Forty cinema bodies with their real scan windows, your own lens kit on a roll, a library of 120+ true 3D LUTs you can export for any camera’s log, and five working modes — photo, video, exposure meter, LiDAR scanner and monitor calibrator.
Most viewfinder apps hand you a crop factor and a focal length. This one starts from the sensor: every non-fixed body carries its actual selectable scan windows, each with the active image area in millimetres — published by the manufacturer where published, derived from the exact photosite ratio where not.
ARRI, RED, Sony, Canon, Blackmagic, DJI, Panasonic — plus broadcast chains, action cameras, and every recent iPhone, Galaxy and Pixel for when the phone is the camera.
Cycle the body’s real modes — 4.6K 3:2 OG, 4K S35, 3.3K 6:5, 2K Super 16 — and the angle of view changes because the photosite window did. Delivery aspect crops inside that window, the way the camera does it.
Primes snap to their stop; zooms ride a focal-length wheel with real detents. Stock CP lenses are derived from your phone’s own native glass and relabelled for whichever window you picked. Add your own — or sign in and your show’s lens inventory is just there.
Photo is home. Swipe down for Video and the Groundplan Scanner, up for the Exposure Meter and the Monitor Calibrator. Every mode keeps the same frame, the same rail, the same capture button in the same place — only its colour, its glyph and its instruments change.
Hold the phone up and you are looking through the body you picked. The top row is the row you touch — hold and drag any readout to scrub it, long-press to switch what it means.
The grade is not an overlay. Every delivered frame goes through the same Metal pipeline the preview uses and straight into the writer — so the LUT and the lens warp are baked into the file, not promised in post.
The phone’s own live telemetry becomes one target EV. Four interlocking dials sit over the frame as pure representations of it — lock what the production has already decided, and let the rest solve.
LiDAR scanning on Apple’s own RoomPlan coaching, handed straight into the finder’s frame for review — a dimensioned 2D plan and an orbitable 3D model of the same scan, both coloured from the room’s own camera.
Point the phone at a monitor showing bars from its own source. Auto exposure, auto white balance and the colour space lock off entirely — the camera stops helping — and the readouts turn into the trims you actually reach for.
Every look in the finder is a true 3D LUT running on the GPU, and more than a hundred and twenty of them ship in the box. All of them are on the dial, shelf by shelf — scrub them under your thumb until the frame is right — then export that look already converted for the camera you’re shooting. The way you see it on the app is the way you get it on your cinema camera.
Movie Inspired, Filmic, Vintage, Contemporary, Expedition, Avant-Garde, Vibrant, Single-Tone and Influencers — each pack a drawer in Settings, with a search box across all of them. CamPlot’s own Pop, Stylistic and Cinematic sit at the top, and four slots take your own .cube files. The whole library is cached on the phone, so it works with no signal.
The whole library lives on the LUT widget, shelf by shelf. Touch it and hold: a reel comes out under your finger — drag up and down through the looks, left and right through the shelves, which recycle so neither direction dead-ends. The picture regrades live at every stop, so you find a look by looking rather than by reading names. A shelf of up to ten favourites sits right after System for the ones you keep coming back to. 709 is always the clean feed at the top; in Video on a capable iPhone, Apple Log and Apple Log 2 sit above it and record true log instead.
Every look is a Rec.709 grade, and no cinema camera takes one of those — Sony wants S-Log3 going in, Canon C-Log3, an Alexa LogC4. So Export asks which camera, then composes the manufacturer’s own log→709 conversion first and the look second — the correct order, never the reverse — and hands you a single plain-ASCII .cube that in-camera parsers accept. Load it as a monitoring LUT and the image matches the frame you graded on the phone.
Eighteen bases, ten manufacturers · composed on a 33³ lattice · delivered as “Tron - S-Log3.cube”
The widget rail changes with the mode, so each one only ever shows you the instruments that mode actually has.
A library of 120+ looks, CamPlot’s own Pop, Stylistic and Cinematic, and four slots for your own .cube files — applied on the GPU, exactly as your DIT would. The library & export →
ARRI’s published colour-spectrum scale or a full spectrum ramp — near-black clip, 18% grey and skin sitting exactly where you expect them.
Today’s arc or any future date’s, from your location and the compass. A soft sun rides the arc as you pan and tilt, telling you the hour it lands there.
On Pro iPhones, aim and tap for feet and inches to your subject — with an optional surveyor’s cross showing exactly which point it reads.
1:1, 4:3, 16:9, 2.35, 2.39 and 9:16 drawn inside your frame with the outside shaded — so you can see what the vertical cutdown gets.
Volume up, volume down and the Camera Control button all fire the capture — and press again during the review window to save. Slim amber lines show you where they are.
Fed natively from CoreMotion, so the horizon angle and the heading are alive the moment the finder opens — no tapping the screen to wake them.
A continuous, brightness-adjustable light in both Photo and Video — the way you would actually use a light, not a flash you can never see through.
Body, sensor mode, focal length and heading burned into the file. Signed in, a scout frame can go straight onto the right camera on your plot.
The app boots from its own copy on the device. Bad hotel wifi, a stage with no bars, airplane mode — it opens instantly anyway.
Default mode and camera, crop behaviour, LUT base, reverse wheel, recording resolution and codec, scanner defaults — set once, and that is how it opens.
Sign in and your show’s lens inventory, cameras and projects come with you — one account across the Viewfinder, the Calculators and all of CamPlot.
A location survey used to be a tape measure, a phone camera and a notebook that made sense to nobody else. Here it is one pass: measure the throw, frame the shot through the body you are actually bringing, scan the room, and walk out with the plan and the frames already attached to the project.
The app runs without an account on a generic full-frame body and a demo lens range, so you can see the whole thing before deciding. The same subscription unlocks the Calculators app and all of CamPlot.
Free to try, no account needed. Built by a working director, used on network productions.