[RAW9 Decoding Engine] Following the integration of RAW9 into the RAW editor in the previous version, this update brings the new generation Apple RAW Decoder to the camera. After enabling "Shoot with RAW9" in "Pro → Other Settings", the film mode will image directly using RAW9. Based on a tiled CoreML model, it jointly solves demosaicing and denoising on the Apple Neural Engine (ANE). Compared to RAW8—used since 2018, which separates demosaicing and denoising into two independent processes—RAW9 delivers significantly superior rendering quality in edges, textures, and low-light scenes. Note: RAW9 is only supported on iOS 27 and above, which is currently in the system beta phase. For stable output, we still recommend prioritizing RAW8 until the official iOS 27 release matures before fully switching. [Standard RAW Chromatic Aberration Correction] We have rewritten the axial chromatic aberration (LoCA / color fringing) correction algorithm for Standard RAW. The correction is now performed in the scene-referred linear space of the development pipeline, prior to the view transform (benchmarking the defringe position in Lightroom / RawTherapee / darktable). The detection utilizes a scale-independent adaptive ratio: normalized by "local chroma protrusion of high-contrast edges / neighborhood chroma energy". Only those exceeding the threshold are identified as color fringes. Then, local desaturation is applied exclusively to the targeted hues using a narrow-band gate in the OKLab hue space, leaving flat solid colors and normal areas unaffected. While maintaining the original purple and green fringing removal, this version adds two new correction channels: orange and blue. The orange band actively avoids skin reds and pure yellows, while the blue band avoids blue skies and water surfaces. These are specifically designed to clean up residual orange and blue fringing on high-contrast edges caused by backlighting and large apertures, resulting in cleaner and more transparent colors. The entire process is non-destructive and can be freely combined with other editing features like decoder versions, color engines, and film simulations.

[RAW9 Decode Engine Support] At WWDC 2026, Apple introduced its next-generation Apple RAW Decoder, RAW9. It requires iOS 27 or later and is still in system beta, with a known issue of black guide lines. Unlike RAW8 (in use since 2018), RAW9 no longer splits demosaicing and denoising into two separate stages; instead it uses a tiled CoreML model to jointly solve demosaic and denoise on the Apple Neural Engine (ANE), markedly improving render quality on edges, textures, and low-light scenes. For reliable output we still recommend RAW8, switching over fully once iOS 27 reaches a stable release. Our RAW editor now fully supports it: a RAW9 toggle on the color-engine title row lets you switch with one tap, re-developing the same ProRAW or standard RAW with different decoder generations for real-time comparison. Switching only changes the "development process" — the original file is never modified and you can revert to RAW8 anytime. The decoded result still stacks with the color engine, film simulation, HDR, halation, and bloom, and the HDR Gain Map is recomputed for the selected version, keeping the whole pipeline consistent. Tap the ? beside the toggle for the full technical notes (presentRAWVersionAlert). [Tone Adjustment (New)] A new Tone panel sits next to Exposure in the RAW editor's Light tab, with five controls — Contrast, Highlights, Shadows, Whites, and Blacks (each ±50, default 0). Unlike a plain tone curve, Tone operates in scene-referred linear space using professional darkroom algorithms: Contrast and the black/white points follow darktable basicadj, while Highlights and Shadows use a blurred luminance mask for local adaptation (darktable shadhi), reshaping tones by zone — preserving highlight roll-off and lifting shadow detail without going flat. It's fully non-destructive and stacks freely with the decode version and other edits; tap the ? beside "Tone" to see how each parameter works and recommended use.

[RAW9 Decode Engine Support] At WWDC 2026, Apple introduced its next-generation Apple RAW Decoder, RAW9. It requires iOS 27 or later and is still in system beta, with a known issue of black guide lines. Unlike RAW8 (in use since 2018), RAW9 no longer splits demosaicing and denoising into two separate stages; instead it uses a tiled CoreML model to jointly solve demosaic and denoise on the Apple Neural Engine (ANE), markedly improving render quality on edges, textures, and low-light scenes. For reliable output we still recommend RAW8, switching over fully once iOS 27 reaches a stable release. Our RAW editor now fully supports it: a RAW9 toggle on the color-engine title row lets you switch with one tap, re-developing the same ProRAW or standard RAW with different decoder generations for real-time comparison. Switching only changes the "development process" — the original file is never modified and you can revert to RAW8 anytime. The decoded result still stacks with the color engine, film simulation, HDR, halation, and bloom, and the HDR Gain Map is recomputed for the selected version, keeping the whole pipeline consistent. Tap the ? beside the toggle for the full technical notes (presentRAWVersionAlert). [Tone Adjustment (New)] A new Tone panel sits next to Exposure in the RAW editor's Light tab, with five controls — Contrast, Highlights, Shadows, Whites, and Blacks (each ±50, default 0). Unlike a plain tone curve, Tone operates in scene-referred linear space using professional darkroom algorithms: Contrast and the black/white points follow darktable basicadj, while Highlights and Shadows use a blurred luminance mask for local adaptation (darktable shadhi), reshaping tones by zone — preserving highlight roll-off and lifting shadow detail without going flat. It's fully non-destructive and stacks freely with the decode version and other edits; tap the ? beside "Tone" to see how each parameter works and recommended use.

[RAW9 Decode Engine Support] At WWDC 2026, Apple introduced its next-generation Apple RAW Decoder, RAW9. It requires iOS 27 or later and is still in system beta, with a known issue of black guide lines. Unlike RAW8 (in use since 2018), RAW9 no longer splits demosaicing and denoising into two separate stages; instead it uses a tiled CoreML model to jointly solve demosaic and denoise on the Apple Neural Engine (ANE), markedly improving render quality on edges, textures, and low-light scenes. For reliable output we still recommend RAW8, switching over fully once iOS 27 reaches a stable release. Our RAW editor now fully supports it: a RAW9 toggle on the color-engine title row lets you switch with one tap, re-developing the same ProRAW or standard RAW with different decoder generations for real-time comparison. Switching only changes the "development process" — the original file is never modified and you can revert to RAW8 anytime. The decoded result still stacks with the color engine, film simulation, HDR, halation, and bloom, and the HDR Gain Map is recomputed for the selected version, keeping the whole pipeline consistent. Tap the ? beside the toggle for the full technical notes (presentRAWVersionAlert). [Tone Adjustment (New)] A new Tone panel sits next to Exposure in the RAW editor's Light tab, with five controls — Contrast, Highlights, Shadows, Whites, and Blacks (each ±50, default 0). Unlike a plain tone curve, Tone operates in scene-referred linear space using professional darkroom algorithms: Contrast and the black/white points follow darktable basicadj, while Highlights and Shadows use a blurred luminance mask for local adaptation (darktable shadhi), reshaping tones by zone — preserving highlight roll-off and lifting shadow detail without going flat. It's fully non-destructive and stacks freely with the decode version and other edits; tap the ? beside "Tone" to see how each parameter works and recommended use.

[RAW9 Decode Engine Support] At WWDC 2026, Apple introduced its next-generation Apple RAW Decoder, RAW9. It requires iOS 27 or later and is still in system beta, with a known issue of black guide lines. Unlike RAW8 (in use since 2018), RAW9 no longer splits demosaicing and denoising into two separate stages; instead it uses a tiled CoreML model to jointly solve demosaic and denoise on the Apple Neural Engine (ANE), markedly improving render quality on edges, textures, and low-light scenes. For reliable output we still recommend RAW8, switching over fully once iOS 27 reaches a stable release. Our RAW editor now fully supports it: a RAW9 toggle on the color-engine title row lets you switch with one tap, re-developing the same ProRAW or standard RAW with different decoder generations for real-time comparison. Switching only changes the "development process" — the original file is never modified and you can revert to RAW8 anytime. The decoded result still stacks with the color engine, film simulation, HDR, halation, and bloom, and the HDR Gain Map is recomputed for the selected version, keeping the whole pipeline consistent. Tap the ? beside the toggle for the full technical notes (presentRAWVersionAlert). [Tone Adjustment (New)] A new Tone panel sits next to Exposure in the RAW editor's Light tab, with five controls — Contrast, Highlights, Shadows, Whites, and Blacks (each ±50, default 0). Unlike a plain tone curve, Tone operates in scene-referred linear space using professional darkroom algorithms: Contrast and the black/white points follow darktable basicadj, while Highlights and Shadows use a blurred luminance mask for local adaptation (darktable shadhi), reshaping tones by zone — preserving highlight roll-off and lifting shadow detail without going flat. It's fully non-destructive and stacks freely with the decode version and other edits; tap the ? beside "Tone" to see how each parameter works and recommended use.

[RAW9 Decode Engine Support] At WWDC 2026, Apple introduced its next-generation Apple RAW Decoder, RAW9. It requires iOS 27 or later and is still in system beta, with a known issue of black guide lines. Unlike RAW8 (in use since 2018), RAW9 no longer splits demosaicing and denoising into two separate stages; instead it uses a tiled CoreML model to jointly solve demosaic and denoise on the Apple Neural Engine (ANE), markedly improving render quality on edges, textures, and low-light scenes. For reliable output we still recommend RAW8, switching over fully once iOS 27 reaches a stable release. Our RAW editor now fully supports it: a RAW9 toggle on the color-engine title row lets you switch with one tap, re-developing the same ProRAW or standard RAW with different decoder generations for real-time comparison. Switching only changes the "development process" — the original file is never modified and you can revert to RAW8 anytime. The decoded result still stacks with the color engine, film simulation, HDR, halation, and bloom, and the HDR Gain Map is recomputed for the selected version, keeping the whole pipeline consistent. Tap the ? beside the toggle for the full technical notes (presentRAWVersionAlert). [Tone Adjustment (New)] A new Tone panel sits next to Exposure in the RAW editor's Light tab, with five controls — Contrast, Highlights, Shadows, Whites, and Blacks (each ±50, default 0). Unlike a plain tone curve, Tone operates in scene-referred linear space using professional darkroom algorithms: Contrast and the black/white points follow darktable basicadj, while Highlights and Shadows use a blurred luminance mask for local adaptation (darktable shadhi), reshaping tones by zone — preserving highlight roll-off and lifting shadow detail without going flat. It's fully non-destructive and stacks freely with the decode version and other edits; tap the ? beside "Tone" to see how each parameter works and recommended use.

[RAW9 Decode Engine Support] At WWDC 2026, Apple introduced its next-generation Apple RAW Decoder, RAW9. It requires iOS 27 or later and is still in system beta, with a known issue of black guide lines. Unlike RAW8 (in use since 2018), RAW9 no longer splits demosaicing and denoising into two separate stages; instead it uses a tiled CoreML model to jointly solve demosaic and denoise on the Apple Neural Engine (ANE), markedly improving render quality on edges, textures, and low-light scenes. For reliable output we still recommend RAW8, switching over fully once iOS 27 reaches a stable release. Our RAW editor now fully supports it: a RAW9 toggle on the color-engine title row lets you switch with one tap, re-developing the same ProRAW or standard RAW with different decoder generations for real-time comparison. Switching only changes the "development process" — the original file is never modified and you can revert to RAW8 anytime. The decoded result still stacks with the color engine, film simulation, HDR, halation, and bloom, and the HDR Gain Map is recomputed for the selected version, keeping the whole pipeline consistent. Tap the ? beside the toggle for the full technical notes (presentRAWVersionAlert). [Tone Adjustment (New)] A new Tone panel sits next to Exposure in the RAW editor's Light tab, with five controls — Contrast, Highlights, Shadows, Whites, and Blacks (each ±50, default 0). Unlike a plain tone curve, Tone operates in scene-referred linear space using professional darkroom algorithms: Contrast and the black/white points follow darktable basicadj, while Highlights and Shadows use a blurred luminance mask for local adaptation (darktable shadhi), reshaping tones by zone — preserving highlight roll-off and lifting shadow detail without going flat. It's fully non-destructive and stacks freely with the decode version and other edits; tap the ? beside "Tone" to see how each parameter works and recommended use.

Lock Screen Camera Control, One-Tap Access Fully supports iOS 18 "Camera Control." After setting Vibe Cam as the default camera for Camera Control, you can quickly launch it by pressing the Camera Control button on the lock screen, or via the Control Center and lock screen shortcuts. After Face ID or passcode verification, you will directly enter the full shooting interface, significantly shortening the path from launching to framing, ensuring you never miss a moment worth capturing. Fuji100 Simulation Remake Recalibrated the Fuji100 film simulation, based on the Fujifilm FP-100C peel-apart instant film. It restores its iconic low-saturation color rendering, clear cyan shadows, and soft highlight roll-off, offering a more refined and enduring texture. We have also refined the color curves for Pro400H, Superia 400, C200, Gold 200, and other films, making the overall simulations more stable and closer to the look of real film. Bloom and Halation Upgraded to Curve Control The adjustment for Bloom and Halation has been upgraded from a single slider to a graphical curve panel. You can intuitively grasp the relationship between threshold, intensity, diffusion, and hue on the curve for more precise tuning. The curve and sliders are linked bi-directionally, making the adjustment results clear at a glance. Whether creating a soft highlight glow or restoring the red halation unique to film, you can control it with ease. We continue to optimize stability and usage details. Thank you for choosing Vibe Cam.

Lock Screen Camera Control, One-Tap Access Fully supports iOS 18 "Camera Control." After setting Vibe Cam as the default camera for Camera Control, you can quickly launch it by pressing the Camera Control button on the lock screen, or via the Control Center and lock screen shortcuts. After Face ID or passcode verification, you will directly enter the full shooting interface, significantly shortening the path from launching to framing, ensuring you never miss a moment worth capturing. Fuji100 Simulation Remake Recalibrated the Fuji100 film simulation, based on the Fujifilm FP-100C peel-apart instant film. It restores its iconic low-saturation color rendering, clear cyan shadows, and soft highlight roll-off, offering a more refined and enduring texture. We have also refined the color curves for Pro400H, Superia 400, C200, Gold 200, and other films, making the overall simulations more stable and closer to the look of real film. Bloom and Halation Upgraded to Curve Control The adjustment for Bloom and Halation has been upgraded from a single slider to a graphical curve panel. You can intuitively grasp the relationship between threshold, intensity, diffusion, and hue on the curve for more precise tuning. The curve and sliders are linked bi-directionally, making the adjustment results clear at a glance. Whether creating a soft highlight glow or restoring the red halation unique to film, you can control it with ease. We continue to optimize stability and usage details. Thank you for choosing Vibe Cam.

Lock Screen Camera Control, One-Tap Access Fully supports iOS 18 "Camera Control." After setting Vibe Cam as the default camera for Camera Control, you can quickly launch it by pressing the Camera Control button on the lock screen, or via the Control Center and lock screen shortcuts. After Face ID or passcode verification, you will directly enter the full shooting interface, significantly shortening the path from launching to framing, ensuring you never miss a moment worth capturing. Fuji100 Simulation Remake Recalibrated the Fuji100 film simulation, based on the Fujifilm FP-100C peel-apart instant film. It restores its iconic low-saturation color rendering, clear cyan shadows, and soft highlight roll-off, offering a more refined and enduring texture. We have also refined the color curves for Pro400H, Superia 400, C200, Gold 200, and other films, making the overall simulations more stable and closer to the look of real film. Bloom and Halation Upgraded to Curve Control The adjustment for Bloom and Halation has been upgraded from a single slider to a graphical curve panel. You can intuitively grasp the relationship between threshold, intensity, diffusion, and hue on the curve for more precise tuning. The curve and sliders are linked bi-directionally, making the adjustment results clear at a glance. Whether creating a soft highlight glow or restoring the red halation unique to film, you can control it with ease. We continue to optimize stability and usage details. Thank you for choosing Vibe Cam.

Lock Screen Camera Control, One-Tap Access Fully supports iOS 18 "Camera Control." After setting Vibe Cam as the default camera for Camera Control, you can quickly launch it by pressing the Camera Control button on the lock screen, or via the Control Center and lock screen shortcuts. After Face ID or passcode verification, you will directly enter the full shooting interface, significantly shortening the path from launching to framing, ensuring you never miss a moment worth capturing. Fuji100 Simulation Remake Recalibrated the Fuji100 film simulation, based on the Fujifilm FP-100C peel-apart instant film. It restores its iconic low-saturation color rendering, clear cyan shadows, and soft highlight roll-off, offering a more refined and enduring texture. We have also refined the color curves for Pro400H, Superia 400, C200, Gold 200, and other films, making the overall simulations more stable and closer to the look of real film. Bloom and Halation Upgraded to Curve Control The adjustment for Bloom and Halation has been upgraded from a single slider to a graphical curve panel. You can intuitively grasp the relationship between threshold, intensity, diffusion, and hue on the curve for more precise tuning. The curve and sliders are linked bi-directionally, making the adjustment results clear at a glance. Whether creating a soft highlight glow or restoring the red halation unique to film, you can control it with ease. We continue to optimize stability and usage details. Thank you for choosing Vibe Cam.

Lock Screen Camera Control, One-Tap Access Fully supports iOS 18 "Camera Control." After setting Vibe Cam as the default camera for Camera Control, you can quickly launch it by pressing the Camera Control button on the lock screen, or via the Control Center and lock screen shortcuts. After Face ID or passcode verification, you will directly enter the full shooting interface, significantly shortening the path from launching to framing, ensuring you never miss a moment worth capturing. Fuji100 Simulation Remake Recalibrated the Fuji100 film simulation, based on the Fujifilm FP-100C peel-apart instant film. It restores its iconic low-saturation color rendering, clear cyan shadows, and soft highlight roll-off, offering a more refined and enduring texture. We have also refined the color curves for Pro400H, Superia 400, C200, Gold 200, and other films, making the overall simulations more stable and closer to the look of real film. Bloom and Halation Upgraded to Curve Control The adjustment for Bloom and Halation has been upgraded from a single slider to a graphical curve panel. You can intuitively grasp the relationship between threshold, intensity, diffusion, and hue on the curve for more precise tuning. The curve and sliders are linked bi-directionally, making the adjustment results clear at a glance. Whether creating a soft highlight glow or restoring the red halation unique to film, you can control it with ease. We continue to optimize stability and usage details. Thank you for choosing Vibe Cam.

This update focuses on "faster shooting access" and "more precise color control," bringing three key improvements. Lock Screen Camera Control, One-Tap Access Fully supports iOS 18 "Camera Control." After setting Vibe Cam as the default camera for Camera Control, you can quickly launch it by pressing the Camera Control button on the lock screen, or via the Control Center and lock screen shortcuts. After Face ID or passcode verification, you will directly enter the full shooting interface, significantly shortening the path from launching to framing, ensuring you never miss a moment worth capturing. Fuji100 Simulation Remake Recalibrated the Fuji100 film simulation, based on the Fujifilm FP-100C peel-apart instant film. It restores its iconic low-saturation color rendering, clear cyan shadows, and soft highlight roll-off, offering a more refined and enduring texture. We have also refined the color curves for Pro400H, Superia 400, C200, Gold 200, and other films, making the overall simulations more stable and closer to the look of real film. Bloom and Halation Upgraded to Curve Control The adjustment for Bloom and Halation has been upgraded from a single slider to a graphical curve panel. You can intuitively grasp the relationship between threshold, intensity, diffusion, and hue on the curve for more precise tuning. The curve and sliders are linked bi-directionally, making the adjustment results clear at a glance. Whether creating a soft highlight glow or restoring the red halation unique to film, you can control it with ease. We continue to optimize stability and usage details. Thank you for choosing Vibe Cam.

Five open-source standards from film/VFX, 3D rendering, and color science — plus Apple's native pipeline — give you six freely switchable engines: AgX (all-purpose film): Blender 4.0+'s default view transform. Highlights roll off naturally toward off-white, midtones stay restrained and clean, and highlights only desaturate without shifting hue — the most versatile film base. ACES (cinema film): the film-industry standard at Hollywood, Netflix, and Disney. Now with the complete ACES 1.x standard set plus 1.3 Reference Gamut Compression — solid shadows and a restrained, high-contrast cinematic midtone. PBR Neutral (color accuracy): Khronos Group's 2024 industry standard. Strictly linear midtones and true what-you-see-is-what-you-get — ideal for products, materials, and color charts. GT7 (color negative): from Polyphony Digital's 2025 SIGGRAPH paper, using per-channel + ICtCp dual-path tone mapping. Tuned by default to a classic color-negative look (Kodak Portra / Vision3 vibe), with a slight highlight color cast and film-leaning midtones. Switch to Original to restore racing-game-style high-saturation, strict hue fidelity — purpose-built to tame the hue shift that highly saturated colors suffer after the tone curve, so neon, car paint, and blown-out night scenes keep their color. Tony McMapface (zero-knob): Tomasz Stachowiak's open-source 48³ perceptual color LUT. It refuses any stylization, aiming for "what your eyes actually see." Native: keeps Apple's default pipeline, perfectly matching the system Photos app and cross-device AirDrop display. Every engine (except Native) ships with two calibrations — Original and Recommended — switchable with one tap at the top of the parameter panel. Original faithfully restores the algorithm author's original settings for the authentic experience; Recommended is a default fine-tuned for how things look on iPhone screens and for film-simulation use. For most engines, Recommended just brightens things slightly to better suit phone screens (AgX / ACES / PBR / Tony); GT7 instead switches to a different style (racing-game feel ↔ color-negative feel). Every engine previews in real time right in the viewfinder while you shoot, switches losslessly in the RAW editor, and always preserves the original data. HSL Mixer A new 8-color panel inside the RAW editor (red / orange / yellow / green / cyan / blue / purple / magenta), each with hue, saturation, and luminance. The algorithm runs in the perceptually uniform OKLCh color space, so luminance edits feel equally strong in shadows and highlights — avoiding the blotchiness and color noise that traditional HSL often produces in natural scenes. Anchor angles are calibrated to the natural colors common in photography (grass green, skin tone, sky blue, brick red, and so on), behaving just like the Lightroom HSL Mixer. With TAT (Targeted Adjustment) support: press and hold anywhere on the image to pick a color and drag to adjust. It automatically detects the relevant hue segment and adjusts via two coordinated anchors, avoiding the bias of single-anchor color picking. Color Grading A new three-way grading module: shadows, midtones, and highlights each get hue, saturation, and luminance, with two global parameters — Balance and Blend — controlling how the three regions are weighted along the luminance axis and how softly they transition. The algorithm uses three-phase, zero-mean color-vector summation to avoid the visual drift (Abney shift) that highly saturated colors show after a hue rotation — in line with the industry implementations in DaVinci Resolve and Lightroom Color Grading.

Five open-source standards from film/VFX, 3D rendering, and color science — plus Apple's native pipeline — give you six freely switchable engines: AgX (all-purpose film): Blender 4.0+'s default view transform. Highlights roll off naturally toward off-white, midtones stay restrained and clean, and highlights only desaturate without shifting hue — the most versatile film base. ACES (cinema film): the film-industry standard at Hollywood, Netflix, and Disney. Now with the complete ACES 1.x standard set plus 1.3 Reference Gamut Compression — solid shadows and a restrained, high-contrast cinematic midtone. PBR Neutral (color accuracy): Khronos Group's 2024 industry standard. Strictly linear midtones and true what-you-see-is-what-you-get — ideal for products, materials, and color charts. GT7 (color negative): from Polyphony Digital's 2025 SIGGRAPH paper, using per-channel + ICtCp dual-path tone mapping. Tuned by default to a classic color-negative look (Kodak Portra / Vision3 vibe), with a slight highlight color cast and film-leaning midtones. Switch to Original to restore racing-game-style high-saturation, strict hue fidelity — purpose-built to tame the hue shift that highly saturated colors suffer after the tone curve, so neon, car paint, and blown-out night scenes keep their color. Tony McMapface (zero-knob): Tomasz Stachowiak's open-source 48³ perceptual color LUT. It refuses any stylization, aiming for "what your eyes actually see." Native: keeps Apple's default pipeline, perfectly matching the system Photos app and cross-device AirDrop display. Every engine (except Native) ships with two calibrations — Original and Recommended — switchable with one tap at the top of the parameter panel. Original faithfully restores the algorithm author's original settings for the authentic experience; Recommended is a default fine-tuned for how things look on iPhone screens and for film-simulation use. For most engines, Recommended just brightens things slightly to better suit phone screens (AgX / ACES / PBR / Tony); GT7 instead switches to a different style (racing-game feel ↔ color-negative feel). Every engine previews in real time right in the viewfinder while you shoot, switches losslessly in the RAW editor, and always preserves the original data. HSL Mixer A new 8-color panel inside the RAW editor (red / orange / yellow / green / cyan / blue / purple / magenta), each with hue, saturation, and luminance. The algorithm runs in the perceptually uniform OKLCh color space, so luminance edits feel equally strong in shadows and highlights — avoiding the blotchiness and color noise that traditional HSL often produces in natural scenes. Anchor angles are calibrated to the natural colors common in photography (grass green, skin tone, sky blue, brick red, and so on), behaving just like the Lightroom HSL Mixer. With TAT (Targeted Adjustment) support: press and hold anywhere on the image to pick a color and drag to adjust. It automatically detects the relevant hue segment and adjusts via two coordinated anchors, avoiding the bias of single-anchor color picking. Color Grading A new three-way grading module: shadows, midtones, and highlights each get hue, saturation, and luminance, with two global parameters — Balance and Blend — controlling how the three regions are weighted along the luminance axis and how softly they transition. The algorithm uses three-phase, zero-mean color-vector summation to avoid the visual drift (Abney shift) that highly saturated colors show after a hue rotation — in line with the industry implementations in DaVinci Resolve and Lightroom Color Grading.

This update focuses on a systematic upgrade to the camera's shooting and RAW editing capabilities centered around the "Professional Color Workflow." It introduces a complete color engine system, an HSL Mixer, and a Color Grading module, along with comprehensive optimizations for real-time preview, film simulations, and global localization. All-New Color Engine System Added 5 open-source standard solutions from the film industry, 3D rendering, and color science fields, offering a total of 6 freely switchable engines including Apple's native: AgX (Film Look): Blender 4.0+ default view transform, featuring natural highlight roll-off and clean, restrained midtones. ACES Fitted (Hollywood Cinematic): The industry standard for Hollywood, Netflix, and Disney. Now includes the complete ACES 1.x standard trio and 1.3 Reference Gamut Compression. PBR Neutral (Color Fidelity): Khronos Group 2024 industry standard. Strictly linear midtones, ideal for products, materials, and color checker scenes. GT7 (High-Saturation Fidelity): Polyphony Digital 2025 SIGGRAPH paper solution. Specifically resolves hue shifts in highly saturated colors after curve adjustments; excels in neon, car paint, and night scenes. Tony McMapface (Zero Knobs): Tomasz Stachowiak's open-source 48³ perceptual color LUT, aiming for "what the eye sees." Native: Retains Apple's default pipeline, ensuring complete consistency with the Photos app and cross-device AirDrop display. All engines support real-time preview in the viewfinder during shooting and lossless switching in the RAW editor, always preserving original data. HSL Mixer Introduced an 8-color independent adjustment panel (Red / Orange / Yellow / Green / Aqua / Blue / Purple / Magenta) within the RAW editor. Each color offers Hue, Saturation, and Luminance controls. The algorithm runs in the OKLCh perceptually uniform color space, ensuring consistent visual intensity for luminance adjustments across shadows and highlights, avoiding the common spotting and color noise issues of traditional HSL in natural scenes. Anchor angles are calibrated to common natural colors in photography (grass green, skin tones, sky blue, brick red, etc.), behaving consistently with the Lightroom HSL Mixer. Supports TAT (Targeted Adjustment Tool): Long-press directly on the image to select and drag a color. It automatically identifies the corresponding hue range and adjusts using dual anchors synergistically, avoiding the inaccuracies of single-anchor color picking. Color Grading Added a 3-way independent color grading module: Shadows, Midtones, and Highlights, each with its own Hue, Saturation, and Luminance controls. Paired with global "Balance" and "Blending" parameters to control the weight distribution and transition softness across the luminance axis. The algorithm utilizes tri-phase zero-mean color vector superposition to prevent visual hue shifts (Abney shift) when rotating highly saturated colors, aligning with the industrial implementation logic of DaVinci Resolve and Lightroom Color Grading.

This update focuses on a systematic upgrade to the camera's shooting and RAW editing capabilities centered around the "Professional Color Workflow." It introduces a complete color engine system, an HSL Mixer, and a Color Grading module, along with comprehensive optimizations for real-time preview, film simulations, and global localization. All-New Color Engine System Added 5 open-source standard solutions from the film industry, 3D rendering, and color science fields, offering a total of 6 freely switchable engines including Apple's native: AgX (Film Look): Blender 4.0+ default view transform, featuring natural highlight roll-off and clean, restrained midtones. ACES Fitted (Hollywood Cinematic): The industry standard for Hollywood, Netflix, and Disney. Now includes the complete ACES 1.x standard trio and 1.3 Reference Gamut Compression. PBR Neutral (Color Fidelity): Khronos Group 2024 industry standard. Strictly linear midtones, ideal for products, materials, and color checker scenes. GT7 (High-Saturation Fidelity): Polyphony Digital 2025 SIGGRAPH paper solution. Specifically resolves hue shifts in highly saturated colors after curve adjustments; excels in neon, car paint, and night scenes. Tony McMapface (Zero Knobs): Tomasz Stachowiak's open-source 48³ perceptual color LUT, aiming for "what the eye sees." Native: Retains Apple's default pipeline, ensuring complete consistency with the Photos app and cross-device AirDrop display. All engines support real-time preview in the viewfinder during shooting and lossless switching in the RAW editor, always preserving original data. HSL Mixer Introduced an 8-color independent adjustment panel (Red / Orange / Yellow / Green / Aqua / Blue / Purple / Magenta) within the RAW editor. Each color offers Hue, Saturation, and Luminance controls. The algorithm runs in the OKLCh perceptually uniform color space, ensuring consistent visual intensity for luminance adjustments across shadows and highlights, avoiding the common spotting and color noise issues of traditional HSL in natural scenes. Anchor angles are calibrated to common natural colors in photography (grass green, skin tones, sky blue, brick red, etc.), behaving consistently with the Lightroom HSL Mixer. Supports TAT (Targeted Adjustment Tool): Long-press directly on the image to select and drag a color. It automatically identifies the corresponding hue range and adjusts using dual anchors synergistically, avoiding the inaccuracies of single-anchor color picking. Color Grading Added a 3-way independent color grading module: Shadows, Midtones, and Highlights, each with its own Hue, Saturation, and Luminance controls. Paired with global "Balance" and "Blending" parameters to control the weight distribution and transition softness across the luminance axis. The algorithm utilizes tri-phase zero-mean color vector superposition to prevent visual hue shifts (Abney shift) when rotating highly saturated colors, aligning with the industrial implementation logic of DaVinci Resolve and Lightroom Color Grading.

This update focuses on a systematic upgrade to the camera's shooting and RAW editing capabilities centered around the "Professional Color Workflow." It introduces a complete color engine system, an HSL Mixer, and a Color Grading module, along with comprehensive optimizations for real-time preview, film simulations, and global localization. All-New Color Engine System Added 5 open-source standard solutions from the film industry, 3D rendering, and color science fields, offering a total of 6 freely switchable engines including Apple's native: AgX (Film Look): Blender 4.0+ default view transform, featuring natural highlight roll-off and clean, restrained midtones. ACES Fitted (Hollywood Cinematic): The industry standard for Hollywood, Netflix, and Disney. Now includes the complete ACES 1.x standard trio and 1.3 Reference Gamut Compression. PBR Neutral (Color Fidelity): Khronos Group 2024 industry standard. Strictly linear midtones, ideal for products, materials, and color checker scenes. GT7 (High-Saturation Fidelity): Polyphony Digital 2025 SIGGRAPH paper solution. Specifically resolves hue shifts in highly saturated colors after curve adjustments; excels in neon, car paint, and night scenes. Tony McMapface (Zero Knobs): Tomasz Stachowiak's open-source 48³ perceptual color LUT, aiming for "what the eye sees." Native: Retains Apple's default pipeline, ensuring complete consistency with the Photos app and cross-device AirDrop display. All engines support real-time preview in the viewfinder during shooting and lossless switching in the RAW editor, always preserving original data. HSL Mixer Introduced an 8-color independent adjustment panel (Red / Orange / Yellow / Green / Aqua / Blue / Purple / Magenta) within the RAW editor. Each color offers Hue, Saturation, and Luminance controls. The algorithm runs in the OKLCh perceptually uniform color space, ensuring consistent visual intensity for luminance adjustments across shadows and highlights, avoiding the common spotting and color noise issues of traditional HSL in natural scenes. Anchor angles are calibrated to common natural colors in photography (grass green, skin tones, sky blue, brick red, etc.), behaving consistently with the Lightroom HSL Mixer. Supports TAT (Targeted Adjustment Tool): Long-press directly on the image to select and drag a color. It automatically identifies the corresponding hue range and adjusts using dual anchors synergistically, avoiding the inaccuracies of single-anchor color picking. Color Grading Added a 3-way independent color grading module: Shadows, Midtones, and Highlights, each with its own Hue, Saturation, and Luminance controls. Paired with global "Balance" and "Blending" parameters to control the weight distribution and transition softness across the luminance axis. The algorithm utilizes tri-phase zero-mean color vector superposition to prevent visual hue shifts (Abney shift) when rotating highly saturated colors, aligning with the industrial implementation logic of DaVinci Resolve and Lightroom Color Grading.

[Open in Vibe Cam · Right from Photos] A new "Vibe Cam" entry in the iOS Photos share sheet — send any shot straight into the editor in one tap. · Top of the share sheet: Tap Share on a photo and you'll find Vibe Cam right there in the first row of full-color app icons — one tap hands the image off to the app. · Smart format routing: DNG / Apple ProRAW open in the RAW Editor; HEIF / JPG open in the Photo Editor. [Leica Moment · Flavor Tuned] A comprehensive refresh of the "Leica M9" film preset, bringing you closer to the original feel of that legendary CCD. · Cooler default white balance: 5500K → 4600K, with a more restrained tint (13 → 2) — recapturing the cool atmosphere unique to the CCD era. · Brighter overall: EV moved from -0.5 to -0.3 — the image breathes more, shadows feel less crushed. · Refined warm tones: Orange hue subtly adjusted; skin tones become smoother and more natural — especially flattering for street portraits. · Smarter white-balance lock: Shooting and the RAW Editor now share the same adaptive convergence — colors stay consistent between out-of-camera and post.

[Open in Vibe Cam · Right from Photos] A new "Vibe Cam" entry in the iOS Photos share sheet — send any shot straight into the editor in one tap. · Top of the share sheet: Tap Share on a photo and you'll find Vibe Cam right there in the first row of full-color app icons — one tap hands the image off to the app. · Smart format routing: DNG / Apple ProRAW open in the RAW Editor; HEIF / JPG open in the Photo Editor. [Leica Moment · Flavor Tuned] A comprehensive refresh of the "Leica M9" film preset, bringing you closer to the original feel of that legendary CCD. · Cooler default white balance: 5500K → 4600K, with a more restrained tint (13 → 2) — recapturing the cool atmosphere unique to the CCD era. · Brighter overall: EV moved from -0.5 to -0.3 — the image breathes more, shadows feel less crushed. · Refined warm tones: Orange hue subtly adjusted; skin tones become smoother and more natural — especially flattering for street portraits. · Smarter white-balance lock: Shooting and the RAW Editor now share the same adaptive convergence — colors stay consistent between out-of-camera and post.

[Open in Vibe Cam · Right from Photos] A new "Vibe Cam" entry in the iOS Photos share sheet — send any shot straight into the editor in one tap. · Top of the share sheet: Tap Share on a photo and you'll find Vibe Cam right there in the first row of full-color app icons — one tap hands the image off to the app. · Smart format routing: DNG / Apple ProRAW open in the RAW Editor; HEIF / JPG open in the Photo Editor. [Leica Moment · Flavor Tuned] A comprehensive refresh of the "Leica M9" film preset, bringing you closer to the original feel of that legendary CCD. · Cooler default white balance: 5500K → 4600K, with a more restrained tint (13 → 2) — recapturing the cool atmosphere unique to the CCD era. · Brighter overall: EV moved from -0.5 to -0.3 — the image breathes more, shadows feel less crushed. · Refined warm tones: Orange hue subtly adjusted; skin tones become smoother and more natural — especially flattering for street portraits. · Smarter white-balance lock: Shooting and the RAW Editor now share the same adaptive convergence — colors stay consistent between out-of-camera and post.

[Open in Vibe Cam · Right from Photos] A new "Vibe Cam" entry in the iOS Photos share sheet — send any shot straight into the editor in one tap. · Top of the share sheet: Tap Share on a photo and you'll find Vibe Cam right there in the first row of full-color app icons — one tap hands the image off to the app. · Smart format routing: DNG / Apple ProRAW open in the RAW Editor; HEIF / JPG open in the Photo Editor. [Leica Moment · Flavor Tuned] A comprehensive refresh of the "Leica M9" film preset, bringing you closer to the original feel of that legendary CCD. · Cooler default white balance: 5500K → 4600K, with a more restrained tint (13 → 2) — recapturing the cool atmosphere unique to the CCD era. · Brighter overall: EV moved from -0.5 to -0.3 — the image breathes more, shadows feel less crushed. · Refined warm tones: Orange hue subtly adjusted; skin tones become smoother and more natural — especially flattering for street portraits. · Smarter white-balance lock: Shooting and the RAW Editor now share the same adaptive convergence — colors stay consistent between out-of-camera and post.

This update centers on highlights — photography's most demanding dimension — and introduces a four-pillar rendering suite: Hala (Film Halation), Bloom (Highlight Glow), AgX (Film Look) and HDR (True Light). The four operate independently along halo, glow, color and brightness, usable individually or stacked. The RAW editor, color pipeline and capture parameters have been refactored alongside. I. Hala (Film Halation) — New Simulates the red-orange halo formed when intense light scatters in a film's emulsion layer. Built on a three-stage Metal GPU pipeline: bright-region extraction → isotropic Gaussian diffusion → screen-mode compositing. Threshold transition, dark-background gain gating and blue compensation are tuned to avoid common artifacts such as a fully reddened sky or white sources turning pink. Backlit silhouettes, sunset contours, neon and night-time lights — bright edges bathe in a soft warm glow, lending the image film's signature warmth. Not available at 48MP for stability reasons. II. Bloom (Highlight Glow) — New A highlight-glow solution built on the mip-pyramid multi-scale scattering algorithm from Bevy v0.15.3, on par with implementations in professional engines like Unity and Unreal. At its core is a Metal dual-filter pyramid — 13-tap COD downsampling + 9-tap tent upsampling, augmented by Karis averaging to suppress single-pixel fireflies, a soft-knee threshold for smooth highlight transitions, and an SDR soft-shoulder rolloff at composite to prevent highlights "blowing out". Eight mip levels at 512×512 16F take only ~2 MB of VRAM and stay imperceptible on mid-range devices. Strong light diffuses outward as if through a physical lens, with light mist floating across the image. Unlike traditional Bloom that merely "makes highlights brighter", this approach layers near-field halos and far-field soft mist across multiple frequency bands, recreating the filmic atmosphere of "light breathing in air". Chained with Hala, Bloom is deliberately placed downstream — Hala's tinting forms first at the emulsion scale, then is softened by Bloom's overall glow; the two layers complement rather than cancel each other. Not available at 48MP for stability reasons. III. AgX (Film Look) — New Brings in the AgX color-processing engine widely adopted by Blender, Filament and other professional rendering software, focused on one core question: how to fit the strong light of a real scene gracefully onto a screen. Unlike the "hard clipping" of traditional tone mapping, AgX rolls highlights off naturally — bright light is no longer cut into pure white. It also features highlight desaturation: a face lit by sunset fades from orange-red toward off-white as exposure rises, restoring film's distinctive light gradations. The overall look is cinematic, easy on the eyes, never harsh, never "digital". When AgX and Hala work together, dedicated parameter compensation kicks in: AgX's sigmoid compresses EDR highlights into the midtones, which would weaken Hala's perceived intensity, so in AgX mode Hala's threshold and strength are auto-adjusted to keep the halo's visual presence consistent. IV. HDR (True Light) High dynamic range. On EDR-capable devices it unleashes the display's full brightness headroom — making highlights brighter, the image more luminous, restoring the immersive sensation of real physical light. This update establishes EDR signal flow under AgX and recalibrates extendedDynamicRangeAmount for the RAW main-image pipeline, aligning AgX's sigmoid working zone with the super-1.0 headroom actually available on iPhone sensors. This eliminates "midtones dropping a stop into gray, image losing luminance".

This update centers on highlights — photography's most demanding dimension — and introduces a four-pillar rendering suite: Hala (Film Halation), Bloom (Highlight Glow), AgX (Film Look) and HDR (True Light). The four operate independently along halo, glow, color and brightness, usable individually or stacked. The RAW editor, color pipeline and capture parameters have been refactored alongside. I. Hala (Film Halation) — New Simulates the red-orange halo formed when intense light scatters in a film's emulsion layer. Built on a three-stage Metal GPU pipeline: bright-region extraction → isotropic Gaussian diffusion → screen-mode compositing. Threshold transition, dark-background gain gating and blue compensation are tuned to avoid common artifacts such as a fully reddened sky or white sources turning pink. Backlit silhouettes, sunset contours, neon and night-time lights — bright edges bathe in a soft warm glow, lending the image film's signature warmth. Not available at 48MP for stability reasons. II. Bloom (Highlight Glow) — New A highlight-glow solution built on the mip-pyramid multi-scale scattering algorithm from Bevy v0.15.3, on par with implementations in professional engines like Unity and Unreal. At its core is a Metal dual-filter pyramid — 13-tap COD downsampling + 9-tap tent upsampling, augmented by Karis averaging to suppress single-pixel fireflies, a soft-knee threshold for smooth highlight transitions, and an SDR soft-shoulder rolloff at composite to prevent highlights "blowing out". Eight mip levels at 512×512 16F take only ~2 MB of VRAM and stay imperceptible on mid-range devices. Strong light diffuses outward as if through a physical lens, with light mist floating across the image. Unlike traditional Bloom that merely "makes highlights brighter", this approach layers near-field halos and far-field soft mist across multiple frequency bands, recreating the filmic atmosphere of "light breathing in air". Chained with Hala, Bloom is deliberately placed downstream — Hala's tinting forms first at the emulsion scale, then is softened by Bloom's overall glow; the two layers complement rather than cancel each other. Not available at 48MP for stability reasons. III. AgX (Film Look) — New Brings in the AgX color-processing engine widely adopted by Blender, Filament and other professional rendering software, focused on one core question: how to fit the strong light of a real scene gracefully onto a screen. Unlike the "hard clipping" of traditional tone mapping, AgX rolls highlights off naturally — bright light is no longer cut into pure white. It also features highlight desaturation: a face lit by sunset fades from orange-red toward off-white as exposure rises, restoring film's distinctive light gradations. The overall look is cinematic, easy on the eyes, never harsh, never "digital". When AgX and Hala work together, dedicated parameter compensation kicks in: AgX's sigmoid compresses EDR highlights into the midtones, which would weaken Hala's perceived intensity, so in AgX mode Hala's threshold and strength are auto-adjusted to keep the halo's visual presence consistent. IV. HDR (True Light) High dynamic range. On EDR-capable devices it unleashes the display's full brightness headroom — making highlights brighter, the image more luminous, restoring the immersive sensation of real physical light. This update establishes EDR signal flow under AgX and recalibrates extendedDynamicRangeAmount for the RAW main-image pipeline, aligning AgX's sigmoid working zone with the super-1.0 headroom actually available on iPhone sensors. This eliminates "midtones dropping a stop into gray, image losing luminance".

This update centers on highlights — photography's most demanding dimension — and introduces a four-pillar rendering suite: Hala (Film Halation), Bloom (Highlight Glow), AgX (Film Look) and HDR (True Light). The four operate independently along halo, glow, color and brightness, usable individually or stacked. The RAW editor, color pipeline and capture parameters have been refactored alongside. I. Hala (Film Halation) — New Simulates the red-orange halo formed when intense light scatters in a film's emulsion layer. Built on a three-stage Metal GPU pipeline: bright-region extraction → isotropic Gaussian diffusion → screen-mode compositing. Threshold transition, dark-background gain gating and blue compensation are tuned to avoid common artifacts such as a fully reddened sky or white sources turning pink. Backlit silhouettes, sunset contours, neon and night-time lights — bright edges bathe in a soft warm glow, lending the image film's signature warmth. Not available at 48MP for stability reasons. II. Bloom (Highlight Glow) — New A highlight-glow solution built on the mip-pyramid multi-scale scattering algorithm from Bevy v0.15.3, on par with implementations in professional engines like Unity and Unreal. At its core is a Metal dual-filter pyramid — 13-tap COD downsampling + 9-tap tent upsampling, augmented by Karis averaging to suppress single-pixel fireflies, a soft-knee threshold for smooth highlight transitions, and an SDR soft-shoulder rolloff at composite to prevent highlights "blowing out". Eight mip levels at 512×512 16F take only ~2 MB of VRAM and stay imperceptible on mid-range devices. Strong light diffuses outward as if through a physical lens, with light mist floating across the image. Unlike traditional Bloom that merely "makes highlights brighter", this approach layers near-field halos and far-field soft mist across multiple frequency bands, recreating the filmic atmosphere of "light breathing in air". Chained with Hala, Bloom is deliberately placed downstream — Hala's tinting forms first at the emulsion scale, then is softened by Bloom's overall glow; the two layers complement rather than cancel each other. Not available at 48MP for stability reasons. III. AgX (Film Look) — New Brings in the AgX color-processing engine widely adopted by Blender, Filament and other professional rendering software, focused on one core question: how to fit the strong light of a real scene gracefully onto a screen. Unlike the "hard clipping" of traditional tone mapping, AgX rolls highlights off naturally — bright light is no longer cut into pure white. It also features highlight desaturation: a face lit by sunset fades from orange-red toward off-white as exposure rises, restoring film's distinctive light gradations. The overall look is cinematic, easy on the eyes, never harsh, never "digital". When AgX and Hala work together, dedicated parameter compensation kicks in: AgX's sigmoid compresses EDR highlights into the midtones, which would weaken Hala's perceived intensity, so in AgX mode Hala's threshold and strength are auto-adjusted to keep the halo's visual presence consistent. IV. HDR (True Light) High dynamic range. On EDR-capable devices it unleashes the display's full brightness headroom — making highlights brighter, the image more luminous, restoring the immersive sensation of real physical light. This update establishes EDR signal flow under AgX and recalibrates extendedDynamicRangeAmount for the RAW main-image pipeline, aligning AgX's sigmoid working zone with the super-1.0 headroom actually available on iPhone sensors. This eliminates "midtones dropping a stop into gray, image losing luminance".