CINE WHITE BALANCE

About

A color meter that speaks your camera's menu, and a director's viewfinder that shows the shot before the camera arrives. Point the phone at the light. It reads a color temperature and a tint, then translates that one measurement into what your body actually asks for — in its own wording, in its own step size. An ALEXA wants a tint value. A VENICE wants something else. A LUMIX calls it something else again. You get the number to dial, not a conversion to do in your head. DIRECTOR'S VIEWFINDER Pick a body, its shooting mode and a lens set, and the live picture shows what that combination would see. The frame is the sensor's native shape and it holds still — changing lenses moves the picture behind it, because the phone ramps its own zoom so a 24 pulls out and a 135 pushes in, the way swapping glass would. • 81 bodies, 124 imaging modes, 103 lens series — ARRI, RED, Sony, Canon, Blackmagic, Panasonic, Fujifilm, Nikon, Leica, Z CAM, cine and stills glass • Framelines for your delivery crop, with the surround shaded as much or as little as you like • Prime turrets and zoom barrels stepped through real focal marks, naming the lens you are on • Mount adapters, speed boosters, extenders and anamorphic squeeze • AE lock, an exposure trim, a luminance histogram, and a three-way ASC CDL grade previsualised over the live picture • Capture stills or walkthrough clips, with the camera, lens, frame, angles of view, white balance and place burned onto the frame • Group frames by job and send a shotlist PDF THE METER • 19 camera families, each with its own translation and its own step size • Spot or full-frame metering, with a reticle you place by tapping • Lock a reading as an anchor and see everything else as a difference from it — how you match a second setup to the first, or catch the light drifting after lunch • Calibrate the tint scale to your own body, once LIGHT YOU HAVE NOT MET YET • Sun tracker: the sun's whole path for any date and place, drawn over the live picture • Predicted colour: what the light will be where you are going, with cloud cover from the forecast — and a badge saying how far to trust the figure • The day: every reading you pinned, plotted against night, blue hour, golden hour and full sun GELS, ND AND FRAMING • CORRECT takes a source to a target, names the LEE or Rosco gel that gets closest, what you actually land on, and what it costs you in stops • MATCH makes two sources agree • An ND calculator, and a density-to-stops table for when somebody calls a filter by the other name • Delivery ratios, the pixel dimensions to set a timeline to, what a resolution somebody handed you actually is, and the custom marker number your monitor asks for WHAT LEAVES THE PHONE IS YOURS Scenes export as CSV for the editor or PDF for the gaffer. Frames export as a shotlist. Place names and coordinates can be kept out of all of it. One payment. No subscription, no account, no ads. Nothing is uploaded except the coordinate used to fetch a cloud-cover forecast, when you ask for one. A phone is not a spectrometer. Under a narrow-band source the app says so rather than pretending otherwise, and every predicted figure carries the basis it rests on.