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".

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 is built around highlights — the single most challenging dimension in photography — and introduces a brand-new triadic rendering scheme: Hala (film halation), AgX (film-like color), and HDR (lifelike luminance). The three modules operate independently along three distinct axes — halo, color, and brightness — and can be enabled individually or stacked together. Alongside this, we have systematically rebuilt the RAW editor, the color pipeline, and the capture parameters. I. Hala (Film Halation) — New Hala simulates the red-orange halo formed when strong light scatters through a film's emulsion layer. It is powered by a three-stage GPU pipeline implemented in Metal: high-luminance extraction → isotropic Gaussian diffusion → screen-mode compositing. The threshold transition, dark-background gain gating, and blue-channel compensation are all carefully tuned to suppress common side effects such as the entire sky turning red or white light sources being miscolored as pink. Backlit silhouettes, sunset contours, neon signs, and night-time lights — the edges of bright sources are bathed in a soft warm glow, lending the image film's signature warmth and recognizability. For performance and stability reasons, the effect is currently unavailable at 48MP. II. AgX (Film-Like Color) — New We have integrated the AgX color-processing engine, widely adopted by professional rendering software such as Blender and Filament. Its single-minded thesis: how to fit the strong light of a real scene gracefully onto a screen. Unlike the hard clipping of conventional tone mapping, AgX rolls highlights off smoothly so they no longer collapse into pure white in one cut. It also exhibits a "highlight desaturation" behavior — a face lit by sunset gradually fades from orange-red toward off-white as exposure rises, recreating film's signature tonal sensation of light. The overall feel is a long-watchable cinematic tone — never harsh, never digital. When AgX and Hala are used together, we apply targeted parameter compensation. Because AgX's sigmoid pushes EDR highlights down into the mid-range, Hala's perceived intensity would otherwise be attenuated. To prevent this, Hala's threshold and strength are auto-adjusted under AgX, so that toggling AgX on or off does not visibly change the halo. III. HDR (Lifelike Luminance) High Dynamic Range technology. On EDR-capable devices it unlocks the display's full brightness headroom, making highlights more brilliant and the image more luminous, restoring an immersive, true-to-life sense of physical light. This update wires EDR signal flow through the AgX path and recalibrates extendedDynamicRangeAmount specifically for the RAW main link. As a result, the core working zone of the AgX sigmoid is aligned with the super-1.0 headroom that an iPhone sensor can actually deliver, eliminating the side effect of "mid-tones sinking by a stop into gray and the image losing its transparency."

Version 5.3.0 brings HDR through the full pipeline — capture, browsing, and editing. On the capture side, the embedded preview format of ProRAW has been restructured so that the system Photos app can parse HDR information in full. On the browsing side, thumbnail loading has been reworked to preserve scrolling smoothness while decoding HDR. The editor, for the first time, natively supports HEIF HDR, keeping the source image's HDR highlights intact after exposure, filter, and frame adjustments. 1. HDR Image Editing HEIF HDR preview and editing. Photos open in the editor with their HDR look intact rather than downgraded to SDR. Adjustments to exposure, contrast, saturation, color temperature, and filters all preserve the source gain map, without weakening the highlight boost. Dual pipeline for preview and save. During editing, HDR preview frames are recomposited with a 150 ms debounce, balancing touch responsiveness with display consistency. On save, the original auxiliary gain map is reused directly, avoiding the information loss that comes with pixel-level re-synthesis. MakerApple metadata preservation. The original MakerApple 33 / 48 fields (which govern HDR headroom and the luminance scale) are preserved in full, so the edited export matches the brightness of the source. 2. Capture and Saving HDR gain map enabled for ProRAW. The embedded preview in ProRAW 12MP and 48MP has been upgraded to full-resolution HEVC (4032×3024 / 8064×6048), allowing the system to attach an HDR gain map. Photos, the album, and Quick Look can now all render HDR on these files. Bayer RAW retains its runtime RAW-decoding render path unchanged. Aligned HDR for framed photos. When a frame is composited over a photo, the gain map is regenerated to match the final canvas: the photo region keeps the original HDR boost while the frame and mat regions are zeroed out. This fixes the long-standing issue of frame edges retaining residual glow in HDR mode. Refined RAW shadow exposure. The baseline exposure curve for RAW has been recalibrated, so shadow areas in low-light scenes read more naturally to the eye. Calibrated HDR synthesis curve. The luminance curve and glow radius of hdrGainMapLinear have been re-tuned so the linear-synthesis path produces HDR brightness closer to that physically extracted from RAW, avoiding over-bright highlights. 3. Album and Performance Smoother album scrolling. Thumbnail loading now uses the opportunistic delivery strategy, filtering out degraded / canceled / error intermediate callbacks to reduce main-thread wakeups. The orientation separately returned by PhotoKit is applied explicitly, preventing redundant processing. 48MP ProRAW stutter fix. A TLPhotoPicker patch removes the requestImageData fallback for 48MP ProRAW — a path that forced ImageIO to fully decode a 48MP image and was the main cause of scroll stutter. 4. Stability and Details Resilient metadata writing. Before HEIF / JPEG encoding, NSNull / CFNull values in EXIF are filtered recursively, removing the occasional "bad parameter" warning emitted by ImageIO during encoding. Revised live-preview notice. The notice now clearly distinguishes "preview as filter reference" from "final image through an independent pipeline", and explains potential divergences under RAW tone mapping and with the film-mode white-balance lock. Localized into 18 languages. "HDR (Film Mode)" renamed to "HDR (HEIF Format)". The new label more accurately reflects the container that currently carries HDR. 5. Compatibility HDR display requires an EDR-capable device (visible on iPhone 12 Pro and later) HDR image editing requires iOS 17.0 or later

Version 5.3.0 brings HDR through the full pipeline — capture, browsing, and editing. On the capture side, the embedded preview format of ProRAW has been restructured so that the system Photos app can parse HDR information in full. On the browsing side, thumbnail loading has been reworked to preserve scrolling smoothness while decoding HDR. The editor, for the first time, natively supports HEIF HDR, keeping the source image's HDR highlights intact after exposure, filter, and frame adjustments. 1. HDR Image Editing HEIF HDR preview and editing. Photos open in the editor with their HDR look intact rather than downgraded to SDR. Adjustments to exposure, contrast, saturation, color temperature, and filters all preserve the source gain map, without weakening the highlight boost. Dual pipeline for preview and save. During editing, HDR preview frames are recomposited with a 150 ms debounce, balancing touch responsiveness with display consistency. On save, the original auxiliary gain map is reused directly, avoiding the information loss that comes with pixel-level re-synthesis. MakerApple metadata preservation. The original MakerApple 33 / 48 fields (which govern HDR headroom and the luminance scale) are preserved in full, so the edited export matches the brightness of the source. 2. Capture and Saving HDR gain map enabled for ProRAW. The embedded preview in ProRAW 12MP and 48MP has been upgraded to full-resolution HEVC (4032×3024 / 8064×6048), allowing the system to attach an HDR gain map. Photos, the album, and Quick Look can now all render HDR on these files. Bayer RAW retains its runtime RAW-decoding render path unchanged. Aligned HDR for framed photos. When a frame is composited over a photo, the gain map is regenerated to match the final canvas: the photo region keeps the original HDR boost while the frame and mat regions are zeroed out. This fixes the long-standing issue of frame edges retaining residual glow in HDR mode. Refined RAW shadow exposure. The baseline exposure curve for RAW has been recalibrated, so shadow areas in low-light scenes read more naturally to the eye. Calibrated HDR synthesis curve. The luminance curve and glow radius of hdrGainMapLinear have been re-tuned so the linear-synthesis path produces HDR brightness closer to that physically extracted from RAW, avoiding over-bright highlights. 3. Album and Performance Smoother album scrolling. Thumbnail loading now uses the opportunistic delivery strategy, filtering out degraded / canceled / error intermediate callbacks to reduce main-thread wakeups. The orientation separately returned by PhotoKit is applied explicitly, preventing redundant processing. 48MP ProRAW stutter fix. A TLPhotoPicker patch removes the requestImageData fallback for 48MP ProRAW — a path that forced ImageIO to fully decode a 48MP image and was the main cause of scroll stutter. 4. Stability and Details Resilient metadata writing. Before HEIF / JPEG encoding, NSNull / CFNull values in EXIF are filtered recursively, removing the occasional "bad parameter" warning emitted by ImageIO during encoding. Revised live-preview notice. The notice now clearly distinguishes "preview as filter reference" from "final image through an independent pipeline", and explains potential divergences under RAW tone mapping and with the film-mode white-balance lock. Localized into 18 languages. "HDR (Film Mode)" renamed to "HDR (HEIF Format)". The new label more accurately reflects the container that currently carries HDR. 5. Compatibility HDR display requires an EDR-capable device (visible on iPhone 12 Pro and later) HDR image editing requires iOS 17.0 or later

Version 5.3.0 brings HDR through the full pipeline — capture, browsing, and editing. On the capture side, the embedded preview format of ProRAW has been restructured so that the system Photos app can parse HDR information in full. On the browsing side, thumbnail loading has been reworked to preserve scrolling smoothness while decoding HDR. The editor, for the first time, natively supports HEIF HDR, keeping the source image's HDR highlights intact after exposure, filter, and frame adjustments. 1. HDR Image Editing HEIF HDR preview and editing. Photos open in the editor with their HDR look intact rather than downgraded to SDR. Adjustments to exposure, contrast, saturation, color temperature, and filters all preserve the source gain map, without weakening the highlight boost. Dual pipeline for preview and save. During editing, HDR preview frames are recomposited with a 150 ms debounce, balancing touch responsiveness with display consistency. On save, the original auxiliary gain map is reused directly, avoiding the information loss that comes with pixel-level re-synthesis. MakerApple metadata preservation. The original MakerApple 33 / 48 fields (which govern HDR headroom and the luminance scale) are preserved in full, so the edited export matches the brightness of the source. 2. Capture and Saving HDR gain map enabled for ProRAW. The embedded preview in ProRAW 12MP and 48MP has been upgraded to full-resolution HEVC (4032×3024 / 8064×6048), allowing the system to attach an HDR gain map. Photos, the album, and Quick Look can now all render HDR on these files. Bayer RAW retains its runtime RAW-decoding render path unchanged. Aligned HDR for framed photos. When a frame is composited over a photo, the gain map is regenerated to match the final canvas: the photo region keeps the original HDR boost while the frame and mat regions are zeroed out. This fixes the long-standing issue of frame edges retaining residual glow in HDR mode. Refined RAW shadow exposure. The baseline exposure curve for RAW has been recalibrated, so shadow areas in low-light scenes read more naturally to the eye. Calibrated HDR synthesis curve. The luminance curve and glow radius of hdrGainMapLinear have been re-tuned so the linear-synthesis path produces HDR brightness closer to that physically extracted from RAW, avoiding over-bright highlights. 3. Album and Performance Smoother album scrolling. Thumbnail loading now uses the opportunistic delivery strategy, filtering out degraded / canceled / error intermediate callbacks to reduce main-thread wakeups. The orientation separately returned by PhotoKit is applied explicitly, preventing redundant processing. 48MP ProRAW stutter fix. A TLPhotoPicker patch removes the requestImageData fallback for 48MP ProRAW — a path that forced ImageIO to fully decode a 48MP image and was the main cause of scroll stutter. 4. Stability and Details Resilient metadata writing. Before HEIF / JPEG encoding, NSNull / CFNull values in EXIF are filtered recursively, removing the occasional "bad parameter" warning emitted by ImageIO during encoding. Revised live-preview notice. The notice now clearly distinguishes "preview as filter reference" from "final image through an independent pipeline", and explains potential divergences under RAW tone mapping and with the film-mode white-balance lock. Localized into 18 languages. "HDR (Film Mode)" renamed to "HDR (HEIF Format)". The new label more accurately reflects the container that currently carries HDR. 5. Compatibility HDR display requires an EDR-capable device (visible on iPhone 12 Pro and later) HDR image editing requires iOS 17.0 or later

The iPhone features multiple physical cameras, each with distinct hardware capabilities in resolution, frame rate, and encoding format support. In previous versions, video parameters were uniformly reset when switching cameras, requiring users to reconfigure them each time. This update redesigns the parameter persistence strategy — giving every camera its own "memory." Per-Camera Video Parameter Persistence Ultra Wide, Main, Telephoto, Dual Fusion, Triple Fusion, Front — all six cameras independently save their video frame size and rate, video file type, and other parameter settings. When switching cameras, the parameters last configured for that specific camera are automatically restored. Unified Photo Format Across Cameras Unlike video parameters, photo size and format follow a global strategy. When selecting Optical Negative (BayerRAW) or Standard RAW, the system automatically matches a compatible camera — since multi-camera fusion does not support these formats due to hardware limitations, it automatically switches to the corresponding single camera. Each camera's photo format configuration is also independently remembered. Setting Panel Contextual Guidance The descriptive text across four setting panels — "Switch Camera," "Video Frame Size & Rate," "Video File Type," and "Image Size & Format" — has been completely rewritten. Key improvements: Active camera identification: The title area of video-related setting panels now explicitly displays the name of the currently active camera (e.g., "Main," "Ultra Wide"), helping users confirm which camera the parameters belong to. Hardware constraint notices: Capability differences between cameras are clearly documented — for example, multi-camera fusion does not support M-mode exposure, manual white balance, manual focus, or Optical Negative / Standard RAW formats. Terminology unification: "Switch Lens" has been uniformly corrected to "Switch Camera," more accurately reflecting that the operation targets the complete camera module rather than the optical lens element.

The iPhone features multiple physical cameras, each with distinct hardware capabilities in resolution, frame rate, and encoding format support. In previous versions, video parameters were uniformly reset when switching cameras, requiring users to reconfigure them each time. This update redesigns the parameter persistence strategy — giving every camera its own "memory." Per-Camera Video Parameter Persistence Ultra Wide, Main, Telephoto, Dual Fusion, Triple Fusion, Front — all six cameras independently save their video frame size and rate, video file type, and other parameter settings. When switching cameras, the parameters last configured for that specific camera are automatically restored. Unified Photo Format Across Cameras Unlike video parameters, photo size and format follow a global strategy. When selecting Optical Negative (BayerRAW) or Standard RAW, the system automatically matches a compatible camera — since multi-camera fusion does not support these formats due to hardware limitations, it automatically switches to the corresponding single camera. Each camera's photo format configuration is also independently remembered. Setting Panel Contextual Guidance The descriptive text across four setting panels — "Switch Camera," "Video Frame Size & Rate," "Video File Type," and "Image Size & Format" — has been completely rewritten. Key improvements: Active camera identification: The title area of video-related setting panels now explicitly displays the name of the currently active camera (e.g., "Main," "Ultra Wide"), helping users confirm which camera the parameters belong to. Hardware constraint notices: Capability differences between cameras are clearly documented — for example, multi-camera fusion does not support M-mode exposure, manual white balance, manual focus, or Optical Negative / Standard RAW formats. Terminology unification: "Switch Lens" has been uniformly corrected to "Switch Camera," more accurately reflecting that the operation targets the complete camera module rather than the optical lens element.

5.1 HDR Imaging Engine: Unleash Every Highlight Beyond the Screen Mobile HDR photography has long been stuck in crude global brightening or post-capture algorithmic compositing. In 5.1, we chose to build a complete Gain Map HDR imaging pipeline from scratch — enabling every ProRAW / BayerRAW photo captured by Gleam Camera to carry true Extended Dynamic Range data, identical in origin to Apple's system camera, lighting up precisely on EDR-capable displays. In this version, HDR is available exclusively in Film Mode shooting and the RAW Editor. Photos taken in Film Mode with ProRAW / BayerRAW automatically embed Gain Map HDR data; in the RAW Editor, you can toggle HDR on and off in real time via the HDR button, previewing highlight effects as you edit. Future versions will gradually expand HDR support to more shooting and editing scenarios. Native EDR Gain Map Extraction Rather than "guessing" highlights on an SDR image, we go straight back to the physical origin of the RAW data: Full-power CIRAWFilter EDR decoding: Extracts the linear-space highlight information that conventional pipelines clip away, precisely mapping the super-bright range into Gain Map grayscale values. Apple-Native HDR Metadata Injection Making the system Photos app and third-party apps truly "understand" our HDR — not just a brighter picture: MakerApple private tag injection: During HEIF encoding, we precisely inject Apple's private EXIF tags 33 (HDR Gain Map Version) and 48 (Display Headroom), enabling the system Photos app to natively recognize and render HDR highlights — identical to the system camera. 10-bit HEIF + Gain Map unified packaging: Using Core Image's hdrGainMapImage option, the Gain Map auxiliary image is embedded directly into the HEIF container — no extra files needed, losslessly preserving Extended Dynamic Range data. Real-Time EDR Preview in RAW Editor From "editing blind" to "what you see is what you get" — feel the highlights glow at every step of your edit: HEIF Round-Trip + UIImageReader true EDR rendering: Preview frames are encoded in real time as 10-bit HEIF carrying a Gain Map, then decoded back to UIImage via iOS 17 UIImageReader in prefersHighDynamicRange mode, paired with preferredImageDynamicRange to deliver true Extended Dynamic Range display on screen. Smart Gain Map caching: The Gain Map extracted from RAW on the first pass is cached as concrete pixel data (rather than a lazy CIImage chain), so subsequent adjustments only re-encode the base layer — avoiding repeated RAW decoding that causes lag and memory overflow. 5.1 is not simply about "making photos brighter." It is a complete HDR pathway built on mobile — from RAW physical signals to EDR pixels on screen. Every highlight, faithful to the light at the moment you pressed the shutter.

5.1 HDR Imaging Engine: Unleash Every Highlight Beyond the Screen Mobile HDR photography has long been stuck in crude global brightening or post-capture algorithmic compositing. In 5.1, we chose to build a complete Gain Map HDR imaging pipeline from scratch — enabling every ProRAW / BayerRAW photo captured by Gleam Camera to carry true Extended Dynamic Range data, identical in origin to Apple's system camera, lighting up precisely on EDR-capable displays. In this version, HDR is available exclusively in Film Mode shooting and the RAW Editor. Photos taken in Film Mode with ProRAW / BayerRAW automatically embed Gain Map HDR data; in the RAW Editor, you can toggle HDR on and off in real time via the HDR button, previewing highlight effects as you edit. Future versions will gradually expand HDR support to more shooting and editing scenarios. Native EDR Gain Map Extraction Rather than "guessing" highlights on an SDR image, we go straight back to the physical origin of the RAW data: Full-power CIRAWFilter EDR decoding: Extracts the linear-space highlight information that conventional pipelines clip away, precisely mapping the super-bright range into Gain Map grayscale values. Apple-Native HDR Metadata Injection Making the system Photos app and third-party apps truly "understand" our HDR — not just a brighter picture: MakerApple private tag injection: During HEIF encoding, we precisely inject Apple's private EXIF tags 33 (HDR Gain Map Version) and 48 (Display Headroom), enabling the system Photos app to natively recognize and render HDR highlights — identical to the system camera. 10-bit HEIF + Gain Map unified packaging: Using Core Image's hdrGainMapImage option, the Gain Map auxiliary image is embedded directly into the HEIF container — no extra files needed, losslessly preserving Extended Dynamic Range data. Real-Time EDR Preview in RAW Editor From "editing blind" to "what you see is what you get" — feel the highlights glow at every step of your edit: HEIF Round-Trip + UIImageReader true EDR rendering: Preview frames are encoded in real time as 10-bit HEIF carrying a Gain Map, then decoded back to UIImage via iOS 17 UIImageReader in prefersHighDynamicRange mode, paired with preferredImageDynamicRange to deliver true Extended Dynamic Range display on screen. Smart Gain Map caching: The Gain Map extracted from RAW on the first pass is cached as concrete pixel data (rather than a lazy CIImage chain), so subsequent adjustments only re-encode the base layer — avoiding repeated RAW decoding that causes lag and memory overflow. 5.1 is not simply about "making photos brighter." It is a complete HDR pathway built on mobile — from RAW physical signals to EDR pixels on screen. Every highlight, faithful to the light at the moment you pressed the shutter.

5.1 HDR Imaging Engine: Unleash Every Highlight Beyond the Screen Mobile HDR photography has long been stuck in crude global brightening or post-capture algorithmic compositing. In 5.1, we chose to build a complete Gain Map HDR imaging pipeline from scratch — enabling every ProRAW / BayerRAW photo captured by Gleam Camera to carry true Extended Dynamic Range data, identical in origin to Apple's system camera, lighting up precisely on EDR-capable displays. In this version, HDR is available exclusively in Film Mode shooting and the RAW Editor. Photos taken in Film Mode with ProRAW / BayerRAW automatically embed Gain Map HDR data; in the RAW Editor, you can toggle HDR on and off in real time via the HDR button, previewing highlight effects as you edit. Future versions will gradually expand HDR support to more shooting and editing scenarios. Native EDR Gain Map Extraction Rather than "guessing" highlights on an SDR image, we go straight back to the physical origin of the RAW data: Full-power CIRAWFilter EDR decoding: Extracts the linear-space highlight information that conventional pipelines clip away, precisely mapping the super-bright range into Gain Map grayscale values. Apple-Native HDR Metadata Injection Making the system Photos app and third-party apps truly "understand" our HDR — not just a brighter picture: MakerApple private tag injection: During HEIF encoding, we precisely inject Apple's private EXIF tags 33 (HDR Gain Map Version) and 48 (Display Headroom), enabling the system Photos app to natively recognize and render HDR highlights — identical to the system camera. 10-bit HEIF + Gain Map unified packaging: Using Core Image's hdrGainMapImage option, the Gain Map auxiliary image is embedded directly into the HEIF container — no extra files needed, losslessly preserving Extended Dynamic Range data. Real-Time EDR Preview in RAW Editor From "editing blind" to "what you see is what you get" — feel the highlights glow at every step of your edit: HEIF Round-Trip + UIImageReader true EDR rendering: Preview frames are encoded in real time as 10-bit HEIF carrying a Gain Map, then decoded back to UIImage via iOS 17 UIImageReader in prefersHighDynamicRange mode, paired with preferredImageDynamicRange to deliver true Extended Dynamic Range display on screen. Smart Gain Map caching: The Gain Map extracted from RAW on the first pass is cached as concrete pixel data (rather than a lazy CIImage chain), so subsequent adjustments only re-encode the base layer — avoiding repeated RAW decoding that causes lag and memory overflow. 5.1 is not simply about "making photos brighter." It is a complete HDR pathway built on mobile — from RAW physical signals to EDR pixels on screen. Every highlight, faithful to the light at the moment you pressed the shutter.