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When Cinemon hit beta, it got our attention. Now, with version 1.0 released, it’s no longer just “one to watch”—it’s one to use. Developed by Ike Arias from CineSpices LLC, Cinemon 1.0 brings color pipeline analysis and signal correction to the iPad, in a package that aims to replace external monitors for on-the-go post-production work. For an introduction to what Cinemon is, check our past coverage: Cinemon 1.0: Correcting the Signal, Hardware for Cinemon et al., and the initial Beta for iPad and Mac. But here’s the news: it’s official, it’s final, and it’s still evolving—because Ike is already cooking up further improvements.

Waveform Monitoring

At the core of Cinemon’s toolset is its waveform monitor – this isn’t just a pretty graph—Cinemon’s waveform monitor lets you accurately interpret signal levels across formats. We haven’t tested HDR-workflows with a current gen iPad, but that is one of the next stops in our pipeline! Signal analysis is detailed, precise, and touch-responsive, leveraging the iPad’s display for maximum readability in mobile workflows.

Vectorscope with Color Pipeline Support

For those working on color critical projects, Cinemon’s Vectorscope helps verify color accuracy and pipeline consistency. The tool supports color pipeline analysis, meaning it can display and analyze signal data through your specific color grading and encoding setups. If your workflow includes multiple LUTs (Look-Up Tables) or custom transforms, Cinemon visualizes where color shifts happen—essential for spotting errors before delivery.

Signal Correction Tools

Cinemon isn’t just about analysis; it’s also about correcting signal issues. With tools designed for signal correction, users can identify and adjust color and exposure problems directly within their workflow. Cinemon focuses on signal correction in real time, making it ideal for quick on-set checks or post-production QC (Quality Control).

External Monitoring? Optional.

One of Cinemon’s design goals is to replace the need for external monitors in certain workflows. While it doesn’t aim to fully replicate studio-grade reference monitors, Cinemon offers an accurate, HDR-capable display environment on iPad, freeing colorists, DITs (Digital Imaging Technicians), and VFX supervisors from the desk—and from lugging around extra gear.

App Availability and Pricing

Cinemon 1.0 is available for iPad on the App Store. Pricing details are available via the official website at cinemon.app, where updates and developer insights are also published.

Future Development: It Doesn’t Stop Here

Ike Pius is already developing further features for Cinemon, with the app positioned as a must-watch tool for post-production professionals. The roadmap includes enhanced support for custom color pipelines, potential API integration, and expanded file format compatibility—although none of these features are live yet.

For Now: Field-Test Before Production

As always, test before deployment. While Cinemon 1.0 packs impressive features, its adoption in production pipelines should be evaluated on a case-by-case basis. Especially in color critical workflows, tools need to be stable, predictable, and integratable. That said, Cinemon is well on its way to becoming a staple for post-production artists seeking portable, accurate signal monitoring and correction tools—right from their iPads.

More at cinemon.app – where signal correction meets mobility.

The post Cinemon 1.0: Signal Correction Done Right first appeared on DIGITAL PRODUCTION and was written by Uli Plank.

We had a close look at the public beta, which should be close to general release.

Instruments and Features

CineMon is offering all the features you’d expect from a full featured monitor, like Grids, Center Mark, Safe Areas, Framing/Blanking, Flip/Flop/Rotate, anamorphic De-squeeze, Focus Peaking, and Zebras. All of these are highly configurable, e. g. separate Zebras can be freely adjusted for a lower and upper limit in different colors. De-Squeeze has not only all the usual ratios, but is also freely adjustable with a slider.

False Color allows the choice of a few versions from high-end cameras, but you can also define your own with unlimited flexibility. These can be saved in the program or exported, to be used by others with the same software. The same applies to complete presets for your own needs in CineMon, both of such settings are saved and read as .json files. Individual presets are indispensable in the light of such impressive flexibility of the toolset.

Dual Spot Meter

A unique feature is the dual spot meter in photometric EV values. This tool allows you to check middle grey at 0 EV or measure the contrast ratio of specific zones by placing a second spot. It works with gamma 2.4 (for Rec. 709) or with log profiles, which are pretty much complete for all manufacturers, from Arri to Sony. They are integrated and can be chosen directly in the software, while LUTs have to be imported first.

Another photometric tool based on log video input is an exposure slider. If you expose to the right (ETTR) to reduce noise, you can use this to see how your footage will look like when corrected in post. This is particularly useful with some hybrid cameras, like older Sonys, which force you into overexposure when shooting log (SLog2 in particular).

These image adjustments will also simulate changes to contrast or saturation. Of course you can also use LUTs. They should come as .cube files with 33 point lattices, and they can be used as input LUTs or as display LUTs. On the iPad, you can compare looks by swiping between your presets.

The built-in organizer allows renaming or rearranging presets in the list, which also applies to LUTs or false color versions. If a setting has been changed from the saved status, it’ll show in orange. The context menu will give you the option to revert, to save the new status or duplicate under a new name.

If needed for a busy scene with much detail, focus peaking can show edges only. Framing is optionally shown with dimmed look-around blanking areas. Overlaying a freeze from a live source or a loaded still supports precise placement of the camera or objects.

Or you choose a reference frame to match exposure, contrast, color, etc. with the camera settings for the current scene. The CineMon video scopes will process the mixed frame in this case. The difference mode, with a user-defined contrasting color, will immediately show if something has changed in a scene. This will help to spot a missing or misplaced object immediately.

Color Key Preview

Color key preview is not a full quality chroma keyer, but a real-time preview over a checkerboard or background still you have read in. It helps in spotting uneven lighting of the background color or adapting the foreground lighting to the planned environment. It’s even good enough to show problem areas to wardrobe or make-up artists. You can find a video showing all the tools here: cinemon.app

As you may have expected, CineMon has professional scopes, which can be placed and arranged freely, even with adjustable transparency as an overly to the live feed. They adapt to vertical video, but can also be switched to be shown fullscreen. You’ll find a histogram, waveform, and vectorscope with all the usual features and options. If compared with the scopes in DaVinci Resolve with the help of a video read in, they also look very precise. But, obviously, this raises the big question:

How precise is the incoming signal?

If you are using a MacBook, precision interfaces are coming from Blackmagic or from AJA, and they work as expected. But those from Blackmagic need Thunderbolt and don’t work with an iPad, and those from AJA may cost as much as the iPad itself. So, next we’ll look at alternative solutions.

The post CineMon 1.0 (Beta) for iPad and Mac first appeared on DIGITAL PRODUCTION and was written by Uli Plank.