Two new films. NEG — the exposure itself: the scene as the sensor records it behind a deep red 720nm filter, before development. Drag the dial across the IR-cut — from the pastel negative of an ordinary phone to the dense red of a converted sensor. Press and hold the photo: the print comes up under your finger. Let go: it sinks back into the negative. Push it: EV now bends the development the way real film responds — harder and darker pushed up, thin and milky pulled down. And look close: the starved channels hiss, the way a sensor really does behind a filter that starves it. SAFELIGHT — the darkroom lamp. Whatever it reaches glows red; everything else sinks into blue dark. Calibrated against red LED panels on the blue hour. The lamp creates no warmth — it finds what is already warm. The EV cell grew a rail — drag it in tenths of a stop.

MOON — a fourth film. Day for night: shoot in daylight, get a moonlit night. Reds sink first, the day sky goes dark. Not a blue wash. THE MANUAL — tap the nameplate: the article now opens on the active film's chapter. Kodak HIE, Aerochrome and the camouflage hunt, the night film that never existed, and Hollywood's nuit americaine. Also: video export now survives switching apps mid-render, a proper mechanical loader instead of the system spinner, and RAW loading no longer freezes the deck.

VIDEO. The film back now takes clips: load a video, tune the instrument on its poster frame, SAVE renders the whole clip — full resolution, original sound. Cleaner tone: exports at higher encoder quality, per-channel dithering for color gradients, RAW decode without system sharpening. Halation retuned to the reference emulsion — the glow now hugs the highlights. Save progress is visible: a strip for photos, a full-screen develop for clips.