【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.

This update introduces professional-grade "Depth of Field Blur" and "Portrait Skin Retouching", alongside comprehensive improvements to the interactive and multilingual experience. 【Depth of Field Blur】 Based on monocular depth estimation, it restores spatial depth from a single photo, simulating the shallow depth of field of large-aperture lenses: · Tap or drag to change the focus position in real-time, WYSIWYG. · Provides pro parameters like aperture (blur strength), max blur radius, depth layers, and highlight bokeh. Night point lights can be blurred into bright bokeh spots. · Combines subject segmentation for edge protection, ensuring cleaner transitions for hair and contours. · Optional "Edge-Aware Upsampling" to make blur boundaries fit the subject perfectly. 【Portrait Skin Retouching】 Works exclusively on detected face areas: it first precisely removes blemishes like acne marks and spots, then performs per-pixel adaptive skin evening. It improves skin quality while retaining pores and authentic textures for a natural, non-plastic look. Supports smoothing strength adjustment (set to 0 for blemish removal only), processes multiple faces independently, and does not alter facial features or face shape. 【Experience Optimization】 · Blur and Skin Retouching are now integrated into tabbed panels for clearer operation, with detailed explanations for each parameter. · Toggle states are automatically remembered and applied the next time you enter the editor.

This update introduces professional-grade "Depth of Field Blur" and "Portrait Skin Retouching", alongside comprehensive improvements to the interactive and multilingual experience. 【Depth of Field Blur】 Based on monocular depth estimation, it restores spatial depth from a single photo, simulating the shallow depth of field of large-aperture lenses: · Tap or drag to change the focus position in real-time, WYSIWYG. · Provides pro parameters like aperture (blur strength), max blur radius, depth layers, and highlight bokeh. Night point lights can be blurred into bright bokeh spots. · Combines subject segmentation for edge protection, ensuring cleaner transitions for hair and contours. · Optional "Edge-Aware Upsampling" to make blur boundaries fit the subject perfectly. 【Portrait Skin Retouching】 Works exclusively on detected face areas: it first precisely removes blemishes like acne marks and spots, then performs per-pixel adaptive skin evening. It improves skin quality while retaining pores and authentic textures for a natural, non-plastic look. Supports smoothing strength adjustment (set to 0 for blemish removal only), processes multiple faces independently, and does not alter facial features or face shape. 【Experience Optimization】 · Blur and Skin Retouching are now integrated into tabbed panels for clearer operation, with detailed explanations for each parameter. · Toggle states are automatically remembered and applied the next time you enter the editor.

This update introduces professional-grade "Depth of Field Blur" and "Portrait Skin Retouching", alongside comprehensive improvements to the interactive and multilingual experience. 【Depth of Field Blur】 Based on monocular depth estimation, it restores spatial depth from a single photo, simulating the shallow depth of field of large-aperture lenses: · Tap or drag to change the focus position in real-time, WYSIWYG. · Provides pro parameters like aperture (blur strength), max blur radius, depth layers, and highlight bokeh. Night point lights can be blurred into bright bokeh spots. · Combines subject segmentation for edge protection, ensuring cleaner transitions for hair and contours. · Optional "Edge-Aware Upsampling" to make blur boundaries fit the subject perfectly. 【Portrait Skin Retouching】 Works exclusively on detected face areas: it first precisely removes blemishes like acne marks and spots, then performs per-pixel adaptive skin evening. It improves skin quality while retaining pores and authentic textures for a natural, non-plastic look. Supports smoothing strength adjustment (set to 0 for blemish removal only), processes multiple faces independently, and does not alter facial features or face shape. 【Experience Optimization】 · Blur and Skin Retouching are now integrated into tabbed panels for clearer operation, with detailed explanations for each parameter. · Toggle states are automatically remembered and applied the next time you enter the editor.

1. Color Engine Corrections ACES: Removed duplicate desaturation steps and redundant CTL stages; Reference Gamut Compression has been moved to the ACEScg space. GT7: Fixed discontinuity issues at the segment joints of the tone curve. Tony McMapface: Moved exposure adjustment before the LUT; added the 'look' parameter to the photo capture path, fixing the issue where the final photo appeared darker than the preview. AgX: Matrix and pipeline aligned with Blender's current Rec.2020 implementation. Khronos PBR Neutral: Unified the sRGB working space and added soft gamut compression. All the above modifications are synchronized across both the CI Kernel (photos) and Metal shaders (viewfinder/video) and have passed numerical verification. 2. RAW Editor Feature Expansions New "Filters" Tab: Fully ported the shooting-side filter system, including intensity adjustment, category navigation, favorites, and locate buttons. Filter intensity shares the same storage as the shooting side, ensuring consistent visual perception across both ends. New "Frames" Tab: Fully ported the shooting-side frame features. Date Watermark Enhancements: The default date now uses the EXIF shooting time. Clicking the watermark on the photo opens a date selection panel with "Today" and "Shooting Time" shortcuts. The frame list preview synchronously displays the actual effective date. 3. Shooting Intent Protection via Exposure Normalization Scene middle-gray normalization now reads the EXIF ExposureBiasValue, excluding the photographer's dialed exposure compensation from the normalization target. A photo intentionally underexposed by one stop will remain one stop darker after passing through the color engine. Normalization gain limits have been tightened (±1.5 EV), with clamping applied to abnormal compensation values. The shooting side and editor now use consistent standards. 4. Tone Algorithm Rewrite Highlights/Shadows have been rewritten from the deprecated shadhi model (Gaussian blur mask + overlay blend) to the darktable tone equalizer model: Guided Filter (He, Sun, Tang) edge-aware mask + log2 EV multiplicative gain. Numerical verification shows that high-contrast edge halos have been reduced from 1.9 EV to 0, eliminating the "masking effect." Internal regional contrast, hue, and channel ratios remain unchanged.

[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.