Filmode's pro camera gives you the manual controls a film body had — and writes a RAW file alongside the graded shot, so the frame you composed and the frame you can rebuild are the same press of the shutter.
RAW capture needs an iPhone whose camera publishes a RAW format. Apple ProRAW additionally needs iOS 14.3 or later on a Pro model — the app only offers what the lens in front of you can actually deliver.
RAW is not a mode you shoot instead of your look. The camera asks the sensor for both frames from a single exposure: the graded photo opens in the editor the way it always did, and the negative goes straight to Photos with nothing baked into it.
What you framed, with the LUT applied at capture — straight into Filmode's editor, where the rest of the app already lives.
The untouched negative, named by your own pattern and filed into an album you choose. No look, no crop, no stamp — everything still on the table.
Five channels on one dial, each independent: hold ISO and let the camera meter the shutter, or pin both and take the meter out of it entirely.
Ruled dials with real values, not percentages. Anything you leave alone stays automatic — the camera keeps metering the channels you did not take.
Tungsten, fluorescent, daylight, cloudy, shade, twilight — or drag the ruler anywhere between and read the temperature off it.
Edges light up where the plane of focus falls, so manual focus is something you see rather than something you hope for.
Hatching on what is about to clip, and a full false-colour scale that gives every brightness its own colour — with middle grey unmistakable.
Live RGB levels, and the line every camera puts under the frame: program, shutter, aperture, ISO, lens and the metered EV.
Thirds and finer grids, the aspect you intend to crop to drawn over the frame, and a horizon that tells you when the camera is straight.
Exposure brackets by the stop, self-timer, and interval shooting that can end on a count or a clock — with each slot bracketed if you want it.
Save the camera as it stands and put it back tomorrow. Channels that were automatic come back automatic rather than frozen at yesterday's light.
Assign the volume buttons to shutter, zoom or EV; drag the viewfinder to move compensation; hide the status bar so the frame is all there is.
A camera that writes files should let you say what they are called. The pattern takes the app name, the date, the time, a running number, and the ISO and shutter the frame was actually shot at.
{app}-{date}-{time} |
The default — filmode-20260907-143512 |
|---|---|
{n} |
A four-digit running number you can reset when a roll ends |
{iso} · {shutter} |
The exposure, written so it survives a filesystem — 400, 1-250,
2s |
| Album | Negatives filed into an album of your choosing, created on the first shot |
| Geotag | Off by default. Turned on, the coordinates are written into the negative and location is only read while the camera is open |
| Negative formats | Bayer RAW and Apple ProRAW, written as DNG. Only the modes the current lens publishes are offered. |
|---|---|
| Processed photo | HEIF or JPEG, with a quality setting from fastest to maximum. |
| Manual channels | ISO, shutter, focus distance, white balance in kelvin, exposure compensation — each independently manual or automatic. |
| Metering & focus | Matrix, centre-weighted and spot metering; continuous, single and manual focus; tap to focus. |
| Viewfinder aids | Focus peaking, zebra, false colour, histogram, status readout, grids, crop guides, level. All drawn on the viewfinder only — never baked into the photo. |
| Drive modes | Single, self-timer, exposure bracketing, interval. |
| Also on Android | The same pro camera ships in Filmode for Android, control for control. |