Mavis has released version 7.4 of its Mavis Camera app for iPhone and iPad. The update introduces Film Kit, an in-app purchase priced at USD $9.99, aimed at users who want professional colour workflows and more flexible framing options.

The Film Kit enables custom .cube LUT import, letting users either preview looks in the viewfinder or bake them into the recorded footage. According to Mavis, this behaviour also applies to HDMI feeds coming from an Atomos Ninja Phone, so users can preview or record LUT-applied video from DSLR or mirrorless cameras in the same interface.

A small library of built-in filter LUTs (Bleach Bypass, Bunny, Cinematic, IR, Monochrome, and Vintage) provides preset looks for quick creative output. These can be used either for final recording or live preview during shoots, and carried forward into downstream workflows such as NDI streaming.

MLUTs and colour management

The update introduces a new format called MLUTs (MavisLUTs), which groups multiple LUTs and their metadata into a single file. Mavis states this is intended to make it easier for teams to organise looks across different colour spaces and productions.

Support for Apple Log 2 has been added to align with Apple’s newer professional capture profiles, while Open Gate capture enables full-sensor recording for later reframing or multi-aspect delivery. Two Open Gate modes are offered: one for Apple Log workflows and one for Rec. 709, both capable of recording above 4K on compatible devices.

Integration with ATOMOSphere

Version 7.4 extends the app’s cloud connectivity by integrating ATOMOSphere Camera-to-Cloud (C2C). The connection enables progressive upload to the Atomos ecosystem for review and collaboration directly from iOS devices.

Refinements and performance

Other improvements include new white-balance presets for faster setup, improved shutter-angle snapping to standard values such as 180 degrees, expanded translation support (French, Spanish, Chinese, German, and English), and general performance updates.

Mavis Camera remains a free download on the App Store, with Film Kit unlocking the new LUT, MLUT and Open Gate functionality through a one-time purchase. As always, users should verify performance and compatibility in their own workflows before deploying the update in production environments – “Pro” is a very fuzzy term these days.

The post Mavis adds LUTs, Open Gate and a “Film Kit” to iOS camera app first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Apple has updated its smartphone filming companion, Final Cut Camera, to version 2.0. The free expansion unlocks advanced recording capabilities on the iPhone 17 Pro and Pro Max, including ProRes RAW recording, genlock, open-gate capture, Apple Log 2, expanded timecode options, and full integration with Live Multicam in Final Cut Pro for iPad and Mac.

ProRes RAW on a Phone

The iPhone 17 Pro models are the first smartphones to support ProRes RAW. This format preserves unprocessed sensor data, providing extended dynamic range and grading flexibility. ProRes RAW files benefit from Apple’s Media Engine for export acceleration and storage efficiency.

Genlock: Frame-Sync for Multicam

Final Cut Camera 2.0 introduces genlock, allowing iPhones to synchronise with other cameras via a reference signal. This ensures frame-accurate alignment and removes the need for manual syncing.

Apple has also released a genlock API, already supported by Blackmagic Design’s Camera ProDock. The feature enables professional-grade techniques such as bullet-time rigs with multiple iPhones shooting in perfect sync.

Support for open-gate capture allows use of the iPhone’s full sensor area, beyond the standard 16:9 or DCI 4K crop. This offers flexibility for reframing, stabilisation and creative aspect ratios in post without quality loss.

Apple Log 2 and Timecode

Final Cut Camera 2.0 adds Apple Log 2, a flatter capture profile available in ProRes and HEVC, with extended colour representation and compatibility with LUT workflows. Timecode handling now includes Time of Day, Record Run, and external timecode input, offering professional clip management and multicam reliability.

The update adds manual controls for the new Center Stage front camera on the iPhone 17 line, including the iPhone Air. The square sensor records in both portrait and landscape orientation without rotating the device, a practical option for vloggers and journalists. Final Cut Camera now supports recording from the 200 mm Telephoto lens on iPhone 17 Pro at ProRes up to 4K60 fps. This extends creative framing options directly from the handset.

Rollout and Requirements

Final Cut Camera 2.0 will be available as a free App Store download later in September 2025. The app runs on iPhone Xs or newer with iOS 18.6 or later, though ProRes RAW and genlock require iOS 26 and an iPhone 17 Pro model. Parallel updates to Final Cut Pro 11.2 (Mac) and Final Cut Pro 2.3 (iPad) are planned to support these workflows, but Apple has not confirmed release dates.

For production teams, this update significantly broadens the iPhone’s potential. Still, as with any new recording format or feature, these workflows should be tested under production conditions before deployment.

The post iPhones Go “Pro” with Final Cut Camera 2.0 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.