SmartLog: What's New. Every Build, Every Name.

shipped 6 October 2026

The same on every device. Email report and Camera report PDF now do two clearly different things whether you are on a computer, an iPhone or an Android phone. Email report builds your camera report and opens a new message in your phone’s own mail app, with the recipient and the subject already filled in, ready for you to send. Camera report PDF builds the same file and opens the share sheet. Whichever you tap is the one you get.

Thanks to Henrik Lyngbo, focus puller, Copenhagen.

shipped 6 October 2026

One change in this build, for the people who send their report straight from the phone. Email report now builds your camera report and hands it to your phone’s own mail app with the recipient and the subject already filled in, every time. You still see the message and send it yourself, so you stay in control of what goes out. If you would rather skip the mail step, Camera report PDF builds the same file and opens your phone’s share sheet.

Thanks to Henrik Lyngbo, focus puller, Copenhagen.

shipped 2 October 2026

Four notes from a camera assistant logging busy days on an iPad Mini 6, every one of them answered. Asked for by Yudhatama, camera assistant, Indonesia.

Fast on a big day, online or off

• No more slowing down after fifty slates. Every new take used to copy every frame grab and lighting diagram on the device, just to keep the version history. It never touches a picture now, and on a sixty slate test job that step went from a sizeable pause to no time at all.
• Team sync sends each picture once. A frame grab or diagram goes up one time, as its own file, and only a new or changed one is ever sent again. The log itself reaches the crew in seconds. On the same test job the team file went from 146 MB after every save to 77 KB.
• Pictures arrive after the takes. A teammate's takes land straight away and their pictures follow one at a time, so the screen never freezes waiting for them. A picture that is not up yet is fetched on the next sync, never lost.
• Backups no longer pile up. Drive copies are written a picture at a time instead of as one huge file in memory, at most every two minutes while you are busy, and the producers' live PDF is rebuilt only when the log has changed, at most every ten minutes.

Every camera keeps its own settings

• Camera B is camera B. Switching to B opens on B's own last take, frame rate included, then B's own defaults from Setup. It never copies camera A's lens, frame rate or native ISO.
• It saves itself. Every take you log on a camera becomes that camera's starting point, so there is nothing to set up twice.
• This device logs camera B. In Setup, tell the iPad which camera it logs and every new take opens on it. A teammate's sync can no longer flip it back to A.
• White balance and ND join each camera's defaults, and Reset to camera defaults puts them back too. When both cameras roll on one slate, each saves its own values.

PDFs and file names

• A separate PDF for each card. Select several cards and SmartLog asks: one PDF, or one per card. Per card, every file is named from its own card and handed over in one share sheet, or saved as one ZIP. Setup can make either choice the default.
• Name files your way. A file name template in Setup, under report fields, built from tags you tap in: {Scene_Number}, {Scene_Name}, {Slate}, {Roll}, {Camera}, {Date}, {Shoot_Day}, {Production}, {Episode}, {Unit} and {Takes}. It shows the real name from your latest card as you build it.
• The backup inside a wrap pack now restores properly.
• Spanish throughout. Nothing you have already logged is changed.

Thanks to Yudhatama, camera assistant, Indonesia.

shipped 11 September 2026

Four rounds of notes from two camera assistants who log real jobs with SmartLog, tested on the beta and now in the app for everybody. Most of it is about clip numbers that follow the card, and a take form that keeps up with the board. Asked for by Beng Han, 2nd AC, Malaysia, and Angel Sukma, camera assistant, Indonesia.

Clip numbers that follow the card

• Add a take after this one. Open a take, choose More for this take, and SmartLog offers the next take already carrying its setup, placed where it was shot rather than at the end of the day, with the clip number the camera would have written.
• If that number is already on the card, you see exactly which files would move and by how much before anything changes, and one undo puts it all back. It never reaches across to another camera or another card, a clip you named yourself is left alone, and a take that made two files moves as one.
• Deleting a take asks about the clip numbers. When later files on the same card would be left with a gap, you choose. Keeping the numbers is the default, because those files are on the card. Closing the gap shows everything it would rename first, and one undo puts back the take and every name.
• Add a false roll after this one. It goes back where it happened on the card, with the next clip number there, and the first file on a card can take one in front of it.
• A warning when the card and the clip disagree. Roll A023 with a clip on A021 says so, under the clip. It never stops you saving and it never rewrites what you typed.

A take form that keeps up with the board

• Scene and shot step. A board slated 41/2 goes to 41/3 in one tap, and scene, clip and take read in full on a phone.
• The slate number moves itself. New setup proposes the next slate along with the next scene, once for each setup and never for each take. Type over it whenever you want something else.
• Add a lens or a white balance straight from the take. The plus beside Lens and Color temp adds a chip and selects it for the take you are on. A lens goes to the camera you are logging, and 4300, 4300K and 4300 k are one chip, not three.
• The iris steps. A minus and a plus beside the stop, moving by the fraction you pick, from a tenth to a whole stop. Three thirds lands exactly on the next stop.
• The flicker safe shutter angle, beside the frame rate, for 50Hz or 60Hz mains. It is a starting point for a test, and the full flicker tool is still in the calculators.
• PU beside AFS, and an edit to a take offers itself to the rest of that setup, with an undo.
• Equipment stacks the way filters do. DOLLY and RONIN on one take, tap to add and tap to take off. Internal ND picks one density, because a body is at one density or it is clear.
• A spacebar on the letters keypad, so B ROLL and CAR PARK type.

Reports and exports

• Several cards in one report. Pick A001, add A002, and the report on screen, the PDF and the marker files cover exactly those cards. The log filter takes several rolls too, for Quick Export.
• Camera reports are named by card. The PDF starts with the roll, then the date, then the job: A023_10092026_YOURFILM.pdf. A folder of reports sorts itself by card and then by day.
• Lighting diagrams and floor plans keep their detail, so fixture labels are still readable on screen and in the PDF.
• The printed report reads like the one on screen. A long lens name, LUT or clip wraps onto a second line in the PDF, and on screen the report tells you when there are more columns to the right.
• 23.98 is where you look for it. The frame rate lists say what the camera in your hands says. It is the same rate SmartLog has always recorded.

Cameras and glass

• The Nikon ZR is in the camera list with Nikon's own published formats. Where Nikon publish no data rate, SmartLog says unknown rather than guessing.
• Thypoch, DULENS and Laowa lens sets, taken from the makers' own catalogues, and the spellings people use on set find them.
• Jam by camera tells you what it is waiting on, and Start over really starts over. No camera, a camera in use by something else and permission not given are three different messages.
• Spanish throughout, including every new screen in this update. Nothing you have already logged is changed.

Thanks to Beng Han, 2nd AC, Malaysia, and Angel Sukma, camera assistant, Indonesia.

Build 2026-08-24

shipped 24 August 2026

A rolling take now has an obvious one-tap END button on the log card, the slate board, and the take form. You can stop the timer without entering a TC out, and the take stays valid with its duration left blank. TC out remains available as the precise timecode action whenever you want it.

Also in this build

• External filter presets now go up to ND3.0
• The tail slate position flips the board to match what the camera sees
• Same Again is always visible from the log screen
• Save + Same and Save + New shortcuts appear after your first take

Thanks to Rudi Sirra, DP, Melbourne.

shipped 22 August 2026

The biggest single update SmartLog has had. Everything that has been in testing since 20 August is now in the app for everybody, and every free text field now accepts and prints any written language.

Type your report in your own language

The printed camera report renders any script your phone or computer can already display. There is nothing to download, no font pack and no internet connection needed. Thai, Japanese, Korean, Simplified Chinese, Arabic, Hebrew, Hindi, Vietnamese, Greek and Russian have all been put through the real report and read back off the printed page.

Mixed lines behave. A note reading Camera A followed by the same words in Thai stays on one line, in order, on the right baseline, in the right column. Long entries still shorten to fit their column, circled takes still get their circle, a false take still gets its red line, and a tinted row still tints.

This came from Deejay Intouch, a DP who shoots Thai productions and wrote in to say his descriptions were coming out as question marks. He was exactly right about the cause.

The same text already travelled correctly through the CSV, the JSON backup, the on screen log, the HTML report, the editorial marker files and the handoff between devices, and it still does. English and Spanish reports are unchanged, and that is measured rather than assumed: they print byte for byte identical to the build before this one.

The director’s viewfinder, and a plan of the set

FINDER is a director’s viewfinder built into the app, with its own place on the bottom bar: LOG, FINDER, REPORT, CALC, SETUP. Tapping it opens the live picture rather than a menu. Point the phone at a location and see the frame the camera body, the recording mode and the lens on this production actually give you. It follows the lens you choose, moving to the ultrawide when you pick a wide focal and back again, and it says so plainly when no lens on the device is wide enough rather than pretending. It remembers scouts, keeps reference frames with the framelines burned in, and carries a sun and light planner that draws the sun path, the shape of the day and the shadow to scale for any date and place.

BLOCK is a flat overhead plan of where the cameras, the people and the objects stand. Put the cameras down, point them, see the real frame each one covers, mark where the actors start and finish, draw the dolly move, step through the beats of a scene and hand the whole thing to a director as a page.

Share has moved inside REPORT to make room, with nothing in it changed.

The shoot plan, and nineteen calculators

The shoot plan tracks a planned shot through to the takes that covered it, the reference that proves it and the pickup if one is needed. A plan is an intention and a take is evidence, and nothing rewrites one into the other. It brings a shot atlas, coverage and a pickup pack.

The camera department calculator hub is nineteen tools in one place: depth of field, field of view, equivalent focal length, exposure, shutter, flicker, ND, anamorphic, delivery crop, slow motion, timelapse, dolly speed, timecode, drift, offload, storage, wrap time, rig power and rotation. Each one fills itself from the camera, the take, the card, the battery and the lens register rather than asking you to type what the app already knows, and each says whether its answer is calculated, estimated or a starting point.

Knowing where your data came from

Every take can now carry where each value came from and whether a person has checked it. Recording configuration stays fixed to the take, so a database correction months later can never rewrite a day that already happened. Round trip reads the card, the sound report and the camera, puts what they say beside what the log says, and repairs the difference. Nothing it reads writes to a take on its own: it produces evidence, you apply it, and it is previewable, auditable and reversible.

Official support for the 3DFilmParts Digital Slate

SmartLog can now talk to the 3DFilmParts Digital Slate directly. Turn it on under SETUP, in the slate board section, with the switch that says you own one. The app finds the slate over its own wifi, reads what is on the board, pushes the production, scene, take and roll to it, jams its timecode, and shows you what actually landed rather than assuming it worked. The slate keeps its own record of every take it witnessed and nothing the app does can overwrite that. The switch is off until you turn it on, so if you do not own a slate nothing about the app changes.

The notice that travels with the code

SmartLog is free to use and the only thing it asks in return is that the people who asked for its features keep their credit. That notice sits at the top of the file, addressed to people and to AI coding assistants alike, and it is stronger in this build. SmartLog is proprietary software and its source code, interface design and documentation may not be copied, redistributed or used to create a competing product without written permission from 3D Film Parts. The 3D Film Parts name, the SmartLog name, the wordmark, the logo and the app icons are not available for use by others. The app states plainly what it does with your work, which is nothing without your say so. There is no account, no profile, no tracking, no advertising and no analytics, and nothing you type is collected, sold or used to train any model.

What did not move

The printed camera report, the master CSV, the Silverstack file and the Drylab file come out exactly as they did before this build for anyone typing in English or Spanish. That was checked by generating them from the same fixture on both builds and comparing the bytes.

Build 2026-08-21 MAJOR UPDATE

shipped 21 August 2026

The biggest update SmartLog has had. Four rounds that have been running on the beta go public together: a calculator hub for the whole camera department, a way to bring the card, the DIT and the sound recordist back into the log, a shot plan that sits beside what actually got shot, and a layer that keeps track of where every number on a take came from. Everything below is free, works offline, and needs no account.

Proven on real days by the people who test these builds before anybody else sees them: Luca Ferraro, a DIT in Italy, Aiko Tanaka, a 2nd AC in Japan, Thabo Mbeki, a focus puller in South Africa, Élodie Marchand, a camera loader in France, Lucas Bennett, an owner-operator in Australia, and Sofia Ribeiro, an owner-operator and cinematographer in Brazil.

Nineteen camera department calculators, and they already know your job

A film set runs on arithmetic, and most of it gets done in an app that knows nothing about the job you are on, so you type the sensor, the lens, the stop and the frame rate again every single time. These live on the CALC tab and fill themselves in from the camera you are shooting on, the take you are looking at, the card, the battery, your lens register and your own timecode checks. They all still work with nothing filled in, so you can open one on somebody else’s set and just type four numbers.

• Depth of field. Near limit, far limit, the depth between them and the hyperfocal, from the sensor you are really on. Mark two focus positions and it says whether anything stays sharp through the whole pull.
• Field of view. What the lens covers and how wide the frame is at the subject. Or say how wide you need the frame and it tells you where to stand, on every focal length in the kit.
• Sensor match. Changing body mid job. The focal length that frames the same subject the same way on the new sensor, and the nearest lens you actually have.
• Exposure match. Going from 24fps to 120fps costs 2.32 stops. It says so, then gives you the three ways to put them back: pull ND, raise the EI, or open the iris, each with the exact figure to dial in.
• Shutter angle and speed, the same shutter written both ways at the frame rate you are on.
• Flicker-safe shutter. Shutter angles whose exposure lasts a whole number of the light’s own cycles, on 50Hz mains, 60Hz mains, or a fixture you know the frequency of.
• ND and stops. What a stack of filtration really costs, and what to do about it when a filter comes out.
• Anamorphic and crop. Desqueeze the raster, take the delivery ratio out of it, and see the final frame, how many pixels go and which side they come off.
• Camera geometry. Lens height, subject height, distance and tilt. Give it any three and it solves the fourth.
• Slow motion, timelapse and camera move. How long a high speed take runs once it is cut in, what interval a timelapse needs, and how fast the dolly has to travel.
• Timecode calculator and drift. Add, subtract, durations and frame counts, drop frame aware. And if your box has drifted, how fast, where it lands by wrap, and how often it needs re-jamming.
• Offload time, production storage and will we make wrap. How long the card takes to come off and what is holding it up, what the whole shoot needs including the copies, and the four in the afternoon question: does the media last, and does the copy finish.
• Rig power and battery rotation. Everything hanging off the camera added up, and whether the batteries and the charger you have can keep it running all day.

Every answer says what kind of answer it is. Timecode arithmetic is calculated. A battery runtime is estimated, and it says why. The flicker tool is a starting point and never claims to be anything else, because LED drivers and dimmers can still cause flicker whatever the maths says. Nothing is invented: a camera the database has no sensor figure for says so rather than quietly using a plausible one. And an answer can be sent into the take, with a preview of exactly what would change, and an undo.

Bring the card, the DIT and the sound recordist back into the log

Until now the log only knew what you typed into it. Now it can read what everybody else says happened, put it beside what the log says, and fix the difference.

• Card reconcile. Drop in a listing of what is really on the card and see which clips match a take, which do not, and which nobody logged.
• Bring the DIT file back. Read a Silverstack, ScriptE or Drylab export back in and see what it says differently from your log.
• Sound files. Match a sound report to your takes. MOS takes are held back and counted rather than guessed at.
• One correction screen. Nothing is selected until you select it, and it shows you what would change before anything does.
• Timecode repair. Shift a whole range by a fixed offset, drop frame aware, with the durations untouched.
• Renumber safely. Renumber a scene or a run of takes, and it refuses outright rather than folding two takes into one.
• Report diff. What actually changed since you last sent the report, so an amendment says what it needs to.
• Conflict protection. When two devices hold different answers for the same take, it keeps both and asks you, instead of quietly picking one.

The plan, beside what actually got shot

Every version of SmartLog so far could tell you what happened. None could tell you what was meant to happen. A plan is an intention and a take is evidence, and SmartLog never rewrites one into the other. Without a shot plan it behaves exactly as it always has.

• Bring your shot list in however it was written: paste it, drop a spreadsheet column in, or pick a CSV. Nothing leaves your device.
• A shot queue for the coverage planned for today, with a big Start button.
• Planned against actual. What the plan said beside what got shot. A difference is not an error and it never says it is.
• Coverage and pickups. What the day set out to capture, what it did, what still has to be shot and why. A pickup never clears itself.
• A shot atlas of every setup with the frame you would recognise it by, and a scene storyboard and pickup pack you can print.
• Production memory. One search across the plan, the takes, the setups and the pickups.

Know where every number came from

• Recording configuration. Pick the mode the camera is really in and SmartLog carries the manufacturer figure for it, so a database update can never rewrite a take you shot last month.
• Where did this come from. Any value can say whether it was typed, carried from the last take, imported, read from a database or worked out by a calculator.
• Verified takes. Mark a take checked and it says so until one of the technical fields moves again.
• Warnings that know your kit. Card and runtime warnings built from what your body and your media can actually do, never a general rule.
• Corrected camera data. Seventeen recording modes now carry the manufacturer’s own figures, including ten ALEXA 35 ProRes modes, so anyone budgeting cards from those numbers orders the right amount.

Your camera report prints exactly as it did before: the PDF is byte for byte the same. The exported CSV gains four optional columns at the very end, where a spreadsheet pointed at a column by position will never notice them, and the Silverstack and Drylab files are unchanged. Everything is in Spanish as well as English.

shipped 20 August 2026

A whole round about keeping your day's work safe, and finding the takes worth sending. Backups are stronger, easier to set up, and honest about what they have actually done. Star ratings are now something you can filter, sort and see at a glance. Asked for by Amos Wont, who shoots with SmartLog every day and wanted his log to survive anything, and to keep a night shoot on the right date.

Set up backups in one tap

• A new green Set up backups button on the Share tab. It looks at what your device can do and walks you through it, in the order that protects you most.
• Every option tells you what it survives. A copy in Google Drive survives a full device, a lost iPad, and a browser clearing its data. An auto-backup file on a computer is rewritten on every change. A dated copy you keep yourself goes to your Files, your email, wherever you like.
• You can set them up in any order, and each shows a green tick with the time that copy was actually made.
• Where your device cannot do something, it says so and why, instead of offering a button that cannot work. iPhone and iPad cannot keep writing to a file on their own, so Drive is the one that matters there, and the app says that plainly.

You can see whether your work is safe

• A line at the top of the backup card shows how long ago a copy left this device, in green when it is recent and red when it is not.
• A storage meter shows how full the device is, how many reference frames you are carrying and roughly what they weigh, with a warning well before space runs out.
• A backup is only ticked once it has really happened. If the app cannot confirm that a copy landed, it asks rather than assuming.
• Backup files now carry the production name and the date, so NIGHT SWIM_BACKUP_2026-08-20_0628.json still means something six weeks later. A device holding several jobs names the file for all of them.

Getting your takes back

• Earlier versions now lists the dated copies in your Google Drive alongside the ones on your device, and each row says where it is kept, so you know which ones survive the device itself.
• A new Deleted takes list. A take you delete is kept for 30 days with its reference frames and can be put back on its own, without rolling the whole log back. Batch deletes go there too.
• If a take you put back would clash with one logged since, the app names the other take and asks first.
• If the app ever opens without your log, it now tells you what it found, when it was from, what restoring would give you back and what it would cost, before you decide anything.

Star ratings you can actually use

• Rate a take one to five stars, and the stars show on the log row as you scroll.
• A new Rating filter: five stars, four and up, three and up, or any rated take. Filter to the good ones, tap SELECT TAKES, and export or send exactly that set to your editor at the end of the day.
• A new Best rated first sort, beside newest and oldest.
• Ratings are on by default now, and the demo day carries four and five star takes so you can see how it works.

Night shoots keep the right date

• On a night shoot the day carries on past midnight, and the call sheet, the report and the sound report all name the date the day started. You can now tell SmartLog to keep the day until 2am, 4am, 6am, or any hour you choose.
• Fix dates already logged applies the same rule backwards over takes you have already logged. It shows you exactly which takes move and where to, before it moves anything, and it can be undone.

Everywhere else

• Hold any control for a moment and SmartLog tells you what it does. On a phone, holding explains without pressing the button.
• A new Report a problem button sends us what your device and the app were doing, so a fault can be found instead of guessed at. It shows you the whole report first, and it never includes your production name, scenes, notes, clip names or photographs.
• Google Drive sync is lighter on battery and data: your takes still go up seconds after you log them, and a teammate's changes come through.
• Spanish throughout, including every new screen in this update.

shipped 19 August 2026

The beta programme lands. Since 17 August every new round has gone to a separate tester build first and been run on real working days before anybody else saw it. Nine beta builds later, all of it arrives in the public app at once. Each round keeps its own entry below, the way the testers saw it.

• The take form works at set speed. Save + New and Save + Same, draft recovery for a half-typed take, one-tap New setup and New roll / card, recent values on the fields you type most, quick edit by long pressing a take, a live scene strip with a rolling clock, copy take summary, a keep-screen-awake choice and Start next shoot day. Build 2026-08-17-BL1 below.
• The day reads back complete, not just the takes. Camera events for the rejams, card errors and holds between takes, the camera body recorded on every take, body swaps as a deliberate act, TC checks that remember the drift, continuity reference takes, the continuity card, match continuity, take links, coverage by scene, the day timeline, a camera handoff you can send, re-card a run of takes and a change history on every take. Build 2026-08-18-BL5 below.
• Smart assist, for the days the log gets away from you. Catch-up entry, provisional takes that say what they still need, recover the take for a clip nobody logged, join the same take from two cameras, a value that moves during the take, the camera heading, Ghost Frame, report profiles, shot ratings, saved views, smart search and the sound link. All of it off until you switch it on. Build 2026-08-18-BL6 below.
• The cards calculator grew from nineteen cameras to eighty seven, five hundred and seventy five recording modes, every figure from the manufacturer's own published material with its source named on screen, and a new set of eighty one icons drawn for this app. Build 2026-08-19-BL8 below.
• The Silverstack handoff has a second route. A set-report file that lands on the right clip and carries the shot number, plus two documented columns on the existing file. Build 2026-08-19-BL9 below.
• All of it in Spanish, every screen of every round.

Asked for and shaped by Mateo Alvarez, a 1st AC in Mexico, Priya Nair, a DIT in India, Lukas Schneider, a 2nd AC in Germany, and Rafael Giuliano, a DIT in Brazil, and proven by the beta testers who ran these rounds on real days.

shipped 19 August 2026

Asked for by Rafael Giuliano, a DIT in Brazil, whose third round of real Silverstack tests showed exactly which of our columns land and which never could. One round about one file: the CSV a DIT feeds Silverstack at wrap.

• The shot number can reach Silverstack now. It travels two ways: in the new set report file below, and through Silverstack 9.3's newest importer, which reads it straight from the file SmartLog already writes.
• A second file, shaped for matching by clip name. DRYLAB CSV sits beside the Silverstack CSV on the Share tab, on the Report tab and in the wrap pack, named for the Silverstack import menu item that reads it. Two rolls can never be confused, and it carries the shot number, the camera heading, the GPS pin and the shoot day number. The shape is new, so tell us how it lands on your machine.
• Two new columns on the Silverstack CSV. Take Origin, the per-take timestamp Silverstack's date matching prefers; and Episode, for episodic jobs. Anything already reading the file is unaffected.
• The import notes now cover a day with several rolls. The plain text file in the wrap pack says which match options to tick, when to export one file per roll from the Report tab instead, and which file carries the shot number.
• All of it in Spanish. The new buttons and messages.

shipped 19 August 2026

The camera database round, and a new set of icons. The cards calculator carries eighty seven bodies and five hundred and seventy five recording modes, every figure read off the manufacturer's own published material, and it says on screen where each number came from. You can still type your own rate on any camera in the list: that is an escape hatch now rather than the only way in.

• Every ARRI, from ARRI's own calculator. ALEXA 35, ALEXA 35 Xtreme, Mini LF, Mini, LF, 65, 265, AMIRA, and the Classic, XT and SXT that are still on rental shelves. ARRI publish the size of one recorded frame for every codec and sensor mode, so the rate is that frame times your frame rate, exactly, at any rate you shoot. Nothing is scaled and nothing is estimated. Two hundred and eighty six modes where there was one camera.
• The ALEXA 35 Xtreme is its own camera now. It is a different body: ARRIRAW runs about three percent heavier, it records ARRICORE which the ALEXA 35 does not have at all, and it reaches ARRIRAW at rasters the 35 never offers. All fifty two of its modes are its own.
• The ALEXA 35's ProRes figures now come from ARRI rather than from Apple. ARRI's own numbers run thirteen to twenty eight percent higher. If you have been budgeting cards for an ALEXA 35, the new figures are the ones to trust.
• The VENICE 2 8K, off Sony's own record times. Eleven scan modes, X-OCN XT, ST and LT, with Sony's published figure at each frame rate rather than one number stretched across all of them. One hundred and forty one independent checks, all passing.
• BURANO, all six codecs. X-OCN LT, XAVC H-I HQ and SQ, XAVC H-L, XAVC-I and XAVC-L across its seven scan modes. The 8K rates match Sony's own published figures within three percent.
• Canon EOS C50 and C70. The C50's complete matrix: Cinema RAW Light LT, ST and HQ across full frame, Super 35 and Super 16, plus XF-AVC, XF-AVC S and XF-HEVC S. Forty four modes on one camera. Every figure is verified against Canon's own published record times.
• RED, KOMODO-X, the V-RAPTORs and the DSMC2 bodies. RED publish a media write ceiling rather than a rate per mode, so that is what it says: the fastest the camera can write, with real footage running under it. The MINI-MAG cards are in the card list with their own write speeds, because a 240GB MINI-MAG caps lower than a 480GB one.
• Drones, action and 360, per camera module. A Mavic 3 Pro is three cameras with three different ceilings, and its Cine version adds ProRes at eighteen times the rate, so it is not one number for the aircraft. Mavic 4 Pro, Mavic 3 Pro and Pro Cine, Air 3S, Mini 4 Pro, Avata 2, Osmo Pocket 3, Insta360 X5 and Ace Pro 2.
• A Phantom explains itself instead of showing you nothing. Twenty five high-speed bodies that capture into memory and save to a card afterwards. They have no card rate to give, and saying so is the useful answer: minutes per card is the wrong question for that camera. A CineMag or CFast save speed is never treated as the capture rate.
• It tells you where every number came from. Under each answer, in plain words: straight from the manufacturer, worked out from their own published record time, or a ceiling for the whole camera that real footage runs under. The sources are listed underneath, naming the document and the exact row.
• A mode reads as the shot you are in. 4.6K 3:2 Open Gate and 4K 16:9 are told apart on a body that records the same raster from two different sensor modes at rates sixteen percent apart.
• Type your own rate on any camera. Every body keeps Custom / manual data rate on the list, whether or not it has manufacturer figures. A published matrix never covers everything a camera can be set to.
• Cameras that look alike stay apart. A camera answers with another camera's figures only where the manufacturer's own documentation says the recording is identical, and the one case that qualifies says so in writing. Nine bodies carry their own figures: ALEXA Mini LF, VENICE, Mavic 3, Mavic 3 Pro Cine, Air 3, Avata, Neo 2, Flex4K-GS and Ace Pro.
• A new set of icons, drawn for this app. Eighty one of them, on one grid, across the tab bar, the take form, the report, sharing and Setup. The tab you are on now fills in solid rather than only changing colour, so the bar reads at a glance in daylight, and each icon takes the colour of whatever it sits in, so it is right in both themes.
• The search box on the log takes the room it needs. Search, then SLATE on the right, and Ghost Frame on its own full width row underneath with a fill of its own.
• Ghost Frame says when a frame has landed. Picking a reference frame, from the log or from the viewer, now confirms it.
• Removing a frame can be undone. Reference stills, lighting diagrams, card diagrams: the cross now leaves an UNDO and the picture really comes back. Those pixels only ever existed on that set on that day.
• Save is reachable from anywhere in the take form. SAVE TAKE, SAVE + NEW and SAVE + SAME are pinned to the foot of the sheet, the way the close button is pinned to the top, so you can be halfway up a long form and still save without scrolling. New setup, new roll and copy summary stay with the other actions.
• Bold is a bigger tab bar, not a smaller one. Bold keeps every tab label at full size.

shipped 18 August 2026

A round about the days when the log gets away from you. Every earlier round assumed you were keeping up. This one assumes the set is faster than the paperwork, that a clip sometimes exists with nothing written against it, and that two people wrote down the same take without knowing. All of it is off until you switch it on.

• Catch-up, for when the shooting is faster than the typing. A form with only the things that cannot be worked out afterwards on it: camera, card, clip, scene, take, timecode. Save writes a real take, in the log and on the report straight away, marked as still wanting detail, and opens the next one. Everything else can be filled in at lunch. A take that is missing detail is still a real take, not one more thing to lose.
• It suggests the setup, and it never applies it. When you come back to fill one in, SmartLog offers the setup it expects for that camera, and tells you how sure it is. Nothing is written until you tap.
• Create the take for a clip that has none. The wrap check already spotted gaps in the clip numbering. Now it can fill one: the clip name matches the job's own numbering, the takes either side are on screen, and a setup is offered. It lands in the right place in the day, and the history says it was recovered from a missing clip.
• The same take on two cameras, put back together. On a shared job two people write down one take separately. SmartLog offers the pairs it is confident are the same moment on two cameras. Joining them makes one row with a tab per camera, and each camera keeps its own clip, card, lens, stop and notes. It is reversible, and a pair you say is not a match is never offered again.
• A value that moves during the take. A zoom that starts at 50 and ends at 135, a focus pull from 2.4 to 8.6 metres, an iris ramp from T2.8 to T4. Tap +END on the field and record both. It prints as 50 > 135mm on the report and travels in the CSV split into its start and its end as well as whole. A prime is never offered the control, and a take with one value behaves exactly as it always has.
• Which way the camera was pointing. A heading in degrees with its compass point, 247° WSW, sitting with the lens height, the tilt and the dutch. Type it, or tap measure and use the phone's compass. It asks for the compass only when you tap, it says when a reading is relative rather than true north, and it is on the continuity card.
• Ghost Frame. Search the whole job for any reference frame, pull it up, and ghost it over the live camera until the shot lines back up. Fade between them, drag a wipe across the join with your finger, or flicker between the two, which is the fastest way to catch a small difference: an edge that does not match jumps as the divider crosses it. Capture what you have lined up and it is added to the take, and the reference you matched against is never touched. If the camera is not available the reference is still there to look at. It has its own door on the Log tab, in Setup and beside the reference stills, because a tool you can only reach from the right take is not a tool.
• Report profiles. One day, four people who each want a different sheet of paper. Full, DIT, VFX, production, or your own saved set of fields in your own order. It changes only what prints. No take is altered, nothing is deleted, and the take form keeps every field regardless, because hiding the lens from a printed report must never hide it from the person typing it.
• Stars, where a circle is too blunt. One to five on a take, for documentary, interviews, live events and anything unscripted where a whole afternoon is usable and somebody still has to say which three minutes were the good ones. Completely independent of the circle: neither implies the other. Off unless you turn it on.
• Saved views. The three questions you ask every day, saved with a name: A camera on the current card, everything tagged VFX, the four star and better takes. It stores the filters, the search, the grouping and the sort, and one tap puts them all back.
• Search that understands what you are asking. Type cam:A rating:4+ or scene:42B tag:VFX or needs:detail and the search box turns them into filters you can see and remove one at a time. Anything it does not recognise stays ordinary text and behaves exactly as it always did, so a colon in a note breaks nothing.
• Link a take to its sound. A sound roll and a sound file on the take, off unless you want them. The roll carries forward the way the camera roll does; the file never does, because it names one recording. An MOS take is never asked for a file.
• What this production calls finished. Different from the wrap check, which finds things that are wrong. This is what YOUR job needs on a take before it is done: a commercial wants a clip number and a lens, a VFX heavy feature wants the lens serial, the geometry, the heading and a reference still. Presets for basic, DIT and VFX, or pick the fields yourself. A take says READY or names what is outstanding, and it never stops you saving.
• Switches instead of tick boxes. Everything in this round that can be turned on has a real toggle sitting beside its own name, in its own box with the explanation underneath, and it changes colour when it is on.
• The Setup tab always opens on the main menu. Setup is nine sections behind one index, and the tab is the way in, so it opens the front door every time instead of leaving you where you last were.
• All of it in Spanish. Every screen in this round.
• A camera event can land on the editor's timeline. An event becomes a marker in its own colour, never the green or red that mean circled and false to an editor. It is placed only where its position on the day can be stated honestly, and left out rather than dropped at a frame nobody measured.
• The report legend explains what is on the page. Each term on the page is explained, so a report carrying a false roll or a take marked AFS reads clearly to somebody holding paper. A day without them prints exactly the legend it always did.
• Setup search finds all of it, including the parts that are not in Setup. Type the words you would actually say rather than our names for things: fell behind, too fast, missing clip, logged twice, zoom, compass, line it up, vfx report, stars, saved view, sound file, what is missing. A search of several words finds the right answer, whichever words you lead with.

shipped 18 August 2026

Asked for by Mateo Alvarez, a 1st AC in Mexico, Priya Nair, a DIT in India, and Lukas Schneider, a 2nd AC in Germany. The app already recorded a take very well. This round is about the rest of the day: what changed outside a take, which camera was on which body, what the setup was when you have to come back to it, and what the next person needs to know when they pick the camera up.

• A camera event is a row of its own. A rejam, a restart, a card error, an overheat, a tech hold: the things that happen between takes and have no business wearing a scene and a take number. It sits in the day at the time it happened, it is never counted as a take, and it never takes a clip number. It goes on the report and in the CSV so the day reads back complete.
• The camera body stays with the take. Swap a body at three in the afternoon, type the new serial into Setup, and everything you shot that morning still says which camera it was actually on. Every report, every CSV and the Silverstack file keep the body the take was shot on. A take logged before this build shows no body rather than being given one.
• Body swap, as one deliberate act. It shows you the body you are on, takes the replacement and its serial, asks why, and writes the swap into the day as an event carrying both serials. Setup gained a body serial, because two ALEXA 35s are the same words and different cameras.
• TC check, and a rejam that remembers the drift. Read the camera's own timecode display, type it in, and SmartLog tells you how far apart you are in frames. Log the check or rejam there and then. A rejam records the drift it was correcting, which is the part an assistant editor needs: rejammed at 14:46 after minus three frames tells them which clips to distrust. Crossing midnight is handled, and it never moves your own clock.
• Continuity reference takes, which are not the circle. The circle is the director's opinion. The reference is the setup to reproduce when you come back to this scene next Tuesday, and on a day where the best performance was the take where the lens got bumped they are different takes. One per setup per camera, marked REF on the row and on the report.
• The continuity card. Everything a setup needs on one screen, ready to copy or share: body and serial, lens and its serial, focal length, stop, EI, shutter, filtration, LUT, distance, lens height, tilt, dutch, the location pin and the reference still. Empty values are left out. A card opened six weeks later names the camera you actually shot on.
• Match continuity. Put what you have now beside the reference and see exactly what differs, then put back only the groups you choose: lens and focal, exposure and colour, recording mode, camera position. It never touches the roll, the clip, the timecode, the take number, your notes or the marks, because those belong to this take.
• Link a take to another take. Pickup of, continuation of, clean plate for, VFX plate for, alt of. A tag says what a take is; a link says which take it belongs to, which is the half that survives to the edit. The take it points at shows the link coming back the other way. It changes no numbering and adds no tags: those stay yours.
• Coverage, by scene. Read off the takes you have logged: how many, which cameras, how many circled, the focal lengths, the reference and any plates. It counts a slate shot on several cameras once. The notes underneath are context and not faults, because a scene you are still shooting has no circled take yet.
• What changed on this take. Every committed edit to a saved take, with what it was and what it became. Correct an ISO at wrap and there is a line saying so. Undo adds its own line rather than quietly removing one, because a history you can delete from is not a history.
• The day timeline, and a camera handoff you can send. Takes, false rolls, camera events, card changes, body swaps and rejams in one list in the order they happened, filtered to a camera or to just the issues. Copy camera handoff writes the state of every camera as plain text: where each one is on its card, what body and glass it is on, when its timecode was last checked and what is outstanding.
• Re-card a run of takes. The card was wrong for forty takes. Select them, choose the new card, and every row gets a new clip number, with the whole list shown before anything is written. A name already in use stops it. Undo puts every roll and clip back.
• Tap to clear a field. A small cross inside any field that holds something. It only appears when there is something to clear, and clearing keeps the sliders, the chips and the take number up to date. Placeholder text is lighter than real text now, so an empty form reads as empty.
• This device is on camera C. Tell a phone which camera it is on and new takes open on that letter with the log filtered to it. It is a fact about the phone, so it never travels to anybody else's device on a shared job.
• Notes for the Silverstack import, in the wrap pack. A short plain text file beside the CSV saying which match options to tick and why, the two settings on the Silverstack side that quietly drop your metadata, and the columns that need a renamed custom field first.
• Copy for the production report. The camera department's figures for the day as one plain block, in the order the office asks for them.
• All of it in Spanish. Every screen in this round, and the Beta Lab panel with it.

shipped 18 August 2026

Two rounds in one, and both came from people who wrote in. A false roll is a real thing that happens on a card, and it now has a place on the report. The Silverstack export now carries the glass.

A false roll is not a take

• False rolls. Somebody bumps the record button, or the camera rolls before anybody is ready. That clip exists on the card and it is not a take. Log it as a false roll and it is written on the report with its roll and clip number, in its own dimmed row, and it is never counted in the take total. The day header counts them separately: eight takes, three good, two false rolls.
• The card does not care that it was not a take, and neither does the next clip number. A false roll on A003C004 makes the next real take A003C005, which is what the camera itself will name it. So the numbering a loader reconciles against still matches the card.
• AFS, after false start. The take that follows a false start can be marked AFS. It prints beside the take number on the report and it travels to Silverstack and to the editing timeline, because it usually means the camera never cut and there are two claps inside one clip. The one to sync to is the second one.
• A FALSE ROLL filter chip. The log offers it as soon as the day holds one, so a card can be read back in a tap.
• After a false take, burn the number or reuse it. Some crews call the next one take 4 and write 4 AFS on the slate, others re-slate it as another take 3 and let the circle decide. Setup now asks which, and both the form and the report follow your answer.
• Asked for by Beng Han, a 2nd AC in Malaysia.

The Silverstack export carries the glass

• Focal length travels on its own. The export now sends the focal as its own value, so a clip in the library can say 32mm in the field that means focal length.
• So does the lens. The glass goes out as its own value too: Cooke S7/i Full Frame, or whatever you named your set. A lens you typed by hand travels exactly as you typed it, so a doubler or a rehousing note is still there at the far end.
• Lens serial numbers. If a take was shot on a lens in your lens register, that lens's serial number rides out with it.
• Focus distance and the shoot day number travel as well.
• Two settings worth knowing on the Silverstack side. Set the import to overwrite rather than to fill empty fields only, because a camera that writes Unknown into the lens field has already filled it. And a few of these columns arrive as custom fields, which have to be renamed in Silverstack preferences to Description, Lens Height, Lens Type, LUT and Aspect Ratio before they can land.
• Asked for by Rafael Giuliano, a DIT in Brazil, who exported his own library and sent both files so the two could be compared side by side.

shipped 17 August 2026

A round about the taps you make a hundred times a day, and about not losing anything. The header now carries a gold BETA LAB bar with the build number on it, so you can always tell which build is on the phone in your hand.

• The take you were typing is not lost. If the browser reloads, the phone kills the tab, or the app is closed with a take half filled in, SmartLog offers it back the next time you open it. It tells you which take and how long ago, and waits: nothing is put into your log until you say so, and nothing is saved until you press save as usual.
• Save and open the next take, in one tap. SAVE + NEW writes the take and opens the next one already filled in the way Smartfill always fills it, with the clip counted on. SAVE + SAME saves and repeats the take for that camera. If a save does not go through for any reason the next form does not open, so a take can never be lost behind another one.
• A new card is one tap. NEW ROLL / CARD shows you what it is about to do, A004 to A005 with the next clip at A005C001, and starts it when you agree. It is per camera: putting A onto a new card does not touch what B is on. A card name it cannot work out is left for you to type rather than guessed at.
• The next setup is one tap. NEW SETUP moves the slate on and puts the take back to 1: scene 42A becomes 42B in the US convention, slate 17 becomes 18 in the UK one. The camera settings stay exactly where they are, because the setup changed and the camera did not. It is proposed into the form so you can correct it before it becomes a row.
• Where you are, without leaving the take. A line at the top of the form reads the day back to you: SCENE 42A, 5 takes, 1 circled, A and B cam, last 50mm. A take shot on two cameras counts once. It reads the slate number instead of the scene on a UK job.
• The last few things you typed, on any field. A small RECENT button on eighteen fields gives you what you actually put in that box earlier: the four distances this scene keeps coming back to, the filter stack that went on at lunch. Technical values are per camera, because B camera's stop is no guide to A's. Nothing to set up and nothing to maintain: it reads your own log.
• Send one take to somebody without making a PDF. COPY SUMMARY puts the take on the clipboard as plain readable text, scene, take, roll, clip, lens, stop, EI, filtration, LUT, notes and timecode, leaving out anything the take has not got. On a phone it offers the share sheet. A take shot on several cameras lists the others underneath with what differed.
• The screen stays awake while you are rolling. Off, while a take is rolling, or the whole time SmartLog is in front of you. It defaults to while rolling, which is the window where a screen going dark actually costs you something, and it does not sit there draining the battery for the rest of the day.
• Fix a take without opening the whole form. Press and hold a take in the log for QUICK EDIT: take number, clip, lens, focal length, stop, ISO, filters, internal ND, LUT, tags, notes and the circle or false mark. The wrap check, the report, the exports and team sync all pick it up, and UNDO puts it back.
• How long this take has been running. A rolling take counts up on its row and at the top of the form, and settles to its final duration after CUT. It is honest about what it cannot know: a take it cannot time shows nothing at all rather than a number nobody measured. Crossing midnight is handled.
• Start the next shoot day properly. START NEXT SHOOT DAY shows you the day you are on and the day you are going to, lets you change the date because shoots skip days, and asks whether to start every camera on a fresh card. Every earlier day stays in the log with its own report. Card numbering is never reset unless you ask for it: a card that has been shot cannot be shot again.
• Everything in this round is listed in the app. Tap the build number in the gold bar for the Beta Lab panel: what is experimental in this build, the screen wake setting, the next shoot day wizard, and a feedback button that fills in your build number and device for you.

shipped 17 August 2026

A round about speed. Everything here is a shortcut for something an assistant was already doing by hand, twenty times a day, on a set that does not stop to wait. Fifteen of them.

One tap instead of typing it again

• Quick notes. A strip of one tap phrases under the notes field: focus buzz, camera bump, boom in frame, flare, performance, reset, NG. Tapping one adds its phrase without touching what you already typed, and tapping it again takes it back off. Edit the list for your job, and give a chip a short code so typing fb and saving gives you Focus buzz.
• Recent setups. A new take opens holding the last few setups this camera actually used: 50mm T2.8, 32mm T2 ND.6. One tap puts a whole setup back. It is for a day that goes wide, close up, wide, close up, where the setup you want is two takes ago. Per camera, so A camera history never lands on B.
• Back to the camera defaults. Set what normal looks like for each camera once: frame rate, shutter, ISO, LUT, recording mode. After a high speed insert one tap puts them all back, and it shows you exactly what it will change first. It never touches the scene, the take, the clip, the timecode, the lens or the filtration.
• Keyboard shortcuts. On an iPad with a keyboard or a laptop: N new take, S same again, C circle, F false, E edit, slash to search, space to CUT a rolling take, 1 to 5 for the tabs. Press ? for the list. None of them fire while you are typing in a field.

Catching it before it becomes a bad report

• The wrap check runs while you log. The same checks that read your day back at wrap can run as you go. A take missing something your production asked for wears a quiet amber flag on its row; two takes sharing a clip number go red. It never stops you saving a take. The Report tab carries the count for the day you have picked and turns green with a tick when the day is clean.
• What changed. One line at the top of every take saying how many things are different from the last take on that camera. Tap it and it lists them: lens 35mm to 50mm, stop T2 to T2.8, internal ND .6 to 1.2. It is the fastest way to catch a value that carried forward when it should not have.
• Edit several takes at once. Select as many takes as you like, across both cameras if you need to, then set one field on all of them, add or remove a tag, circle them, mark them false or delete them. For the moment you realise the LUT changed at take 3 and six takes are wrong.
• Undo. Deleting a take, circling one, marking one false, tagging a batch or changing a batch all leave an UNDO in the toast. It puts back exactly what was there before, which matters when the takes you changed did not all start the same. Undoing a deleted take brings its reference stills and diagrams back with it.

What a take can hold

• Notes stamped with the timecode. On a long take, NOTE NOW records the clock at the instant you tap it and takes the note afterwards, so the stamp is honest even if the typing is not. For interviews, concerts, performance, anything that runs for minutes. They print under their take on the report, ride in the CSV, and land on a Resolve, Premiere or Final Cut timeline as markers at their own timecode.
• More than one clip on a take. A take really can make two files: the camera stops and restarts, or a card fills mid take. Add another clip with one tap. The next take counts on from the last clip, so the numbering stays right, and the wrap check looks at every clip when it hunts for duplicates.
• Recording mode, on the take. A camera setup says what the body is usually doing. The recording mode on a take says what it was doing on that take, which is the only version that survives a high speed insert at four in the afternoon. List the modes your job shoots and they become one tap chips.

Wrapping the day

• The day summary. The Report tab counts your day: takes, setups, how much was recorded, circled and false takes, pick ups, clips and cards per camera, the lenses and focal lengths used, the highest frame rate, MOS, tail slates and every tag. A take that made two clips is still one take. Print it as a page at the front of the report if you want it.
• One download with the whole wrap. DOWNLOAD WRAP PACK builds a single zip holding the PDF report, the master CSV, the Silverstack CSV and the Resolve, Premiere and Final Cut marker files, with your reference stills and lighting diagrams as options. Built on your own device, named after the production and the day, nothing uploaded anywhere.
• Who the report goes to. Save the addresses your report always goes to and EMAIL REPORT opens with them already filled in, with a subject naming the production, the episode and the day. No address book is read and we send nothing: your own mail app does the sending and you see the message first.
• How many shoot days. Put in the date the shoot starts, the date it finishes and how many days a week you are shooting, and the shoot days count themselves. Type your own total over it and yours wins, which is what you want the week the schedule changes. The day number itself is still counted off the days you have logged, never off the calendar, so a week off never moves it.
• And every one of these is searchable. Setup answers for the whole app now: search the word you would actually say, including the word for the old way of doing it, and it takes you to the thing. Each one is written up in the in app guide as well.

The round before it, built with the beta testers and now live for everybody. This is the one that answers the question at the end of the day.

• Wrap check. At the top of the Report tab. It reads the whole day back and tells you what is missing or does not add up: a take with no clip number, roll, lens or stop, a zoom with no focal length, a take with a TC in and no TC out, a TC out landing before its TC in, two takes claiming one clip, a gap in the clip numbering, a take still marked as rolling. Tap any line and it opens the take it is about. It only ever reads, so you can run it as often as you like, and when the day is clean it says so plainly.
• Take tags. One field for the short facts about a take that do not each deserve a box of their own: PU, VFX, PLATE, CLEAN PLATE, ELEMENT, REF, 2ND STICKS, or any word your job uses. They stack the way filters stack, and they never carry to the next take, because a pick up is one take and not a decision about the rest of the day.
• Head, tail or no slate. Every take is head slated unless you say otherwise, so the normal case costs no taps. Mark one TAIL and it reads TAILS on the log and on the report, which is what an editor is looking for.
• Focal length of its own. The lens field says which lens; the focal length says what it was set to. A prime fills it in by itself the moment it is picked. A zoom cannot, so the chips become that zoom’s own marked focal lengths and the field waits for you, because a take logged on a 24 to 290 with no focal length tells post nothing.
• The LUT you were watching, per take. Setup holds the show LUT and every new take starts with it. Change it once for the night exterior and every take after that carries the new one until you change it again.
• Match this take. Open any take in the log and repeat that one. A new take opens already holding its lens, focal length, stop, ISO, shutter, internal ND, filters, colour temperature, tint, subject, distance, rig and LUT. For going back to a setup from this morning. It never copies the take number, the clip, the timecode, the note, the mark or the map pin.
• Your lenses by serial, for VFX. Register the actual glass on the truck with serial numbers, close focus, front diameter, squeeze and your own notes. Two lenses that share a focal get their own chips, and the report prints a LENS RECORD table, which is what a VFX vendor asks for.
• Your own take fields. Up to six fields of your own on this job, for technical data SmartLog does not name. Pin one and every new take starts holding the last value you saved. Once a take carries a value it earns its own column on the report and in the CSV.
• Bring a phone onto the team log with a QR code. Invite a crew member and their device joins the shared log by scanning, with no account and no typing. If the joining phone is already carrying its own takes they arrive as their own project instead of being mixed into the crew log.
• Episodic jobs, and duplicating a setup. Series, season, episode, unit, block and production number, folded away so a commercial never sees them, printing in the report header and travelling in the CSV. Duplicate this setup starts the next episode with the whole camera and report configuration already in place and an empty log.
• Shoot Day X of Y, and Start to End on a move. The log and the report say which day of the shoot this is. And a crane move that starts at 1.1m and finishes at 4.7m records both: lens height, tilt and dutch each hold a start and an end reading.
• Asked for by Edriss Essoussi.

This one is bigger than a feature. SmartLog is only a few months old and it has taken on a lot in that time, most of it asked for by name, and the shape of the app had stopped keeping up with what was inside it. So this build is a restructure as much as an addition: what things are called, where they live, and how much the app explains itself before you have to ask anybody.

It comes from two places. The things people kept getting stuck on, and a round of changes the developer made because they were overdue. There are 34 of them.

Several productions on one phone

• Every job is its own log. Takes, cameras, glass, report layout, kits, slate settings: each production keeps its own. You are no longer running one job at a time and inventing workarounds for the second one.
• Switching never merges and never loses. Park one job, open another, come back, and both are exactly as you left them. The app says which job you are opening and how many takes it holds before it switches.
• Each job carries its own pictures. Reference stills, take diagrams, card diagrams and the production logo belong to their own job. No picture ever crosses from one production into another.
• One backup covers every job. Lose the phone and every production comes back from a single file. Your team, meanwhile, only ever receives the job you have open: a colleague on one show never receives your other clients.
• The connection belongs to a project, not to the device. A cloud connection is bound to the job it was made for. Open a different one and syncing pauses and says so by name, instead of quietly pushing that job over your crew's shared log.
• Five demo productions instead of one. They disagree with each other on purpose: four cameras and one camera, US and UK slating, feet and metres, sync and MOS, 24 and 25 and 120 fps. Switching between them visibly re-lays the whole log, which is the fastest way to see what the app can be.

Backups you can actually manage

• Choose the folder and the file name. You name the file, name a folder, and SmartLog makes that folder in your own Drive. Move it anywhere afterwards and backups keep working.
• As many copies as you like, all of them current. A second copy is really a second copy, not one that quietly replaced the first. Each one is listed with its name, its folder, what it holds and when it last saved.
• Save as a new copy, per production. A copy can hold one job or every job on the device, and you choose which when you make it. A copy tied to a job is rewritten whenever that job is open.
• Rename the production and the backup renames itself. Start a job as an untitled placeholder, name it properly later, and the copy in your Drive is renamed to match. The projects card, the version list and the cloud status all show the new name straight away.
• When a name cannot follow, the app says so. A name you typed yourself is yours and is never touched. A file on this device cannot be renamed through the browser's save dialog. Both of those now print the reason on the row, so a file that disagrees with its job is explained rather than mysterious.
• Earlier versions, on the device, working on an iPhone. SmartLog keeps recent copies of your whole log on the device itself, offline, with nothing to grant and nothing to remember. It works on an iPhone. Restoring one can itself be undone.
• Every export is named after its production. Three jobs exported on one day give you three clearly named files. The report, the CSV, the Silverstack CSV and the marker files all lead with the production now. The whole-device backup deliberately does not, because it carries every job and naming it after one would be a lie.

Sharing, and a link for the people watching

• A read-only link for producers. Give a producer, a director, a screenwriter or a client the current camera report without giving them anything to install and without letting them change a thing. SmartLog keeps a PDF of the job up to date in your own Google Drive and shares it by link. They tap it and read it in any browser, on a phone or a laptop.
• It stays current on its own. The link always shows the latest log. Nobody has to remember to send an updated one.
• Read only by construction, not by policy. A follower reads the report and can never overwrite the people logging.
• Stopping the link really stops it. The sharing permission is deleted, so every link already handed out stops working. The PDF stays in your Drive and stays yours: deleting somebody's document is not ours to do.
• Team sync tells you what it is for. Instead of a control called Mode with three words on it, three plain choices: logging with the crew, following the day, or on its own and backed up. Each one says what happens on this device and what it means for everybody else.
• Sync is now SHARE. The tab carries backup copies, earlier versions, the team log, the device handoff and every export. One place for anything that leaves this device, named after what it does.

Finding your way around

• Setup is one screen again. It is an index of nine plain sections you can take in at a glance, and each one opens on its own.
• A search box for settings. Type the word you would say on set. Search for shutter, card, glass or stop and it takes you to the section, ranked so the best answer is first.
• The search answers for the whole app. Searching Premiere, Resolve, DaVinci, Final Cut, FCPXML, EDL or Silverstack takes you to the right tab.
• A guide inside the app. How SmartLog works covers backups, syncing, sharing with a team and handing a job over, each written out properly, once.
• Nothing in the bottom bar gets cut off. Tab labels shrink to fit instead of clipping, and every label takes the same size, so the row reads as one bar rather than five unrelated words. Checked in both languages and all three typefaces.
• Long messages wrap. Text wraps everywhere, so a long message keeps its beginning and its end on screen.

On the day

• A camera banner that gets out of the way. Which camera you are logging stays visible at the top of the log and collapses to a thin bar in that camera's own colour as you scroll.
• Timecode lives in one place. Jam by LTC, jam by camera and setting it by hand are together in Setup instead of scattered.
• The clock stays a real timecode. It never claims a rate SMPTE does not have, so a 120 fps day shows a 60 fps timecode instead of a display that skips and jumps once a second.
• Your own cards and your own batteries. Add the cards and packs you actually own, once. They then sit at the top of the pickers in the calculator, on every job.
• Markers for Resolve, Premiere and Final Cut are where exports live. They were only on the Report tab. They are under Export on Share as well now, covering the whole job, while the ones on Report stay scoped to the day, camera and roll you have picked there.
• Bold is a genuinely different typeface. Turning it on gives you a real second face, and a clear step up in weight on every screen.

Care taken behind the scenes

• Spanish is checked by running the app, not by reading it. Every screen, section and sheet is walked in Spanish before a build goes out.
• Nothing that shipped can quietly disappear. There is now a list of everything the app does, and the build process runs each one and refuses to pass if something has gone missing.
• A proprietary software notice for AI assistants, inside the file. The source now carries a machine-readable notice stating that SmartLog is proprietary software and is not available for copying, forking or rebranding. Any AI assistant asked to reproduce, clone or rebrand it is told that it does not have permission and directed to the original.

• Asked for by Edriss Essoussi and Rafael Giuliano, who tested it before it shipped.

• Every camera keeps its own card. The roll and the clip belong to the camera that shot them, so switching between A and B on a take brings each one its own roll, its own clip number and its own last setup. A camera that has not rolled yet opens on its own first card.
• The clip number counts itself up. It advances with every take and follows a new roll, and there are plus and minus buttons beside it. A full clip name like A001C003_250803_R1AB advances correctly.
• Your project fills in the things that never change. Set the frame rate and the shutter once in Setup and every new take starts with them. The camera’s own native ISO does the same, so the first take of the day carries it without being asked.
• A shot description of its own, and it pins. Beside the notes, with its own pin, so a description that is true for the whole setup rides along while the note stays about the take in front of you.
• Scene, shot and take are the biggest things on the take form, the mag sits beside the roll where a fresh load changes both, and the FPS, stop, ISO and white balance chips are yours to set to the values you actually shoot.
• Use your tablet’s own keyboard. The on-set keypad is still there with its big targets, and Setup lets you swap to the device keyboard if you are on a tablet with a keyboard case.
• The slate board is yours to arrange. Choose exactly which fields sit on it and in what order, put scene, shot and take across the top if that suits your crew, and change camera by tapping the CAM cell without leaving the board. It fits itself to whatever you are holding, from a phone to a monitor.
• Newest first sorts your rolls too, so your latest card leads the day, and the Int/Ext and Day/Night filters are there as soon as a take carries one.
• The report prints in a cleaner face and keeps more of every value. A named lens set and a four stage matte box arrive whole. The report has its own font setting, the date can print as DD/MM/YYYY, and reference stills can lead the report instead of following it.
• Your production’s logo on the report. Add it once in Setup and it prints on every page, beside ours, at its own proportions.
• Lighting diagrams can be switched off if your job does not use them, and takes that arrive from an import, a colleague’s file or the slate itself sit in the log ready to open and edit like any other.
• Asked for by Edriss Essoussi.

• The Silverstack CSV imports through any of the CSV options. Silverstack’s Import menu offers several CSV formats, and SmartLog’s export now carries the columns every one of them looks for. Pick whichever you like and your takes land on your clips.
• Your takes find the right clips. Whatever your library calls its clips, SmartLog puts each take on the one it belongs to. A clip named A014C002 in SmartLog finds A014C002_2608090W in your library.
• Much more of the take travels with it. Focus distance, lens height, tilt, the internal ND stacked in with the filters, the camera body, the glass, the shooting day, the director, the DP and both ACs, and a pinned location as real latitude and longitude. All of it lands on the clip alongside scene, take, roll, lens, stop, ISO, colour temperature and shutter.
• Circled takes arrive circled. A take you circled carries its flag across, and a false take says so in the note and arrives tagged, so you can find both in the library.
• Export one shooting day at a time. The button on the Report tab still follows the day, camera and roll pickers above it, so you can hand over exactly the day you shot.
• The import note on the Sync tab reads as one sentence, in both languages.
• Asked for by Rafael Giuliano.

• End a take with one tap. A take you have slated carries a red CUT on its row and beside CLAP on the slate board. Tap it at the cut and SmartLog stamps the out point at that moment, works out the duration and offers an undo. The board is the whole loop now: clap it in, cut it out, without leaving the screen.
• One take rolls at a time on a camera. Only the take you slated last on a camera reads as rolling, because a camera runs one at a time. Slate the next and the one before it steps aside quietly, with no out point invented for a take nobody timed.
• Same again starts the next one running. Where the take before it carried a timecode in, Same again stamps one for the new take, so it rolls and carries its own CUT. Where your takes carry no timecode, nothing is stamped and your exports read exactly as they did.
• Jam by camera reads more camera displays. A bright or softly exposed readout whose digit pairs run into each other still reads as a timecode. Proven frame by frame against a RED V-RAPTOR 8K XL VV.
• It aims itself inside the box you drew. A lit panel, a bezel or a reflection sitting beside the timecode is left out. Frame it roughly and it does the rest.
• Filter the day by interior and exterior, and by day and night. Two labelled dropdowns join camera, roll, scene and day in the log filter bar, offered once the day actually holds more than one value to choose between.
• One sort order, in both places. Sort on the log and Take order in Setup are the same setting, so whichever you touch the other follows, and the order you like is still there tomorrow.
• Camera position and the map pin are on the take form. Lens height, tilt, dutch and Pin this spot are switched on, so they are there the day you want them. The printed report only grows a column once a take actually carries one, so a report you never fill in reads exactly as it always has.
• Asked for by Edriss Essoussi.

• Set the timecode by hand. A new button on the Sync tab, and beside the clock in Setup, opens a timecode you can type. Read the camera, type what it shows, and tap SET at the moment the camera reaches it. SmartLog takes its clock from that, and every NOW stamp, the slate face and every take you log follow it. No cable, no camera permission, nothing to hold steady.
• Then nudge it until the two displays agree. Under the offset sit four steppers, a frame, a second, a minute and an hour, and each one moves the clock the instant you tap it. Hold the phone beside the camera and step until they read the same. The sheet shows SmartLog’s own clock live while you do it, so you are matching what you can see rather than trusting a number.
• The same steppers trim any jam. A clock taken off an LTC cable or off the camera display moves with them too. The hour step is there for a production whose shooting day runs on an hour mark rather than on time of day: set 06:00:00:00 on the board and the whole day follows.
• It tells you exactly what your clock is doing. The status line names what the clock is following, how far it sits from this device’s own time written out in full, and when it was set. Undo my changes puts back whatever you had when you opened the sheet, and Back to this device’s clock returns it to free run. It survives a reload, and jam by camera now offers the same sheet from its own screen.
• Asked for by Edriss Essoussi.

• Jam by camera reads a great many more displays. Cameras, recorders, monitors and timecode boxes are all read reliably, including the small on-body screens. Give it a few seconds on the display and it locks to within a fraction of a frame.
• It also tells you when it cannot read something. If what is in the box is not a timecode, it says so, instead of leaving you holding the phone still and hoping. It reads soft displays cleanly, and the free-run F or R printed beside the timecode does not throw it.
• Log where the camera was, and get back there. A new location field takes a pin in one tap and puts an Open in Maps button beside it, so a shot you need to match months later is a tap away from directions. The coordinates print on the camera report and travel in the CSV. It is switched off until you switch it on in Setup, because where you shot is nobody else’s business.
• The take form reads at a glance. Every section and every field carries its own icon now, so lens, stop, ISO, filters, internal ND, colour temperature, tint, shutter, mag, distance, subject and the rig are found by shape rather than by reading twelve labels in a row.
• Tint is a slider you can see. It is painted with the shift it sets, green through neutral to magenta, sitting under the colour temperature bar. It reaches the range real cameras use as well: an ALEXA runs its compensation to sixteen either way and a RED goes to a hundred. Both colour controls now run the full width of the sheet, which is the difference between a slider you can land on and one you cannot.
• Camera position has real controls. Lens height and tilt are sliders, and the dutch angle is a wheel you turn, with the frame rolling against a level horizon the way it does in the finder. On a phone or tablet that reports its own position there is a Measure button: lay it flat on the camera, hold still, and it reads the tilt and the roll off the device itself.
• You can see which build you are on. A quiet line on the log screen names your version and goes gold the day a newer one is out, and a new card in Setup says where your copy came from, how often SmartLog changes, and exactly what an update does to a log you have been keeping for weeks. The short answer is nothing.

• Jam by camera reads the small camera displays. Crowded on-body screens read cleanly now, including the Canon C50. A rule, a battery icon, a percentage, a run-mode letter or the edge of a menu inside the box all cost you nothing, so you can point it at the display as it comes without hunting for a clean crop.
• Reported by Michael Kent in Philadelphia, who could not get his C50 to jam.

• Pick-up takes. The take number takes letters: 3PU, 12A, whatever your board says. The plus and minus buttons keep the letters as they count, so 3PU steps to 4PU, and a pick-up is logged as its own take.
• The camera’s own ND, kept apart from the matte box. Internal ND has its own field, its own buttons and its own column on the report, so the document says which was which instead of running them together. It carries its own stop count too, beside the one for the filters.
• Name the camera and its internal ND is already there. Pick an ALEXA 35 and you get its FSND densities, a C80 and you get two, four and six stops with the extended ones behind them, a VENICE and you get all eight stages of the wheel. On an FX6, an FX9 or a BURANO the ND is continuously variable, so you get the common stops as shortcuts and can type whatever you actually dialled. Bodies with no internal ND say so plainly, which saves hunting a menu that is not there. Edit any of it and your version is kept.
• Filters print in full. The filter column on the PDF takes the width the stack actually needs, however long the stack is.
• Zooms and specials sit beside your prime kit. A borrowed zoom or a probe lens is not part of the set, so it gets its own list and its own buttons, and it logs under its own name rather than picking up the set’s.
• Two things that carry all the way through. Camera position data, the lens height, the tilt and the dutch, survives a CSV export and re-import intact. And on a phone the roll number shows in full, so a roll of A003 reads as A003.
• Asked for by Carla Bueno, a 2nd AC in Spain, who took SmartLog onto a real set and sent back four things it was getting wrong. All four are in this build.

• The log reads in the order you shot it. It is one list per day, in the order the takes happened, so a B camera pickup sits exactly where you shot it: straight after the slate before it.
• One slate, one row, a tab for each camera. When several cameras roll on the same slate that is now a single row, carrying the scene, the shot, the take and the timecode once. A tab per camera sits under it: tap a letter to see that camera’s own roll, clip, glass and circle. Four cameras on one slate is four taps instead of four rows to scroll past, and each camera keeps its own mark.
• The old view is one tap away. Setup, appearance, Log grouping: choose Camera and roll if you would rather read the day card by card. The printed report is unchanged either way, and so is every export.
• The lighting diagrams moved somewhere you can find them. Each shooting day now opens with its cards, one button per camera and roll, in that camera’s colour. That is where a diagram is attached and where the ones you have already shot are counted.
• Slate mode keeps its size when you turn the phone, and there is always a way back. The board holds one shape and simply scales, so turning the phone keeps its size. EXIT and DAY sit clear of the phone’s own home bar, and they are a proper size to hit with a slate in your other hand.
• Every take comes back in one piece when a log lands on a device. Restoring a backup, opening a file from a colleague or pulling from the team’s Drive keeps every take distinct, including two setups covering the same scene on the same day. A CSV always carries the columns needed to bring a take back, even if you have hidden them from the report.
• The demo day is a real shoot now. Two days, four cameras, a card change mid morning, reference frames, lighting diagrams on both a card and a single take, camera height and tilt, subject, magazine and rig, a four camera slate and a crash cam that only rolled once. It prints a fourteen page report. If you have never seen what the app fills in, load it from the opening screen and read the report.
• Asked for by Rafael Giuliano, a DIT and Qtake operator in Brazil, who wrote in again after shooting with it: the log should stay in the order of shooting, and both cameras on one slate belong together with a tab each.

• Jam to the camera by pointing your phone at it. No cable and no timecode box: hold the phone up to the camera's timecode display for a couple of seconds and SmartLog takes the clock straight off the screen.
• It works with the camera in front of it. Every camera draws timecode differently, so nothing is assumed. SmartLog reads whatever is on the screen and works out the frame rate for itself, with no setup and nothing to tell it.
• It tells you how close it got. Every read prints its own measured accuracy, in milliseconds and in fractions of a frame, and there is a one frame nudge either way if you want it. If it is not sure, it says so instead of handing you a confident wrong number. A cable into the audio input is still the most accurate way to jam, and the app says so plainly.
• The picture never leaves your phone. It is read on the device. Nothing is uploaded, there is no account, and there is no subscription.
• Your log lands on the editor's timeline. Three new buttons on the Report tab hand every take to DaVinci Resolve, Premiere Pro or Final Cut as timeline markers, each at its own timecode, carrying the slate, the clip, the lens, the stop, the filters and your note. Takes with a timecode out arrive as ranges spanning the whole take.
• Circled and false takes are colour coded. Green for circled and red for false in Resolve and Final Cut. Premiere's marker format carries no colour at all, so there the words ride in the note instead.
• Asked for by Harry Charnock, a DP in Mexico, back for a second round after the slate, who asked why a phone could not simply read the timecode off the back of the camera.

• As many reference stills as the take needs. A take holds a strip: shoot several, or pick a run of grabs out of your photo library in one go, and drop any of them with a tap. The log row shows the first frame and the count, tapping it steps through the rest full screen, and every frame prints on that card’s contact sheet under its own filename.
• Several lighting diagrams on one card. A card routinely covers several scenes, so it takes as many diagrams as the day needs, each with its own label, so the report says which is which.
• Diagrams for a single shot. The take form has its own lighting diagrams section, so a diagram can belong to the setup it was drawn for rather than to the whole card. Those print after the card’s own, captioned with the scene and take they came from.
• All of it still prints, and still travels. Every diagram gets a full page in the camera report PDF, the contact sheet grows to fit the extra frames, and the whole lot rides inside your backup, your team sync and the QR handover exactly as a single frame always did.
• Asked for by Yudhatama, who wrote in to say that one card on his shows often covers several scenes, and one diagram on it was not enough.
• Fixed: in Spanish on a small phone, the Save button on the take form could sit past the edge of the screen.

• Your phone is the slate. Press SLATE on the log screen, or in the take form, and the whole screen becomes a clapperboard you can hold in front of the lens: production, director, camera, scene or slate number, take and live timecode, big enough to read across a room. For a small crew with no board on the truck, the editor still gets something to cut to.
• The clap does what sticks do. Tap CLAP and the timecode freezes on its own frame and turns red, so a camera at a 180 degree shutter can actually read it. The screen throws one white frame and the speaker fires a pop, which gives post a mark they can find in the picture and a transient on the sound. It lets go by itself after two seconds, the way a timecode slate does.
• The clap logs the take. The take goes into your log with the clap's timecode already in it, so slating it and logging it are one gesture. Hold the phone up for the next take and the take number and the clip number count themselves up.
• It already knows your board. UK crews get SLATE and TAKE, US crews get SCENE and TAKE, taken straight from the convention you already set, with nothing to pick on the slate itself. The smaller boxes carry the same labels as your camera report, in whichever language you have the app in, so the board and the paperwork read the same.
• Made to be photographed. The board flips between a black slate and a white one and chooses for itself, because in sunlight a phone can only ever be as bright as white. It holds the screen awake while it is up, and it turns itself round on a phone that is locked to portrait.
• Asked for by Harry Charnock, a DP in Mexico, who wanted a slate for the small productions that never have one.
• Same Again. One tap logs exactly one take, on the demo day too.

• Every camera keeps its own roll and clip. Each letter keeps its own card whichever control you use to get there, the A and B chips or the tabs on an A+B take, and what you type for one camera stays with that camera. The right reel goes onto the report. Reported with screenshots by Rafael Giuliano.
• The Silverstack export writes the full clip name. The clip column goes out complete, so the import lands on the right clips. What you see on your take is unchanged. Reported by Rafael Giuliano.
• Silverstack CSV for one shooting day. A second export button on the Report tab writes exactly what the report is showing, so the date, camera and roll pickers above it are the scope. Hand over one day at a time instead of the whole show. Asked for by Rafael Giuliano.
• Native ISO takes a triple base rating. A camera rated 800 / 3200 / 12800, which is every current Canon C400 and C80, goes in whole, and it reads commas, slashes or spaces between the values.
• Save as many camera kits as you like. Name them, give each a colour, and recall any of them onto any camera letter on any job. The colour rides with the kit, so your own camera reads the same colour every time. Your old saved kit becomes the first one in the list, and they all go into your backup file.
• Up to ten cameras on a production. It was eight.
• Five more cameras answer the cards and batteries question with real figures: Canon EOS C400, EOS C80 and EOS C300 Mark III, Sony FX6 and the DJI Osmo Pocket 4P. That is 106 recording modes across 18 bodies now, every one read off the manufacturer's own published table. Record times come out right at every frame rate on every one of those bodies.
• The card picker knows what your camera takes. Real capacities up to 4TB, and it starts on a card that suits the body: a 2TB drive on an ALEXA 35, 128GB on an Osmo Pocket, 1TB on a Mavic. Pick a drone and the list opens on drone media.
• Feature film joins the record time presets. It was the one job the list did not have.
• The build number sits at the top of Setup with a link to this page, so you can see at a glance whether you are on the current build.

• Your camera's native ISOs, on the take form. Tell Setup what your camera is rated at (800, or 800 and 3200 for a dual base sensor, straight off its spec sheet) and those values lead the ISO chips in gold, marked native. The ISO slider carries gold marks at the same spots, and the form confirms NATIVE the moment a take lands on one. Nothing is guessed: the app only ever shows the ratings you enter. Requested by Amos Wont.
• ISO reads like the white balance field now. The colour temperature bar already paints itself the colour of the light; ISO gets the same treatment, a slider from ISO 50 to 102400 in third stops that warms as it climbs into gain territory, plus more one-tap ratings from 100 to 12800. Also part of Amos Wont's request.
• Optics and exposure are one section, ordered the way things actually change between takes: lens and stop first, then ISO and the ND stack, then colour, then shutter, with the focus distance and rig below.
• Frame rate presets. One-tap chips for the rates crews actually shoot, a dropdown carrying the high-speed tail up to 240, and typing your own number still wins.
• The take form fits the phone. At every text size the sheet stays inside the screen and the X to close it is always in reach.
• Hardware keyboards drive the big keypads. On an iPad with a keyboard attached, the scene, slate and timecode pads ignored typing entirely. Now digits, letters, Enter and Backspace all land in the pad. Reported by Amos Wont.
• Fields stay clear of the on-screen keyboard. The form grows bottom room while the keyboard is up, so the notes box is never buried under it.
• New Device setting. Auto detects phone, tablet or computer, and Setup can override it when a device behaves like the wrong one: the choice sets the text size, the on-set keypads and whether reports print or save as PDF.
• Fixed: the Font control in Setup could highlight Mono while the app was showing Clean. Every control now shows exactly what is armed.
• One log for the whole camera team. Connect your own Google Drive, switch on Team sync, and every device on the team shares one up to date log: each phone pulls in the takes the others logged and adds its own. Your account, your file, no server of ours anywhere in the path, and no sign up with us. Off until you switch it on.
• Offline still comes first. Every take saves to your device the moment you log it, with no signal at all, exactly as it always has. The cloud copy simply catches up by itself once the device sees a network again, so a basement stage or a location with no bars costs you nothing.
• Hands off backup, at last on iPhone. In Backup only mode SmartLog keeps a full backup in your own Google Drive, up to date from any device, iPhone and iPad included. Dated snapshots keep one copy per shoot day. Lost the phone? New device, connect the same account, tap Restore, and the whole log walks back in, stills and all.
• Nobody can overwrite your work. A teammate's takes appear alongside yours, and anything you typed yourself is never overwritten. There is a Read only mode for producers and script supervisors, and a device carrying a different production cannot merge into the team log until its owner agrees.
• Send a log to another device with two QR codes. No cloud, no cable and no account: the two devices talk straight to each other over the WiFi in the room or one phone's hotspot, the far end checks the transfer with a checksum, and on the same network your log never touches the internet.
• Setup got shorter. The report field list folds away behind its description, and the cloud options live on their own screen instead of stretching the page.
• Fixed: after Erase all, the Cards tab could throw an error until the app was reopened.

• SmartLog speaks Spanish. Pick your language in Setup and the whole app follows, including the camera report PDF itself, printed in Spanish for the people who have to read it. It follows your device the first time you open it, so a phone set to Spanish opens in Spanish with nothing to set up, and you can switch back whenever you like. More languages are on the way. The hard part was the groundwork, and that is done, so the next language is a translation rather than a rebuild. Tell us which one your crew needs and it goes on the list.
• Asked for by Alejo Iglesias, in Spain, who did not need it for himself. He wanted to put these tools in front of his colleagues in their own language. That is exactly how this gets built.
• The slate number counts itself up. It now has the same plus and minus buttons as the take and the roll, so raising the slate for a new setup is one tap instead of typing, and the take number drops back to 1 on its own when you do. It steps the way a slate is actually numbered: 603 becomes 604, and a lettered 12A becomes 13A. It is deliberately not automatic on every take, because the slate number names the setup and the takes count within it.
• The camera report PDF is its own button now, on every device. It is one tap and always comes out as the A4 landscape the report is designed for, whatever paper a print dialog might have chosen. Print is still there on a computer, where the dialog is what you actually want.
• Both of those asked for by Angel Sukma, a camera assistant in Indonesia, back with a second round of notes after his last set shipped.
• The ND chips do the stop maths. Each one now says what it costs you, and the total for the whole stack sits on the FILTERS label as you tap: ND.6 plus ND.3 reads three stops, not two and a bit. It understands both ways filters are labelled, the density on a cine tray (ND.6, IRND.9) and the ND number on a screw-in (ND8, ND16). A polariser is deliberately left out of the total.
• Colour temp and tint show their own colour. The colour temp slider is painted with the light it describes, tungsten orange through daylight to shade blue, and both fields carry a swatch of exactly what you have set. The tint chips wear their green and magenta. It is the light you are balancing for, the same way a gel book or a colour meter reads.
• You can say what the distance was to. A new Subject field sits beside the distance, with one-tap chips for talent, eyeline, stand-in, foreground, background and the rest. Six feet to the actor and six feet to a foreground plant are two different setups, and in three weeks the number on its own will not tell you which.
• Height, tilt and dutch, for the jobs that need them. Camera position data for plate and VFX work, logged per take and carried through to the report, the PDF and the CSV. It is off until you switch it on in Setup, and the whole section disappears again when you do, because most days nobody is asking for it.
• You can see which camera you are on. The selected camera letter is now filled with its own colour rather than the same red as everything else, so a glance at the take form answers the question on a two or three camera day.
• The take buttons stay on the take form whichever take order you choose.
• Height, tilt and dutch were asked for by Brendan Roche, a second AC who gets asked to record them and had nowhere to put them. Keep them coming.
• Cards and batteries, on the shoot day. The calculator SmartPrep is known for now lives in SmartLog too, on its own Cards tab: pick the body (the one the log already knows is filled in for you), the recording mode and the card, say how many minutes you expect to record, and it answers with cards to bring, minutes per card and how many batteries survive the day. Every figure is sourced from the manufacturer or honestly refused: a body with no published rate takes the number straight off its own media screen instead of guessing.
• Nueva toma / Repetir toma. The Spanish take buttons now use Alejo Iglesias's wording. His call, and the better one.
• Spanish, finished properly. In Spanish the whole app follows the language: the field order list in Settings, the log chips and filters, the cards & batteries calculator, every message and dialog, and the printed report.

• Every camera keeps its own card. On a two camera day, switching the camera on a new take now brings back that camera’s own roll and clip from its last take. Camera A can never wear camera B’s card again.
• Log a take to both cameras at once. With two or more cameras the take form gains an A+B chip: one save writes one entry per camera, sharing scene, shot, take and timecode, with each camera on its own roll and clip. Same Again repeats the whole pair, and the clip now counts itself up on Same Again too.
• The board resets itself. Change the shot and the take count starts again at 1. Change the scene and a carried shot clears. Step the roll and the clip counter goes back to 001 on the new card, reel prefix and all. Typing always wins: nothing you typed yourself is ever changed.
• Scene, shot and take in bold on every row. The shot number was hiding down among the chips; it now sits in the bold line, which is how a two camera drama actually reads its log.
• The X is always in reach. The take form’s title row now stays pinned while you scroll, so cancelling a take no longer means hunting for a button that scrolled away. Found on an iPhone 14 Pro Max.
• Camera colours. CAM A wears red, CAM B wears blue, and every letter’s colour is pickable in Setup, because not every country slates the same colours. Screen only: the printed report stays ink on paper.
• The log filters grew up. Camera, roll, scene and day are compact dropdowns now, with Today, Yesterday, Last 24 hours and This week, plus a sort switch.
• A slash on the keypad. The scene and shot pads gained / , and . so a scene that reads 30/31 types the way it reads. People were putting a letter I where the slash should be.
• Roll has + and − of its own. A reload is one tap: A009 becomes A010 with the padding kept, and the clip follows onto the new card.
• The lens name prints beside the focal. Name your glass in Setup and tapping the 35mm chip writes “35mm · ARRI Signature Prime” on the take, the log, the report and the CSV, which is what people had been typing by hand.
• I/E and day for night. Int/Ext gained I/E for a scene that moves through the door, and Day/Night gained D4N.
• A lighting diagram on every card. Attach a photo of the lighting plan to a roll’s header on the log and it prints as the last page of that card’s camera report, PDF included.
• The take buttons scale. NEW TAKE and SAME AGAIN can go compact, or down to bare icons, in Setup, for small phones where the stack covered too much of the log.
• Shutter in angles or in speeds. Setup now switches the Shutter slider and its presets between cine angles (180°) and shutter speeds (1/48), whichever your camera reads in. The log and the report carry exactly what you enter, so switching units never rewrites a saved take.
• Email the report from the report tab. A new Email report button builds the PDF and hands it straight to your mail app with the subject line already written. On a desktop the PDF saves first and a compose window opens ready for the attachment.
• Each camera on its own tab. On an all cameras take the form now grows a tab per camera: flip to B and give it its own lens, stop, filters and exposure while A keeps its own. Each tab remembers that camera’s last take, and one Save still writes the whole pair.
• Requested by Rafael Giuliano, a DIT and Qtake operator in Brazil, and Angel Sukma, a camera assistant two days into a feature in Indonesia. Most of what ships in SmartLog starts as an email like theirs. The shutter speeds, the Email report button and the per camera tabs answer a third request from the same week, from GianMarco Alegre.

• Deleting a take is now obvious. The button reads Delete take, in red, next to Save take when you open any take. Same confirm step as before: nothing is removed until you say so, and it comes off the log, the camera report and every export together.
• Requested by Henrik Lyngbo, the same Danish focus puller behind the distance field. If you have ever hunted for a control in SmartLog, tell us, because the hunt is the bug.

• A clip number on every take. There is now a proper Clip field on the take form, next to the roll. It is stored exactly as you type it, because a clip name is the name of a file on a card.
• It counts itself up. A new take carries the clip forward with the number advanced, so A001C003 becomes A001C004 and C0012 becomes C0013. It reads the clip counter the way cameras actually write it, so the date and reel parts of a longer name are left alone. The suggestion shows dimmed until you touch it, and typing always wins.
• It prints on the camera report. A CLIP column appears on the report, the PDF and the CSV, sized to fit whatever your camera names its files. The column only shows up once a clip has actually been logged, so a report from a job that never uses one prints exactly as it always did.
• Silverstack can now match on the clip. The Silverstack CSV export carries a clip column, which is one of the keys Silverstack matches on, so your notes, ISO, colour temp, shutter, lens, stop and filters can land on the right clips by clip number instead of by timecode alone.
• The demo day is easier to find. The button on the opening screen now says See a demo day. The demo takes carry clip numbers too, so the demo report shows the column.
• Requested by Rafael Giuliano, a DIT and Qtake operator.

• Reference stills can come from your photo library. Tap Add a reference still and your phone offers both its camera and your library, so a frame the DIT sent you, or a grab you took an hour ago, goes straight onto the take.
• A slot for the 3rd AC. Setup carries a third camera assistant alongside the 1st and the 2nd, for the person who actually owns the camera report. Plenty of crews run one, and in some countries it is a role of its own. The name prints on the report and in the PDF, and travels in the CSV.
• The equipment list is yours to write. There is an Equipment kit in Setup, beside the lens and filter kits: type a Ronin, a hot head, a bespoke rig, whatever this job actually carries, and those become your one-tap chips. It saves into My Kit with everything else, and on a multi camera show each camera keeps its own.
• Requested by camera assistant Angel Sukma in Indonesia, back with a second round of notes after the stop-in-tenths request.

• Attach a reference still to any take. Photograph the set with the phone already in your hand and the frame is kept against that take, so a week later the report shows what the shot actually looked like. Open a take, tap Add a reference still, and shoot it there and then or pick it out of your camera roll.
• The log shows you the frame, not a file name. Every take with a still carries a thumbnail in its row. Tap it and the frame fills the screen with its scene, take and timecode underneath.
• Reference stills print as a contact sheet. Camera reports gain a Reference stills page after the table, four frames across, each labelled with its scene and take. The table itself is untouched, so a report with no stills prints exactly as it always did.
• Small on purpose, and never uploaded. A whole shoot day of stills is a few megabytes rather than hundreds, and the only limit is your own device's storage. They sit on your device with the rest of the log, they ride along in your backups and JSON exports, and nothing is ever sent anywhere.
• Nothing is written until you save the take. Adding, replacing or removing a still only takes effect when you tap Save take, like every other field on the form.
• Requested by Amos Wont.

• The camera picker now covers the second unit as well. High speed, action, 360 and drone bodies sit alongside the cinema cameras: Phantom, from the Flex4K and the VEO range to the v2640 and the TMX series, Freefly Ember and Wave, GoPro from the HERO10 up to the MISSION 1 Pro, the DJI Mavic, Air, Mini, Avata and Osmo Action families, Insta360 and Kandao. The picker went from 80 bodies to 166.
• They behave like every other body. Pick a Phantom Flex4K or a HERO13 Black and the recording format and codec fill themselves, exactly the way picking an ALEXA 35 does, and every field stays yours to overwrite if the job is running something else.
• One list across all three apps. The same database drives SmartLog, SmartPrep and SmartWrap, so a body named on the prep sheet is named the same way on the camera report and on the returns sheet.

• Name your own lenses. The lens kit is no longer just focal lengths. Type your glass by name, so Kowa 40, Helios 44-2, Baltar 50 is a kit like any other, and the names come through exactly as you typed them: on the one-tap chips in the take form, in the log, on the report and in the PDF. Focal lengths still work the way they always did, so 50 is still 50mm.
• Save your kit as your own lens set. Give the kit you have typed a name and it sits at the top of the lens set list, above the rental house sets, ready for the next job and the one after that. Delete a set you no longer need and the lenses you are using stay exactly where they are.
• The lens column on the report grows to fit. A long lens name prints in full, and the whole report still fits the page.
• Requested by Amos Wont.

• Multi-camera lens and filter kits are now per camera. On a job with more than one camera, each camera keeps its own lens set, lens kit and filter kit, exactly as it already kept its own body, format and codec. Changing the glass on the B camera no longer changes it on the A camera.
• A new camera still starts from the A camera. Add a camera and its glass is pre-loaded from the A camera as a sensible default, field by field, so you only change what is actually different. Change one and that camera goes its own way. Setup now labels the lens fields with the camera letter, and each camera report and export carries its own lenses.
• Found while testing a two-camera setup.

• New take and Same again are now two clear buttons. There are two buttons in the corner of the log: a green New take that opens the take form, and a red Same again that repeats the last take with the number bumped up, in a single tap. On the very first take of a camera there is nothing to repeat yet, so only New take shows.
• A buzz in your hand when you log a take. On Android phones both buttons give a short haptic tick as you tap. Apple does not allow this on the web, so on iPhone and iPad the buttons stay silent.

• SmartLog now shows you where to start. Open it for the first time and the whole shoot day is laid out: set up the production, choose how much you type, log your takes, mark the good ones, send the report. Steps tick off as you go and the next one is marked in red. Once you have takes in the log it steps aside and gets out of your way.
• You can scale it right back. The new first screen asks how much you want to type and lets you choose there and then: Minimal, Digital or Everything. A doc shooter can log scene, take, lens, stop and a note and nothing else, and still get a clean report. Change it whenever you like.
• A back button, and the browser back key finally behaves. Back sits in the header where your thumb already is. The browser button, the Android back key and the iPhone edge swipe now step back through the app instead of dropping you out of it, and if the take form is open, back just closes the form. A half-typed take is no longer one stray swipe from gone.
• Confirmations look like the app now. Deleting a take asks inside SmartLog, naming the take it is about to delete, so the question always reaches you.
• SmartLog and SmartPrep now look like one set of tools. Same typeface, same size, same light theme out of the box, so moving between prep day and shoot day feels like the same app. Whatever you have already set stays exactly as you set it.

• New Distance field. Log the camera-to-subject distance on every take, right beside lens and stop. Set it on the master and it is waiting for you when you line up the reverse.
• A real distance slider. Detented like a follow-focus ring: fine steps up close, wider steps out deep. Drag it and it writes a clean value like 8'6" or 2.6m, ready for the report.
• Feet or meters. New Distance units setting in Setup. SmartLog picks a sensible default from your device region on first run (US, UK and Canadian crews get feet; most of the world gets meters) and you can switch any time.
• Type it your way. 8', 8'6", 8ft 6in, 2.4m and 240cm all land on the slider, whichever unit it is showing. Typed distances are kept exactly as you wrote them.
• Smartfill and Same again carry the distance to the next take, and it rides through the log, the PDF report and the CSV with its own distance column. Reports only add the column once you actually log a distance, so nothing changes if you never use it.
• Thanks to Henrik Lyngbo, focus puller (Denmark), for the request.

The biggest update since launch: five new features, plus the changes they brought with them. Designed and built start to finish by the developer, not from a feature request. Everything you have already logged carries over untouched.

• Search and filter in the log. Find any take by scene, slate, shot, take number, lens, focal length, filters, notes, roll, camera letter or camera name. Filter chips narrow it further: one camera, circled takes only, false takes only, interior or exterior, day or night, or a single roll. Filters stack, so camera B plus circled gives you just the circled B cam takes.
• A filtered log always says so. A red FILTERED bar sits above the log with a running count, like 14 / 212, and a one-tap CLEAR, so nobody ever thinks takes have vanished. Filters clear themselves when you reopen the app, and they never touch an export: PDF, CSV and JSON always carry the whole log, whatever is on screen.
• Smartfill. A new take starts from your last one on that camera. Lens, focal length, filters, stop, ISO, colour temp, tint, shutter, frame rate, format, codec, roll, interior / exterior, day / night, rig, scene and slate all carry over. Take number, timecode, notes and take marks never do.
• Carried values show dimmed until you touch them, so inherited data stays visible instead of quietly becoming your report. Touch one field and only that field goes solid.
• Smartfill is yours to shape. Switch it off entirely in Setup, or choose what carries with group switches for optics, exposure, environment and rig. Camera A and camera B keep their own separate sources.
• Pinned notes. Pin a note and it follows every new take until you unpin it. Unpinned notes never carry.
• Take numbers reset per setup. Change scene (or slate number, on a UK board) and the take count starts again at 1, while your optics stay exactly where they were.
• Same again. One button on the log repeats the last take on the current camera with the number bumped and saves it on the spot, with no form to fill in. Long press to repeat and edit instead. A five-second undo follows every tap, and it always undoes the take it made, even if you tapped several times in a row.
• Proper keypads. Numbers where numbers belong, for take, ISO, frame rate and shutter. Scene, slate and shot get a numeric-first pad with letters one tap away, so 12A, 45PT and 108B all still work: it never locks you out of letters.
• A real timecode pad. Eight digits, right to left, formatting to HH:MM:SS:FF as you type, with drop-frame handled. It checks the frame against your project frame rate and refuses one your camera cannot produce, so no more frame 30 at 25 fps. NOW stamps the running timecode. On a computer, typing straight into the fields works exactly as before.
• Report fields, your way. A new card in Setup lists all 26 fields. Reorder them with the up and down arrows or by dragging, tap to hide, or start from All, Digital or Minimal. The order you set is the order on the take form, in the log, in the PDF and in the CSV: one setting, every surface.
• Nothing important can be hidden by accident. Scene or slate (whichever your convention leads with), take, lens, and the camera letter on a multi-camera job stay locked on and say so.
• Reports fit the page by themselves. Turn on all 26 fields if you want them: the columns and the type scale to fit the page rather than running off the edge, so a report is never too wide to print. Setup tells you how tight the fit is getting. Camera reports are landscape documents, so printing from a computer now asks for landscape automatically.
• Hiding a field never deletes anything. The data stays in your log and in your JSON backup, and comes straight back the moment you show the field again. Field layouts are saved per production.
• PDF reports now carry page numbers on every page, with the column headers repeating on each one.

• Sony FX5 added to the camera picker on launch day: 5K 3:2 full-frame open gate, internal 16-bit X-OCN LT. Pick it and the format and codec fill themselves. The picker now covers 80 bodies.
• New home screen icon: adding SmartLog to your home screen (or installing it on desktop) now shows the full SmartLog app icon instead of a plain glyph.

• New backup and data safety card in Setup. On Chrome, Edge and Android, pick an auto-backup file once and SmartLog keeps it current in the background, so a copy always lives outside the browser (Downloads or a cloud drive folder).
• Back up now on every device hands a dated full backup to the share sheet or downloads, and a gentle reminder appears when your backup falls behind your log.
• SmartLog now asks the browser to mark its storage protected, lowering the chance of the browser ever clearing your log.
• Clear message when an in-app browser (Instagram, Facebook, messaging apps) blocks downloads, instead of failing silently.
• Thanks to Ayu for the request.

• UK slating grew a dedicated slate # box: the take form now reads slate, scene, shot and take, matching boards that carry all four. The log, reports, PDF and CSV follow, with a new slate column.
• Slate numbers logged in the earlier UK build move to the new box automatically.
• Thanks to System Infinity Project for the request and the board photo.

• New slating convention setting in Setup: US (scene / take) or UK (slate / take). UK mode leads with the slate number on the take form, in the log and across reports and PDF; scene steps back but is always logged.
• SmartLog picks a sensible default from your device region on first run, and you can switch any time. Handy for teaching both conventions side by side.
• Same data captured either way: CSV, JSON, imports and merges are identical in both modes.
• Thanks to Aram Atkinson for the request.

• Multi-camera setups: with two or more cameras on the job, the camera + glass card in Setup gets A / B / C tabs, and each camera keeps its own model, format and codec (a Komodo as A camera, a Venice as B, and so on).
• The A / B / C buttons on the take form now show each camera's name, like A · KOMODO 6K, so tagging the right camera is one obvious tap.
• Camera reports, PDF and CSV now carry each camera's own body, format and codec on its report.
• New production company field in Setup, printed on reports and exports.
• Thanks to Yadiel Barreto for the requests.

• Bug fix: tapping a camera letter (or any kit button) now shows a clear selected highlight, and typing a matching value lights its button too.
• Bug fix: the camera letter row sits on its own line, fixing a layout misalignment on phones.
• Found during a developer bug-hunting pass.

• Bug fix: each tab now remembers its own scroll position instead of sharing one.
• Notes moved up the take form, straight after the slate fields.
• Multi-cam: set how many cameras are on the job in Setup and get one-tap A / B / C buttons on every take.
• Thanks to Alex, sound recordist (Melbourne), for the bug report and the requests.

• Lens sets expanded to 30, now covering primes, cine zooms and anamorphics: ARRI Signature, Cooke miniS4/i and Anamorphic/i, Angenieux Optimo, Fujinon MK and Premista, Sigma Cine, Canon CN-E and CN-R primes, Canon Cine Zooms and RF L series, Sony G Master, DJI DL, NiSi, Sirui and more.
• DJI Ronin 4D 6K and 8K added to the camera picker.

• Camera list expanded to 77 bodies across ARRI, RED, Sony, Canon, Panasonic, Blackmagic, Panavision and DJI, covering the full Netflix-approved list plus the Sony FX3 and FX30 and Canon C50 and C400. Requested by Michael, DOP, Melbourne.

• Shot / slate number field on every take, with its own report column.
• Rig / movement per take: one-tap chips for dolly, steadicam, gimbal, crane, slider, drone and more.
• The stop slider now reads in tenths like the ARRI viewfinder: T2.8 (3/10). Typed values and chips still work.
• Thanks to camera assistant Angel Sukma (Indonesia) for the requests.

• New take-form fields: tint, interior/exterior, day/night, and per-take frame rate.
• Recording-format presets (DCI 17:9, 16:9 and more) in Setup.
• Type your own lens names in the lens field.
• Fixed fields getting cut off on wider screens; the kit options now wrap to fit.
• Bolder, clearer bottom navigation.
• Opens in light mode by default.
• Added a direct Download button, a download counter, and this changelog.