The film drawer now tells you what a stock is for before you commit twelve frames to it. Pick a carton and you get the light it was made for, the tone it gives you, and how much room it leaves you if the exposure is off. Your first roll walks you through the three things nothing on screen explains by itself: the focus ruler, what the meter is telling you, and the crank. Each hint goes away the moment you do the thing. You can bring them back from Settings whenever you want. Loading is faster the second time. Once you have wound a roll in by hand, the loading screen offers to take you straight to frame one. The camera answers you better. The shutter now has the two-part kick of a leaf shutter, the finder blacks out for an instant as the blades close, and the crank glows while a frame is sitting there waiting to be wound on. On the contact sheet the pencil note at the bottom lists everything you have marked, not just the first one, and the rings are drawn at their own angles the way a hand draws them. Reduce Motion is respected throughout.

Cinema 800 has been rebuilt around the thing that makes tungsten cine film recognizable at night: the way bright lights bleed. Streetlights, neon signs, headlights, and hard reflections now spill a warm red glow into the frame around them. The glow sits around the light rather than washing over it, so a bright sign keeps its own color instead of going orange in the middle, and the rest of the picture holds its brightness. The stock is also balanced cooler, for the indoor and street light it was made for, so night scenes keep their blue rather than drifting yellow. Grain is a little heavier and now carries a hint of color, the way color film grain actually does. Every other film is unchanged.

Rebuilt the light meter for difficult scenes. It reads from the center of the frame, updates ten times a second, and settles faster when you swing from dark to bright. The deck now says what the meter is doing. A reading is marked held while the shutter is locked, and the deck states plainly when a reading has gone stale or the meter is unavailable instead of showing a number it cannot stand behind. The needle hides rather than resting at center when it has nothing to report, and flags UNDER or OVER past four stops. The EV readout now shows true photographic stops rather than render-scaled stops. Fixed a tap-to-expose point being reset to the center of the frame a moment after you set it. Fixed the meter carrying a stale reading across a lens switch, a session restart, or an interruption. Every frame now records the meter reading taken at the moment of release.

Added 1/1000s shutter speed support. Retuned 12 film stock profiles for cleaner skin tones, smoother highlight roll-off, and refined grain texture.

Fixed a crash that could occur when opening a developed roll. Contact sheets now load faster and use less memory.

Reportage 400: finished JPEG grain is quieter and more print-like.

Spool opens with a proper launch mark while the camera body comes awake, then returns you straight to the finder when a roll is already loaded. Film load now shows clear progress instead of sitting silent, lens changes keep the ground glass live, and a missed exposure no longer leaves the shutter stuck. Same twelve-frame ritual, steadier from cold start through the next frame.

Since the last release: • Modern render recipe v4 — tack-sharp from f/5.6 up: no simulated depth of field at mid and stopped-down apertures, zero field-curvature softness, stronger microcontrast and luminance sharpen, lighter grain and halation. Vintage keeps soft wide-open falloff and full film texture. • Taking-lens depth of field — blur and softness now follow the selected rear lens and dial aperture, not a fixed mid-tele assumption. • Zone scale on the focus ruler — while you rack focus, near/far distance bands update for the active lens and aperture. Finder stays sharp; drag-rack remains the focus method. Privacy: spool.camera/privacy · Support: spool.camera/support