Instant focus confirmation with no more focus hunting. Fixed an issue where the focus box wouldn't disappear after locking focus (AF Lock). • All-New Chromatic Aberration Correction: Cleans up backlit purple fringing more effectively without affecting normal colored edges. Enabled by default for all built-in films. • Brand-New Film Grain: Grain now settles only in the shadows and midtones without muddying colors or highlights, while deep blacks carry a subtle matte fade—closer to the true texture of lab-scanned film. Grain across all films automatically adapts to lighting: heavier in the dark, cleaner in the light, behaving just like real film stock.

[Major Update] All-New Film Color, Tonal Depth & Rebuilt Film Grain Recalibrated Film & Camera Recipes Reworked our motion picture stocks (5203 / 5207 / 5219), the full lineup of Fujifilm and Kodak negative and slide films, and classic camera recipes. Say goodbye to muddy, flat frames—skin tones are cleaner and more luminous, with colors closer to authentic lab-scanned film. Airy Highlights, Grounded Shadows Refined tonal hierarchy and auto-light response: under harsh daylight, highlights roll off softly without clipping while keeping frames bright and clean; indoors and at night, blacks stay rich with natural shadow detail and smoother transitions across lighting conditions. Cleaner Film Halation Improved halation blending and falloff, fixing occasional red casts and blotches in bright areas for a softer, more natural glow around highlights. All-New Film Grain Grain now settles naturally into shadows and midtones without muddying colors or bright highlights, paired with a subtle, veiled black floor that feels like a real negative scan. Across all film stocks, grain adapts automatically to light—bolder in low light and cleaner in bright light, just like real film.

[Major Update] All-New Film Color, Tonal Depth & Rebuilt Film Grain Recalibrated Film & Camera Recipes Reworked our motion picture stocks (5203 / 5207 / 5219), the full lineup of Fujifilm and Kodak negative and slide films, and classic camera recipes. Say goodbye to muddy, flat frames—skin tones are cleaner and more luminous, with colors closer to authentic lab-scanned film. Airy Highlights, Grounded Shadows Refined tonal hierarchy and auto-light response: under harsh daylight, highlights roll off softly without clipping while keeping frames bright and clean; indoors and at night, blacks stay rich with natural shadow detail and smoother transitions across lighting conditions. Cleaner Film Halation Improved halation blending and falloff, fixing occasional red casts and blotches in bright areas for a softer, more natural glow around highlights. All-New Film Grain Grain now settles naturally into shadows and midtones without muddying colors or bright highlights, paired with a subtle, veiled black floor that feels like a real negative scan. Across all film stocks, grain adapts automatically to light—bolder in low light and cleaner in bright light, just like real film.

This update focuses on resolving several issues related to manual exposure. Shutter Priority (S Mode) Fixed an issue on the iPhone 18 Pro series where setting the shutter to slow speeds (below 1/15s, such as 1/3s, 1/2s, 1s) would cause it to snap back to around 1/17s, with the actual capture exposure capped at 1/15s. The shutter now exposes for the exact duration dialed, matching the viewfinder preview with the final shot. Fixed a delay where dialing from a fast to a slow shutter speed in S mode caused the value on the shutter button to lag for several seconds. The button now immediately reflects the selected value upon locking, just as responsive as Full Manual mode. Note: At slow shutter speeds, the viewfinder preview refreshes at the actual exposure interval (e.g., roughly once per second at a 1s shutter speed). This indicates that the exposure duration is truly in effect and is normal behavior. Exposure Compensation (EV) Button Restored original logic: Whenever any parameter (aperture, shutter speed, or ISO) is set manually, the EV button functions as a read-only exposure deviation indicator, showing how many stops the frame is over- or underexposed relative to target metering. Dialing the EV wheel at this point will immediately return the camera to Full Auto mode with the selected compensation applied. Exposure deviation alert: The button now only flashes when the deviation exceeds ±1 EV (no longer flashes at 0 or within ±1 EV). Fixed an issue in manual mode where switching lenses, recipes, or other settings caused the EV button to briefly flash the compensation value before reverting to the deviation value.

Added "Save to Photos" to the share sheet. Saved file names now match those from shooting and darkroom exports and are automatically organized into the "拾光相机" album, replacing system-default names starting with "IMG_". Negatives can now be saved directly to your Photos library: simply choose "Negatives" or "Photos & Negatives" when exporting, then tap "Save to Photos"—negatives are preserved and written completely intact. Tapping share on Live Photos and videos now opens the share sheet directly without an extra menu popup; Live Photos saved to the Photos app via the sheet remain fully animated Live Photos.

【Bug Fixes】 Fixed an exposure metering issue. Fixed a Live Photo export issue. 【Improvements】 HDR is now preserved when applying film effects to 10-bit video, delivering more natural colors without oversaturation. Fixed an issue that caused Apple Log footage to look washed out after applying film effects. The viewfinder now previews HDR highlights in real time, with smoother performance. 【New Feature】 Copy color adjustments and paste them across multiple items at once. • Three ways in, always within reach Darkroom: Tap "⋯" in the bottom-right corner and choose Copy Settings or Paste Settings. Preview the result before saving Photo view: Tap the new Paste button at the bottom to re-develop the current photo instantly Album: Select multiple photos and tap Paste to re-develop them all at once, with a progress view and the option to cancel anytime • How to use it Perfect the most representative shot in a set → Copy Settings → select the rest of the set in your album → Paste. Dozens of photos done in minutes.

【Bug Fixes】 Fixed an exposure metering issue. Fixed a Live Photo export issue. 【Improvements】 HDR is now preserved when applying film effects to 10-bit video, delivering more natural colors without oversaturation. Fixed an issue that caused Apple Log footage to look washed out after applying film effects. The viewfinder now previews HDR highlights in real time, with smoother performance. 【New Feature】 Copy color adjustments and paste them across multiple items at once. • Three ways in, always within reach Darkroom: Tap "⋯" in the bottom-right corner and choose Copy Settings or Paste Settings. Preview the result before saving Photo view: Tap the new Paste button at the bottom to re-develop the current photo instantly Album: Select multiple photos and tap Paste to re-develop them all at once, with a progress view and the option to cancel anytime • How to use it Perfect the most representative shot in a set → Copy Settings → select the rest of the set in your album → Paste. Dozens of photos done in minutes.

NEW: Copy & Batch Paste Edits • Three ways in, always within reach Darkroom: Tap "⋯" in the bottom-right corner and choose Copy Settings or Paste Settings. Preview the result before saving Photo view: Tap the new Paste button at the bottom to re-develop the current photo instantly Album: Select multiple photos and tap Paste to re-develop them all at once, with a progress view and the option to cancel anytime • How to use it Perfect the most representative shot in a set → Copy Settings → select the rest of the set in your album → Paste. Dozens of photos done in minutes. Copy & Batch Paste is a Pro feature.

Improved HEIF / JPEG Output Photos shot in HEIF or JPEG now render film colors more naturally, with cleaner highlight transitions and no more hazy, flat-looking images. These improvements apply to both 12MP and 48MP. RAW output is unchanged. More Consistent Exposure in Bright Light On sunny days, in snow, or at the beach, HEIF / JPEG photos now keep brightness in check and no longer look overexposed or washed out. Each film's overall exposure also stays more consistent across different lighting conditions.

Leica M9 Returns The Leica M9 recipe has been recalibrated. Ricoh GR series color refinements. Smoother Auto Light As light changes continuously, brightness no longer jumps when the light level switches. Imported RAW files are also assessed from their capture settings and placed at the appropriate light level automatically. Auto Tone Graded by Light For each film, the handling of blacks and shadows is now set separately for low, normal, and bright light: in low light the mood of the night is preserved rather than forced brighter; in normal light the shadows open up more. All factory recipes have been recalibrated accordingly. More Accurate Auto Tone Highlights and shadows are now judged by how the final image is displayed, and clipping at both the black and white ends is more conservative, reducing crushed blacks and blown-out whites.

Leica M9 Returns The Leica M9 recipe has been recalibrated. Ricoh GR series color refinements. Smoother Auto Light As light changes continuously, brightness no longer jumps when the light level switches. Imported RAW files are also assessed from their capture settings and placed at the appropriate light level automatically. Auto Tone Graded by Light For each film, the handling of blacks and shadows is now set separately for low, normal, and bright light: in low light the mood of the night is preserved rather than forced brighter; in normal light the shadows open up more. All factory recipes have been recalibrated accordingly. More Accurate Auto Tone Highlights and shadows are now judged by how the final image is displayed, and clipping at both the black and white ends is more conservative, reducing crushed blacks and blown-out whites.

Leica M9 Returns The Leica M9 recipe has been recalibrated. Ricoh GR series color refinements. Smoother Auto Light As light changes continuously, brightness no longer jumps when the light level switches. Imported RAW files are also assessed from their capture settings and placed at the appropriate light level automatically. Auto Tone Graded by Light For each film, the handling of blacks and shadows is now set separately for low, normal, and bright light: in low light the mood of the night is preserved rather than forced brighter; in normal light the shadows open up more. All factory recipes have been recalibrated accordingly. More Accurate Auto Tone Highlights and shadows are now judged by how the final image is displayed, and clipping at both the black and white ends is more conservative, reducing crushed blacks and blown-out whites.

VibeCam now supports the variable-aperture lens on the iPhone 18 Pro series. Choose from four stops on the main camera — f/1.48, f/1.8, f/2.8, f/4.0. Open wide for portraits, stop down for landscapes: depth of field is yours to decide. Three exposure controls, each on its own. Aperture, shutter and ISO are independent. Lock any one you like and let the camera handle the rest: Lock only aperture → aperture priority Lock only shutter → shutter priority Lock aperture + shutter, ISO stays auto Lock all three → full manual No more mode switching: whatever you dial in gets locked, dial back to Auto and it's released. Exposure compensation keeps working while any parameter is locked — just like A mode + EV on a real camera. Aperture button. A new "Aperture" control in the bottom bar shows the lens's actual aperture in real time. The ultra wide, telephoto and front cameras have fixed apertures; tap to see the value. The bar now scrolls sideways, with the focus button at the far right. Other Removed the "Shooting Mode P / M" switch from the Pro menu. Adjusting shutter, ISO or aperture now enters manual automatically — no separate toggle needed. "Retain Settings" → Exposure now also keeps your aperture stop. Nothing changes for older models: shooting logic and layout stay exactly the same.

Upgraded Auto Tone to adapt to the lighting and tonal balance of each photo for more natural depth and gradation. Refined highlights, shadows, and overall contrast to reduce crushed blacks, clipped whites, and harsh tonal transitions. Completely recalibrated film and special recipes for more consistent results in daylight, indoors, and at night. Auto-adjusted results can still be fine-tuned or reset in the Darkroom. Simplified the viewfinder display and fixed several issues.

15 color negative / slide films fully recalibrated (5203, 5207, 5219, C200, Ektar 100, Portra 400, Pro 400H, Provia 100F, Superia 400, Ultramax 400, Velvia 100, E100, FP-100C, FNC, Gold 200): all five lookup tables per film rebuilt for shadow gradation and skin-tone rendering, with per-level EV baselines and softening radii recalibrated accordingly. F400 renamed to FNC: now explicitly modeled on Fujifilm Classic Neg., with a new three-word summary — "Cyan-Green Shadows | Warm Luminous Skin | Restrained Blue-Greens" — and a rewritten film story. Material ID, recipe ID, and LUT filenames are unchanged; existing photos are unaffected. Color engine defaults consolidated: the exposure / slope baselines of AgX, PBR Neutral, GT7, and Tony are now unified at 1.0. Auto lighting becomes the default for film recipes: enabled by default on 15 film recipes, automatically selecting the calibrated level based on ambient light at the moment of capture. The former "Adaptive Latitude" special recipe is merged into this behavior and has been retired.

15 color negative / slide films fully recalibrated (5203, 5207, 5219, C200, Ektar 100, Portra 400, Pro 400H, Provia 100F, Superia 400, Ultramax 400, Velvia 100, E100, FP-100C, FNC, Gold 200): all five lookup tables per film rebuilt for shadow gradation and skin-tone rendering, with per-level EV baselines and softening radii recalibrated accordingly. F400 renamed to FNC: now explicitly modeled on Fujifilm Classic Neg., with a new three-word summary — "Cyan-Green Shadows | Warm Luminous Skin | Restrained Blue-Greens" — and a rewritten film story. Material ID, recipe ID, and LUT filenames are unchanged; existing photos are unaffected. Color engine defaults consolidated: the exposure / slope baselines of AgX, PBR Neutral, GT7, and Tony are now unified at 1.0. Auto lighting becomes the default for film recipes: enabled by default on 15 film recipes, automatically selecting the calibrated level based on ambient light at the moment of capture. The former "Adaptive Latitude" special recipe is merged into this behavior and has been retired.

15 color negative / slide films fully recalibrated (5203, 5207, 5219, C200, Ektar 100, Portra 400, Pro 400H, Provia 100F, Superia 400, Ultramax 400, Velvia 100, E100, FP-100C, FNC, Gold 200): all five lookup tables per film rebuilt for shadow gradation and skin-tone rendering, with per-level EV baselines and softening radii recalibrated accordingly. F400 renamed to FNC: now explicitly modeled on Fujifilm Classic Neg., with a new three-word summary — "Cyan-Green Shadows | Warm Luminous Skin | Restrained Blue-Greens" — and a rewritten film story. Material ID, recipe ID, and LUT filenames are unchanged; existing photos are unaffected. Color engine defaults consolidated: the exposure / slope baselines of AgX, PBR Neutral, GT7, and Tony are now unified at 1.0. Auto lighting becomes the default for film recipes: enabled by default on 15 film recipes, automatically selecting the calibrated level based on ambient light at the moment of capture. The former "Adaptive Latitude" special recipe is merged into this behavior and has been retired.

15 color negative / slide films fully recalibrated (5203, 5207, 5219, C200, Ektar 100, Portra 400, Pro 400H, Provia 100F, Superia 400, Ultramax 400, Velvia 100, E100, FP-100C, FNC, Gold 200): all five lookup tables per film rebuilt for shadow gradation and skin-tone rendering, with per-level EV baselines and softening radii recalibrated accordingly. F400 renamed to FNC: now explicitly modeled on Fujifilm Classic Neg., with a new three-word summary — "Cyan-Green Shadows | Warm Luminous Skin | Restrained Blue-Greens" — and a rewritten film story. Material ID, recipe ID, and LUT filenames are unchanged; existing photos are unaffected. Color engine defaults consolidated: the exposure / slope baselines of AgX, PBR Neutral, GT7, and Tony are now unified at 1.0. Auto lighting becomes the default for film recipes: enabled by default on 15 film recipes, automatically selecting the calibrated level based on ambient light at the moment of capture. The former "Adaptive Latitude" special recipe is merged into this behavior and has been retired.

15 color negative / slide films fully recalibrated (5203, 5207, 5219, C200, Ektar 100, Portra 400, Pro 400H, Provia 100F, Superia 400, Ultramax 400, Velvia 100, E100, FP-100C, FNC, Gold 200): all five lookup tables per film rebuilt for shadow gradation and skin-tone rendering, with per-level EV baselines and softening radii recalibrated accordingly. F400 renamed to FNC: now explicitly modeled on Fujifilm Classic Neg., with a new three-word summary — "Cyan-Green Shadows | Warm Luminous Skin | Restrained Blue-Greens" — and a rewritten film story. Material ID, recipe ID, and LUT filenames are unchanged; existing photos are unaffected. Color engine defaults consolidated: the exposure / slope baselines of AgX, PBR Neutral, GT7, and Tony are now unified at 1.0. Auto lighting becomes the default for film recipes: enabled by default on 15 film recipes, automatically selecting the calibrated level based on ambient light at the moment of capture. The former "Adaptive Latitude" special recipe is merged into this behavior and has been retired.

15 color negative / slide films fully recalibrated (5203, 5207, 5219, C200, Ektar 100, Portra 400, Pro 400H, Provia 100F, Superia 400, Ultramax 400, Velvia 100, E100, FP-100C, FNC, Gold 200): all five lookup tables per film rebuilt for shadow gradation and skin-tone rendering, with per-level EV baselines and softening radii recalibrated accordingly. F400 renamed to FNC: now explicitly modeled on Fujifilm Classic Neg., with a new three-word summary — "Cyan-Green Shadows | Warm Luminous Skin | Restrained Blue-Greens" — and a rewritten film story. Material ID, recipe ID, and LUT filenames are unchanged; existing photos are unaffected. Color engine defaults consolidated: the exposure / slope baselines of AgX, PBR Neutral, GT7, and Tony are now unified at 1.0. Auto lighting becomes the default for film recipes: enabled by default on 15 film recipes, automatically selecting the calibrated level based on ambient light at the moment of capture. The former "Adaptive Latitude" special recipe is merged into this behavior and has been retired.

15 color negative / slide films fully recalibrated (5203, 5207, 5219, C200, Ektar 100, Portra 400, Pro 400H, Provia 100F, Superia 400, Ultramax 400, Velvia 100, E100, FP-100C, FNC, Gold 200): all five lookup tables per film rebuilt for shadow gradation and skin-tone rendering, with per-level EV baselines and softening radii recalibrated accordingly. F400 renamed to FNC: now explicitly modeled on Fujifilm Classic Neg., with a new three-word summary — "Cyan-Green Shadows | Warm Luminous Skin | Restrained Blue-Greens" — and a rewritten film story. Material ID, recipe ID, and LUT filenames are unchanged; existing photos are unaffected. Color engine defaults consolidated: the exposure / slope baselines of AgX, PBR Neutral, GT7, and Tony are now unified at 1.0. Auto lighting becomes the default for film recipes: enabled by default on 15 film recipes, automatically selecting the calibrated level based on ambient light at the moment of capture. The former "Adaptive Latitude" special recipe is merged into this behavior and has been retired.

6.0 | From Capture to Development, Welcome to the Recipe Era This is the biggest update to Vibe Cam yet. We’ve rebuilt the entire experience, from choosing a style and shooting to redeveloping and managing your work. • All-new Recipe System Films, cameras, custom presets, and “My” settings are now unified in the Recipe Library. For some recipes, you can preview sample works first, then open the details to see the actual shooting specs, colors, and effects used for photos and videos. Built-in recipes can be saved to “My,” with support for renaming, adjusting, and custom sorting. • Recipes Are More Than Filters Photos and videos can each have their own continuous zoom or fixed lens settings, as well as output specifications. Photo recipes can also manage exposure latitude, RAW decoding, color engine, HDR, Live Photo, flash, borders, crop, tone, grain, softening, halation, glow, chromatic aberration, vignette, and more. The new Auto Lighting selects the right rendering from five calibrated levels based on the brightness of the scene. • All-new Darkroom As long as the negative is preserved, you can apply a different recipe to a photo, redevelop it, and continue adjusting its development and effects. Each photo remembers its own rendering version, so updating or deleting a recipe later will not change your older works. After editing, you can export the photo, or update or save your own recipe separately. • All-new Built-in Gallery Photos, Live Photos, and videos are now managed in one place. It supports media filtering, favorites, batch actions, large preview, Live Photo autoplay, video playback, sharing, and deletion. You can import RAW files from the system Photos app, export finished images or original negatives, and use the new system album backup and storage management features. • Import Your Own Cube Standard 3D Cube LUTs are supported. After import, a “My” recipe is created automatically, which you can continue adjusting and use for photography, the darkroom, and video recording. • Simpler to Use All films and custom presets are available. The free version lets you experience the full shooting and editing workflow, while Pro offers permanent negative storage and unlimited “My” recipes. We’ve also redesigned film and camera icons, added multiple new custom presets, improved 19 languages, and optimized launch, recipe and lens switching, video audio, background recovery, and Live Photo stability.

6.0 | From Capture to Development, Welcome to the Recipe Era This is the biggest update to Vibe Cam yet. We’ve rebuilt the entire experience, from choosing a style and shooting to redeveloping and managing your work. • All-new Recipe System Films, cameras, custom presets, and “My” settings are now unified in the Recipe Library. For some recipes, you can preview sample works first, then open the details to see the actual shooting specs, colors, and effects used for photos and videos. Built-in recipes can be saved to “My,” with support for renaming, adjusting, and custom sorting. • Recipes Are More Than Filters Photos and videos can each have their own continuous zoom or fixed lens settings, as well as output specifications. Photo recipes can also manage exposure latitude, RAW decoding, color engine, HDR, Live Photo, flash, borders, crop, tone, grain, softening, halation, glow, chromatic aberration, vignette, and more. The new Auto Lighting selects the right rendering from five calibrated levels based on the brightness of the scene. • All-new Darkroom As long as the negative is preserved, you can apply a different recipe to a photo, redevelop it, and continue adjusting its development and effects. Each photo remembers its own rendering version, so updating or deleting a recipe later will not change your older works. After editing, you can export the photo, or update or save your own recipe separately. • All-new Built-in Gallery Photos, Live Photos, and videos are now managed in one place. It supports media filtering, favorites, batch actions, large preview, Live Photo autoplay, video playback, sharing, and deletion. You can import RAW files from the system Photos app, export finished images or original negatives, and use the new system album backup and storage management features. • Import Your Own Cube Standard 3D Cube LUTs are supported. After import, a “My” recipe is created automatically, which you can continue adjusting and use for photography, the darkroom, and video recording. • Simpler to Use All films and custom presets are available. The free version lets you experience the full shooting and editing workflow, while Pro offers permanent negative storage and unlimited “My” recipes. We’ve also redesigned film and camera icons, added multiple new custom presets, improved 19 languages, and optimized launch, recipe and lens switching, video audio, background recovery, and Live Photo stability.

This update adds a lens chromatic aberration effect, rewrites the film grain generation algorithm, and adjusts the layout of the capture screen. [New] Chromatic Aberration Simulates the lateral chromatic aberration of real lenses: at light–dark edges, one side shifts toward red-orange and the other toward blue-cyan, becoming more pronounced toward the corners of the frame. This is one of the most recognizable optical signatures of vintage lenses, toy cameras, and disposable film cameras. A phone's main-camera ISP usually corrects it away, so here we add it back algorithmically. The implementation uses a radial polynomial displacement model for lateral chromatic aberration, combined with spectrally weighted multi-tap sampling, producing a continuous transition from orange through white to cyan rather than a crude three-color split. Six parameters are provided — Strength, Corner Concentration, Sharpness Retention, Color Purity, Sample Count, and Color Direction — along with two built-in calibrations, "Fringe" and "Lens." Displacement is measured in 12 MP-equivalent pixels, so the editor preview matches full-resolution exports. Chromatic aberration is off by default and can be enabled on the capture screen and in the RAW editor. [Improved] Film Grain Grain noise has changed from white noise to lattice value noise, restoring the clumping of silver-halide grains instead of a uniform, per-pixel fine sand. We also fixed grain size drifting with output resolution: the editor preview and the exported photo now show the same grain scale. Grain amounts for all film presets have been recalibrated, so finished images look the same as before. The grain slider in the RAW editor now spans 0–100 instead of 0–50; the maximum available grain is unchanged, only the scale is finer. [Changed] Capture Screen · The self-timer has moved to the top toolbar, alongside the flash; · The sharpening toggle has been removed; capture now always uses the no-extra-sharpening output path; · Two buttons remain on each side of the shutter at the bottom, in a symmetric, evenly divided layout. [Other] · After switching cameras, photo and video now retain the previous resolution, format, and frame rate wherever possible; · Fixed an issue where changing the image resolution could affect the capture mode and Live Photos; · Rebuilt the settings storage layer for improved stability.

This update adds a lens chromatic aberration effect, rewrites the film grain generation algorithm, and adjusts the layout of the capture screen. [New] Chromatic Aberration Simulates the lateral chromatic aberration of real lenses: at light–dark edges, one side shifts toward red-orange and the other toward blue-cyan, becoming more pronounced toward the corners of the frame. This is one of the most recognizable optical signatures of vintage lenses, toy cameras, and disposable film cameras. A phone's main-camera ISP usually corrects it away, so here we add it back algorithmically. The implementation uses a radial polynomial displacement model for lateral chromatic aberration, combined with spectrally weighted multi-tap sampling, producing a continuous transition from orange through white to cyan rather than a crude three-color split. Six parameters are provided — Strength, Corner Concentration, Sharpness Retention, Color Purity, Sample Count, and Color Direction — along with two built-in calibrations, "Fringe" and "Lens." Displacement is measured in 12 MP-equivalent pixels, so the editor preview matches full-resolution exports. Chromatic aberration is off by default and can be enabled on the capture screen and in the RAW editor. [Improved] Film Grain Grain noise has changed from white noise to lattice value noise, restoring the clumping of silver-halide grains instead of a uniform, per-pixel fine sand. We also fixed grain size drifting with output resolution: the editor preview and the exported photo now show the same grain scale. Grain amounts for all film presets have been recalibrated, so finished images look the same as before. The grain slider in the RAW editor now spans 0–100 instead of 0–50; the maximum available grain is unchanged, only the scale is finer. [Changed] Capture Screen · The self-timer has moved to the top toolbar, alongside the flash; · The sharpening toggle has been removed; capture now always uses the no-extra-sharpening output path; · Two buttons remain on each side of the shutter at the bottom, in a symmetric, evenly divided layout. [Other] · After switching cameras, photo and video now retain the previous resolution, format, and frame rate wherever possible; · Fixed an issue where changing the image resolution could affect the capture mode and Live Photos; · Rebuilt the settings storage layer for improved stability.