Ariadne needs an iPhone Pro. It uses the LiDAR sensor and all three rear cameras, and the colour tools need Apple Log: an iPhone 15 Pro or later. The download is 3.3 GB: start on 5G or Wi-Fi.
Ariadne shows a location through the camera and lens you plan to shoot with. Select a body, a sensor mode and a lens, and the picture is cropped to that field of view. The band below states the T-stop that camera needs for the light you stand in, and holds to about a third of a stop against an incident meter.
One purchase, no subscription, no account, and nothing you shoot leaves the phone.
A cinematographer built it, and it keeps the conventions of the trade.
THE VIEWFINDER
Seven ARRI bodies, two Sony Venice bodies and three film formats, at their real sensor modes. A searchable catalogue of real lens sets, primes and zooms, spherical and anamorphic, with 1.4x and 2x adapters. Where a lens set carries image circle data, Ariadne works out whether it covers your sensor. Where there is no published figure, nothing is drawn: a blank is never filled with a guess.
THE LIGHT METER
A live T-stop for the scene in front of you, at your rating, shutter angle and frame rate. Declare the ND in your matte box and every stop accounts for it; Ariadne also states which filter would put your widest mark back in reach.
HOLD A STOP AND WALK
Tap the A below the exposure readout and metering stops. The wheel becomes an iris ring in T-stops that re-exposes the sensor, so a bright room reads over and a dark corner under, as one stop on film does.
FALSE COLOUR, ON FILM TOO
Touch and hold the picture and the frame paints by exposure, in stops from mid grey. On a film body it reads the selected stock at box speed: exposure monitoring a film camera has no path for. There is no over-exposure band: the phone's sensor clips long before the negative does, and a red band would report the phone's limit as the shot's.
LOOKS AND LUTS
Import .cube, and ARRI Look Files in .alf4 and .aml, with no round trip through the ARRI Reference Tool. Each look renders in the colour science it was authored for. The sheet shows the graded picture, the response curve, and where 18% grey lands.
FILM STOCKS
Vision3 50D, 250D, 200T and 500T, Verita 200D, Vision 320T, Ektachrome 100D and Double-X, from the manufacturers' published data. Negatives are shown as lab-corrected prints, reversals uncorrected under the light you stand in.
AR BLOCKING
Stand the scene up on the location. High-resolution, lighting-grade stand-ins, height-adjustable, placed on the real floor, seen through the lens you selected and occluded by the real foreground. Backings dressed with your own photograph, vehicles, interior cutaways, tables and seating. Scan your own actor with LiDAR and place the double.
SUN AND TIME OF DAY
True solar position for where you stand, scrubbed a quarter of an hour at a time and drawn across the frame. In AR it drives the light: direction, colour temperature and the shadows stand-ins cast on each other.
PLAN VIEW
A top-down, north-up plot: the camera at its centre, its real field of view as a wedge, every figure with its facing, and a compass ring with the day's solar arc. Saved beside a photograph it adds a scale bar and lens to subject distances, to hand the blocking to other departments.
CAPTURE
One shutter. Tap for a still, hold to record, hold two seconds to latch the take. Framelines, hooks, compass and exposure are burnt into the frame; a JSON sidecar carries the rest.
CALIBRATE THIS PHONE
Two measured tests: the true field of view of each camera, and the cameras matched on a grey card. The meter holds to about a third of a stop; an optional step calibrates it against your own.
FROM THE DEVELOPER
Ariadne is made by one working cinematographer, from what I needed on set and could not buy. If something does not do what this page says, jakescottstudio.com/support reaches me directly: tell me the body, the lens and the light and it is usually fixed in the next build.
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