Cinema stocks
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.
Improved
- K2383 has a new, improved version.
- The Featured row is now the five cinema stocks. The fourteen it replaces return to their brand sections, and pins still win.
- 50D is the new default stock for Pro users.
- Stock cards now render the Print stage, so the card matches what you get when you tap it.
- The date stamp was rebuilt. It burns into the film as light now, instead of sitting on top as a flat orange overlay — it glows against a dark ground and never darkens a bright one.
- Tips are finished in the photo editor: an illustration for all 22 topics, rewritten copy, and Film and Print sharing one tabbed sheet.
- The flare brush restricts instead of boosts — painting narrows the automatic pick to the highlights inside your stroke, instead of lighting the whole painted area.
- Dragging is smoother across the editor — on big RAW files, on the Hue vs and Sat vs curves, in live Lens Blur and Noise Reduction, and in the scopes.
- Scrolling pill strips step one item at a time under your finger.
- Extract HDR is offered by what the file holds, not which camera made it.
- Dye fringing returns to the 35mm perforations, bounded so it can't tear under heavy halation.
- The mask tint reads as a red filter over the photo, not a flat red sheet.
- One RAW log curve now covers every camera, replacing the per-camera split. Your setting carries over.
Fixed
- Fixed the RAW filter missing photos in libraries with more than 1000 RAW files.
- Fixed RAW photos shared from Photos opening as a smaller derivative instead of the original RAW.
- Fixed grain on the canvas rendering stronger than the exported file.
- Fixed erasing near the corners — you can now pinch below fit to reach them.
- Fixed slider thumbs being hard to grab at exactly 0 and exactly 100.
Note
A few saved edits will look different. Dated edits re-render with the stamp burned in as light. Edits on the K2383 print render cooler. Edits using the flare brush light only the highlights inside the stroke. Normalized RAW drafts render slightly differently.