EMST Camera vs Nulume

EMST Camera is a film-inspired camera app you operate like a camera. Not a filter you drop on afterwards. Pick a look, set your exposure, aperture and focal length, and shoot. Live preview of the settings directly in viewfinder. YOUR CONTROL • A dial-based shooting interface: one scroll wheel drives exposure, aperture, focal length and aspect ratio. • Aperture dial with depth-of-field rendering. • Focal length presets pinned to your iPhone's real lenses. • Mirrorless-style autofocus: a persistent AF box, tap to move it, AF lock to recompose. • Grid and level overlays when you want them, nothing when you don't. YOUR LOOK • Built-in film-inspired looks, from warm evening color to cool dusk tones and true monochrome + Natural for a clean, untouched capture. • Every look is tunable: grain, halation, vignette, clarity and color temperature. PRIVATE BY DESIGN • No account, no ads, everything happens on your device. Open the camera straight from control center or lock screen with shortcut extension. EMST Camera iOS app from Emaki Studio, a small independent photo toolkit.

Nulume fixes the colour of Log footage, and nothing else. There is no timeline and no trimming. Apply a LUT, move a few sliders, export. That is the whole app. APPLE LOG AND S-LOG3, SAME WORKFLOW Clips are judged by container and codec, not by camera brand. Anything that is H.264, HEVC or Apple ProRes inside a .mov or .mp4 opens — Apple Log shot on the iPhone, and S-Log3, C-Log, V-Log or F-Log copied in through the Files app from another camera. THE LUT SEES THE CAMERA'S OWN NUMBERS A 3D LUT is a lookup keyed on exact code values. If something reinterprets the Log curve before the LUT is applied, the result is wrong. Nulume pins its working colour space and hands frames to the LUT unmanaged, so that cannot happen. YOUR OWN .CUBE LIBRARY Import any 3D .cube LUT and it stays in your library with a colour swatch you can pick out at a glance. Two neutral conversions — Apple Log to Rec.709 and S-Log3 to Rec.709 — are built in, so there is something to work with from the first launch. SIX BASIC CORRECTIONS Exposure, contrast, highlights, shadows, saturation and temperature, plus LUT strength from 0 to 100%. A toggle in the header switches between before and after at any time. REAL-TIME PREVIEW The preview renders through Metal at 16-bit float, so a 10-bit source stays 10-bit all the way to the screen. 4K plays back smoothly. EXPORTS SIZED TO THE SOURCE The export bitrate follows what the original actually is, not a figure guessed from resolution — a high-rate camera file is not quietly re-encoded down to a fraction of itself. The estimated size is shown before you commit. Resolution, frame rate, capture date, location and audio all carry over. NOTHING LEAVES THE PHONE No networking code, no analytics, no tracking SDKs. Your footage and your LUTs are processed entirely on the device, and the LUT library is deliberately excluded from iCloud and from device backups. PRICING All the grading is free. LUT import, preview, LUT strength, all six corrections — and there is no cap on how many times you export. The one-time in-app purchase unlocks 10-bit HEVC and Apple ProRes output, and nothing else. No subscription, no ads. WHO IT IS FOR - You shot in Log but opening a full editor is more than the job needs - You want to hand something off the same day with the tone already sorted - You want to finish footage from another camera while you are still moving Input: H.264, HEVC (8/10-bit) and Apple ProRes, in .mov or .mp4 Export: HEVC 8-bit, HEVC 10-bit (Main10), ProRes 422 Proxy / 422 / 422 HQ LUTs: 3D .cube, LUT_3D_SIZE 2–64 Note: ProRes export requires an iPhone with a ProRes encoder. Formats this device cannot encode are shown greyed out rather than failing mid-export. Note: Cutting and timeline editing, MXF containers, camera RAW (BRAW, CinemaDNG and similar) and still images are not supported.