Today Maxon announced the return of Autograph, a modern compositing and motion graphics tool.
Autograph is incredibly powerful, and it’s been a thrill to work with the original creators to fold it into the Maxon and Red Giant ecosystem. Even more exciting:
You can download it today and start discovering how powerful and fast it is. If you have a Universe or Red Giant subscription, you’ll see some familiar tools in there as well.
Log your nog with Drinking Buddy.
I made an app! A real, native iPhone app coded in Swift and SwiftUI.
It’s a thing of beauty. I love it and use it every day. But I can’t share it with you, because Apple rejected it from the App Store due to “Physical Harm.”
Don’t worry, I figured out a workaround. That’s how determined I am to harm you.
I created this app by “vibe-coding” it — prompting it into existence via AI — using an iPhone app called Bitrig. Bitrig is the brainchild of some folks who helped create the Swift programing language that Apple now favors for all iOS/iPadOS development. There are many AI-assisted app creation platforms out there, but Bitrig has two (currently) unique value propositions: It creates native iPhone apps, and it works on your phone.
Building iPhone apps right on your phone is fun! And, of course, maddening, because AI — but when it works, it’s delightful and rather amazing.
Kevlin Henney (via John Siracusa):
The act of describing a program in unambiguous detail and the act of programming are one and the same.
I have complex feelings about AI and creativity, but this quote feels right to me — I created this app using AI, even though I didn’t write one line of code.
If you’ve tried anything like this you know that the process is a mix of the miraculous and the infuriating. You’ll get a working prototype up and running in minutes, and then argue with a cheerful robot for 15 fruitless prompts about the color of a button. Complex features come together with ease, while a bug fix might take dozens of attempts, and risk reverting previous fixes.
It’s a bit like building an app by talking to a polite and well-meaning tech support agent on the phone — only their computer is down, so they can’t test the app themselves.
But power through all these frustrations, and you have an app.
I’m sure I’ll have more to say about that in the future, but let’s get on to what my app is, and why Apple rejected it.
The Drinking Buddy Shortcut, before iOS 26 made Shortcuts menus absolutely hideous.
In 2018 I released a Shortcut called Drinking Buddy that helps you keep track of your alcohol consumption. I mostly share the tools and automations I create to support creative work, but here I was sharing something personal. I enjoy a drink from time to time, and I wanted a tool to help me be thoughtful and intentional about that. Drinking Buddy does this by showing how many drinks you’ve had in the last seven days (a question your doctor might ask), and by estimating your current Blood Alcohol Level based on your recent drinks.
This estimation is done using the Widmark Formula, which has been around since the 1930s. It’s a simple equation that uses your gender and body weight to model how you metabolize alcohol over time.
I’ve updated Drinking Buddy many times in the seven years since I first shared it. It’s a shining/ridiculous example of how I’ve pushed Shortcuts past the point that any reasonable person would consider sane. I wanted to create an app-like experience, but I was always fighting the limitations of a tool designed primarily for simple automations.
This is the version of Drinking Buddy that I created using Bitrig:
The App Store page that will never be.
Use the big buttons to log drinks. Your estimated BAC appears on the left, in a fun little gauge that animates when it changes. Your weekly drinks are charted on the right, as well as a rolling weekly average of drinks/day.
What started as my first real vibe-coding experiment took me down a rabbit hole of refining this design, tweaking the user experience, and, unfortunately, liking the results enough to want to share them.
In 2016 Apple formalized its distaste for dubious health-related apps with strengthened guidelines. Although section 1.4, called Physical Harm, doesn’t specifically call out blood alcohol calculators, the language in my App Store rejection did:
To ensure users' safety, only blood alcohol content calculator apps that pair with hardware capable of offering accurate blood alcohol content measurements are appropriate. Apps that rely solely on software, Widmark formulas, or other mechanisms to calculate blood alcohol content are not appropriate.
One reason I thought I might be able to get Drinking Buddy onto the App Store is that there are many BAC calculators currently available there. I won’t link them here,1 as I don’t feel it’s my place to rat them out, but their abundance led me to believe it might be possible to pepper one’s app with enough warnings and admonitions that it would be considered “safe.”
So I appealed my rejection, and it was upheld in no uncertain terms.
Drinking Buddy lives, as a web app. The Forecast view and Custom Drinks are new features never implemented in the native iOS version.
Aside from assuming precedent means anything on the App Store, the big mistake I made in this process was diving deep into the “sweating the details” part of building my app before I’d tested Apple’s commitment to keeping you safe by forbidding simple math. 2
But the time and effort I put into the native Drinking Buddy did not go to waste. I turned my attention to Loveable (a turnkey web app vibe-coding platform), where I was able to rapidly build a near-clone of my SwiftUI app. I had the complete spec already and several screenshots to guide the process, and my experience with Bitrig had given me a good idea of where I was likely to bump into issues.
This greatly sped up the process, and I had a working version in less than a day. A week later, after some beta feedback, I arrived at something even more powerful and feature-rich than the iOS-native version.
So now Drinking Buddy is a Progressive Web App — a web page that can be added to the Home Screen of your Apple or Android phone, where it will behave very much like a native app, even when offline. Your sensitive boozing data stays local and private, but it will be up to you to back up and restore your logs if you lose or replace your phone.
Cheers. If you’d like to try Drinking Buddy, it’s free, and works on any device you’re likely to have.
But one is literally called “OK to Drive”.
Obviously I understand of Apple’s concerns here. Some 99¢ app says your BAC was at zero an hour ago, so you get behind the wheel of a car and crash into an orphanage. At Apple’s scale, the liability is unmeasurable. While my app is well-intentioned, the App Store is genuinely besieged by bad actors of all kinds. I support Apple’s right to dictate what can and can’t be on their own store. I also believe that Apple would be in a lot less regulatory trouble (and community disfavor) if iOS and iPadOS worked more like the Mac, where apps not suitable for Apple’s explicit endorsement can be installed through other avenues.
I know, I know, another video about shooting video in log on iPhones? I promise I’ll move on to other topics, but two events happening in one week pushed me into making this video:
Why is log important, even to Samsung, who never met a color they didn’t crank to eleven? Why does non-log iPhone footage often look bright and desaturated in editing software? Why does log matter from a creative standpoint, not just the technical reasons I covered in my previous videos? Is it OK to shoot log in highly-compressed HEVC instead of ProRes?
To answer all these questions, I’ve got my longest video yet, and some new free LUTs for working with non-log HDR iPhone footage. The meat of the video is a “Color Grade With Me” tour through some of the more interesting shots from my Peru and Taiwan travelogue edits, where I dive into the creative possibilities afforded by log.
Being me, I also used these topics as an excuse to share a philosophical view of how I look at any given camera. I hope you enjoy this more creative, less technical video. My goal this year is to make more, so please drop a comment on the video or on Bluesky letting me know what topics you’d like to see me cover.
The new Kino app recording ProRes Log with a custom preview LUT.
Yes we’re still talking about shooting video on iPhones. But I also want to talk about digital cinema shooting in general, in a world where top camera makers are battling to give filmmakers everything we want in a small, affordable package.
How does the DV Rebel spirit — born of camcorders and skateboard dollies — live on in a time of purpose-built digital cinema cameras that fit in your hand? For me, it’s meant keeping my rigs small and manageable. I love gimbals and drones and lidar focus rigs, but I’m happiest when my whole rig — tripod and all — can be picked up and moved with one hand.
We suffered through so many years of too little camera, but now it’s quite easy to have way too much camera. I want to live in that sweet spot where image quality is not compromised, but I can still move fast.
Turns out I feel the same way about iPhone camera apps.
Photo by Karen Lum
The built-in iPhone camera app is too little camera for shooting ProRes Log. There’s no preview LUTs, no manual adjustments, and the viewfinder is obscured by the controls.
The Blackmagic Camera app is a truly wonderful gift to the Apple Log shooter, addressing all these issues. The only feature it lacks is the ability to pick it up in a rush and quickly make great-looking video. So, confession time: I almost never use it for anything other than the most controlled studio shooting. My Peru and Taiwan travel clips? Almost entirely shot with the native camera app.
There’s a massive gulf between the too-little Apple app and the too-much Blackmagic offering. And my friends at Lux, makers of the wonderful Halide still photo app for iPhone, have created a new video app that lives squarely in this sweet spot.
Choose from built-in LUTs, or load your own. Bake them in, or just preview through them as you record uncorrected log.
Kino is an app you can pop open and start shooting with right away, with just enough control to maximize the final quality of your iPhone video. It’s fast, fun, and a joy to use thanks to its thoughtful and beautiful design.
Out of the (skeuomorphic) box, Kino is basically an app that shoots better-looking video on your recent iPhone. You can choose from professionally-designed LUTs to dial in the look you want.
On iPhone 15 Pro and Pro Max, Kino becomes a log-shooting powerhouse. You can choose whether to bake the LUT into your footage or not, and you can add your own LUTs.
Maybe my favorite feature is AutoMotion. While Apple’s camera app prefers fast shutter speeds, Kino tries to keep you as close to a cinematic 180º shutter angle as possible.
Kino runs the spectrum from consumer app that just makes iPhone video look better to professional control and options. It’s the perfect DV Rebel video app.
Kino features LUTs created by filmmakers you’ll recognize, but the honor of supplying the most boring LUT fell to me. The Neutral LUT is none other than my Prolost “TECH” LUT that I explained here.
Accessibility has always been core to the DV Rebel ethos, and along with that came a focus on tuning not-quite-professional gear to achieve cinematic results. Years ago, this was essential for the indie filmmaker, as professional gear was truly unattainable.
But even when professional tools are abundant and affordable (seriously, what a time to be a filmmaker!), sometimes the right camera for the job is the one that feels great to shoot with. And the same is true for camera apps.
Still from Apple’s “Let Loose” video.
Apple unveiled their new line of iPads yesterday in a pre-recorded video titled “Let Loose.” As with the previous “Scary Fast” MacBook Pro launch video, “Let Loose” ends with a tag proclaiming “Shot on iPhone” — this time adding “Edited on Mac and iPad,” and the fine print: “All presenters, locations, and aerial footage shot on iPhone.”
During the live stream I actively wondered if the iPhone acquisition of “Scary Fast” had been a one-time thing. “Let Loose” looks great, as all Apple videos do, but some shots featured a shallower depth-of-field than is possible with an iPhone-sized lens and sensor combo. At the end of the event, I wondered publicly on Threads about this. Replies speculated about additional lens rigs, some improved version of Cinematic Mode, or maybe blurring the background in post.
After Apple released a behind-the-scenes video about the production of “Scary Fast,” the Internet did its internet thing and questioned the “Shot on iPhone” claim, as if “Shot on iPhone” inherently means “shot with zero other gear besides an iPhone.” These takes were dumb and bad and some even included assertions that Apple added additional lensing to the phones, which they did not.
But for “Let Loose,” they did.
“Let Loose” was shot on iPhone 15 Pro Max, and Apple says that for several shots where a shallow depth-of-field was desired, Panavision lenses were attached to the iPhones using a Panavision-developed mount called the “Lens Relay System.” This rig is publicly available for rent from Panavision today, although not currently listed on their website.
There’s just enough shallow focus in these shots to make me wonder how they could be shot on iPhone
Cinematic Mode could never.
What’s a “lens relay system?” Think of a telescope. Instead of focusing an image on a plane of film or a sensor, it creates what’s known as an “aerial image” that you capture with another lens system — your eye. If you’ve ever smashed your phone up to a pair of binoculars successfully, you’ve made a lens relay system.
I used a Frasier lens relay system from Panavision to get small lenses into tight spaces for a Ruby Tuesday commercial I directed. The Frasier is a pericope lens, one physical unit that contains both the taking lens and the capture lens.
I don't know for sure that Panavision's system uses an aerial image rather than a ground glass like this rig from Beastgrip, but the image quality and name make me think it might.
Either way, with Panavision’s system, the iPhone’s own lens rephotographs the image created by any Panavision lens you like. The iPhone provides the image capture, in ProRes Apple Log, of course.
Panavision showed off this “director’s viewfinder” iPhone rig in April. Not exactly what Apple used, but similar idea. Image from Y. M. Cinema, click through for more.
There are, of course, many systems for mounting lenses to iPhone (Beastgrip is working on a new one), but it’s certainly notable that Panavision made one, as they exclusively serve a market of high-end professional filmmakers.
If “Scary Fast” could be shot without add-on lenses, what does Panavision’s rig bring to the table? Apple Log allows the iPhone to capture highly-malleable, 10-bit ProRes footage that fits into a professional pipeline alongside footage from high-end cinema cameras, but the one thing it can’t do is capture the shallow depth-of-field that we associate with high-end productions. The look of “Let Loose” is a collaboration between the iPhone’s clean capture, the focus control of the Panavision lenses, and top-tier color grading — masterfully overseen by an uncredited cinematographer.
So is it fair to say “Let Loose” was “Shot on iPhone” if it was done with the help of gear the average iPhone owner could never afford? Of course it is. Feel free to re-read this: What Does and Doesn't Matter about Apple Shooting their October Event on iPhone 15 Pro Max — but in short, the fact that Apple can drop an iPhone into an otherwise-unaltered professional film production and match the look of their previous videos without anyone even noticing is meaningful.
In fact, “Let Loose” is the first Apple Event finished and streamed in HDR, pushing the iPhone’s capture abilities even further than “Scary Fast.”
You don’t need to add cinema lenses to the iPhone to make great-looking images, but the fact that you can is cool.
You also don’t need to twist yourself into knots wondering why you might choose an iPhone over a professional cinema camera when you have a Panavision lens budget. Personally, I’m more excited about the run-and-gun possibilities, but a vote of confidence from the most elite cinema rental house only bolsters the story of iPhone as professional video camera.
Or just make note that Apple confidently intercut footage shot with the most respected cinema lenses available with shots lensed with unadorned iPhones.
Panavision for sure.
But I’m betting no Panavision here.
None of this would be possible without Apple having adding Log ProRes recording to the iPhone 15 Pro. Log is to video what raw is to still photography, and the story of how Apple Log transforms the definition of “Shot on iPhone” from a dalliance to a responsible, even desirable strategy for filmmaking is still ongoing.
Truly “pro” features like color-accurate OLED screens on iPads and ProRes Log on phones don’t just sell a few devices to a few filmmakers. They preserve and elevate Apple’s reputation as the choice of creative professionals in all fields. Apple hardware is vastly overpowered for most of its customer’s uses, so as Apple looks around for folks in need of their very best, they find the Zbrush artist, the Redshift renderer, and now, improbably-but-deservedly, the professional cinematographer.
