Film(ish) photo editing
照片和影片
免費 · App內購買 · 專為 iPad 設計。尚未針對 macOS 驗證。
Your phone takes sharp, clean, technically perfect photos. Film(ish) makes them feel real.
Film(ish) simulates real analog film stocks – the way light scatters through emulsion layers, how silver halide grains develop unevenly, how highlight halation bleeds warmth into bright edges. The result isn't a look – it's your photo reimagined as if it was shot on film. And it works on video, frame by frame, with the same pipeline.
WHAT MAKES IT REAL
Every stock is a complete system, not a color grade:
Grain that develops the way silver halide actually develops – stochastic, chromatic, part of the image rather than noise laid on top.
Halation that bleeds warm glow around highlights. Diffusion with the soft roll-off of a Pro-Mist filter – dreamy without being blurry.
Characteristic curves – the nonlinear way film maps light to density. Smooth highlight compression, rich shadow separation, and the organic tonal rolloff digital cameras just don't do.
OVER 90 FILM STOCKS
Kodak, Fuji, Agfa, and the films history forgot – color negative, slide, cinema, instant, black and white, from the original 1936 Kodachrome to stocks that disappeared decades ago. The new cinema stocks render as a projected print, and a Print stage can put any photo on real print film – Kodak 2383, Fuji ETERNA – or photographic paper.
FOR CASUAL SHOOTERS
Pick a film stock. Adjust the strength. Export. Beautiful analog photos in seconds.
FOR COLOR NERDS
Go deeper. Way deeper.
Develop RAW on your own terms: As Shot, Normalized, or Log. Normalized strips the camera's processing and develops every RAW to one uniform base, so a preset renders the same across cameras and conditions. Decoder MIX blends your own decode and exports it as a linear DNG.
Then grade like a colorist: Hue vs and Sat vs curves, Split Tone built on real toner chemistry, per-hue color across 8 zones with dye-density control, Shadows, Midtones and Highlights in perceptual space, print contrast curves, and scopes – histogram, waveform, RGB parade, vectorscope – with a clipping warning that knows each stock's latitude. Masks stack: linear, radial, luminance, color, depth, sky, subject, and a brush.
FINISHING
Text that develops into the film, with variables for camera, date, ISO, and place. Frames: 35mm with real perforations, 120 with the maker's own edge print. Light leaks, lens blur with real bokeh, motion blur, anamorphic flares, double exposure, a date stamp that burns in as light, and on-device Erase.
VIDEO
The full film pipeline on every frame. Edit LOG from any camera with your own conversion LUT, grade Apple Log, keep HDR. Gate weave and animated light leaks for the projector feel.
PRIVATE BY DESIGN
Everything happens on your device. No cloud uploads. No accounts. No tracking. No ads. Your photos stay yours.
Works with RAW files, HDR photos with gain maps, and video. Full-resolution export as HEIF, JPEG, or DNG.
Free to use, with real tools and real stocks in the free tier. Pro unlocks everything – buy once, use forever.
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Five new cinema stocks — the most accurate in Film(ish) to date — with refined skin tones, and a more expressive print stock to pair them with.
New
Five cinema stocks. The most accurate stocks in Film(ish) to date, with skin tones refined across all five. They take over the Featured row:
50D — Kodak Vision3 50D. The cleanest of the five, with the finest grain — cool through the shadows and mids, warming only at the very top.
200D — Kodak Verita 200D. Magenta highlights, a short range, and blacks that go dense instead of grey. The warmest of the five on skin.
250D — Kodak Vision3 250D. Blues and greens pull toward the same teal.
500T — Kodak Vision3 500T. The tungsten one — coolest of the set, with the most room left in the highlights.
160T — Kodak Vision3 200T. The warm one, and the only one with warm shadows — an amber ceiling over the highlights, and the least saturation of the five. For golden hour and tungsten interiors.
K2383W — Kodak VISION Color Print 2383, printed for more expression: the teal holds all the way through mid-grey instead of letting go in the mids. Auto Print picks it for the cinema stocks. F3510 — Fujifilm 3510 — is the restrained one: darker, more muted, and it never crosses over.
120 — a fourth frame type, after Solid, Analog, and 35mm. The border carries the maker's real edge print — Kodak prints both edges, with frame numbers at 6×6 pitch; Fuji prints one edge in dot-matrix, once per strip — and every stock brings its own markings. A tint row sets how the edge print reads. Photo editor only.
Decoder MIX — blend your own RAW decode. Two sliders, Tone Map and Chroma Boost, take an Apple ProRAW from Normalized toward As Shot; bake the blend when it's right. Export the bake as a linear DNG that opens the same way in any RAW editor, Exif and GPS intact — and Film(ish) reopens its own DNG fully developed. The mix is free; the DNG is Pro.
開發者Catalin Bridinel指出App的隱私權實務可能包含下方描述的資料處理。如需更多資訊，請參閱 開發者的隱私權政策 。
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開發者不會從這個 App 收集任何資料。
輔助使用
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資訊
- 供應商
- Catalin Bridinel
- 大小
- 40.3 MB
- 類別
- 照片和影片
- 相容性
需要 iOS 17.0 或以上版本。
- iPhone
需要 iOS 17.0 或以上版本。 - iPad
需要 iPadOS 17.0 或以上版本。 - Mac
需要 macOS 14.0（或以上版本）以及配備 Apple M1（或以上版本）晶片的 Mac。 - Apple Vision
需要 visionOS 1.0 或以上版本。
- iPhone
- 語言
- 英文
- 年齡分級
4+
- 4+
- App內購買
是
- Film(ish) Pro $690.00
- 版權
- © 2026 Catalin Bridinel
