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

• As many reference stills as the take needs. A take used to hold one frame. It holds a strip now: 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 one diagram per card was never the whole day. A card holds a list now, and each diagram takes a label, so the report says which one is which instead of leaving you to guess.
• 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 from whether the take is marked day or night, 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.
• Fixed: on the demo day, Same Again could log more than one take from a single tap.

• Every camera keeps its own roll and clip. On a two camera day you could set camera B's roll, tap back to camera A, and camera A would still be wearing B's roll. It saved that way too, so the wrong reel went onto the report. Each letter now 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. Reported with screenshots by Rafael Giuliano.
• The Silverstack export writes the full clip name. The clip column carried what you typed, so a bare C001 went out where the library holds A001C001, and the import matched nothing. The reel is now put back on the way out, without changing what is stored on your take. 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. The on screen keypad stopped at twelve characters, so a camera rated 800 / 3200 / 12800, which is every current Canon C400 and C80, physically could not be entered. It takes the lot now, and it reads commas, slashes or spaces between the values.
• Save as many camera kits as you like. There was one saved kit, so the second one you saved quietly replaced the first. Name as many as you want, 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. Two of them taught the calculator something: Canon's C300 Mark III records RAW at 1 Gbps at both 25p and 50p, so its rate does not double with the frame rate, and Sony's XAVC runs on a ladder where 25p is faster than 29.97p. Rates that do not scale are now stored as the ladders they are, instead of being multiplied and quietly wrong.
• 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. Picking a drone used to open the list on Sony cine media, which helped nobody.
• 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. Exposure used to sit at the bottom of the form.
• 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 again. At bigger text sizes the sheet could render taller than the screen and the X to close it sat above the top edge, out of reach. Fixed at the root, for every text size.
• 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 rewrites a full backup into your own Google Drive after every change, from any device, which was never possible on an iPhone or iPad before. 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. Sync merges take by take and field by field, so 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 used to share a button with Print, and on an iPad that meant going through the print dialog, picking a paper size and exporting from there. The PDF is now 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, because what it costs depends on where it is pointed and a made-up number is worse than none.
• 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.
• Fixed: changing the take order put the take buttons on the Setup screen, where they had no business being.
• 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. Everything that was still English in the Spanish build now 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. The English build is untouched, byte for byte.

• 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, which is exactly what a customer’s screen recording showed it doing.
• 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 long shoot used to grow one filter chip per roll until the chips buried the log.
• 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 was always there, but it was a bare bin icon with no label, and a working focus puller went hunting for it and could not find it. It now 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. Until today the only place to put a clip name was the note field or the roll field, and neither of those is where anyone looks for it. 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. It always loaded one, but it was labelled "see a finished day", so people went looking for a demo and did not find the word anywhere. The demo takes now 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. Adding a still no longer forces the camera open. 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. The previous build described this, but a setting inside the app was still forcing the camera. It now works the way it was written.
• 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. The rig and movement chips on the take form used to be a fixed list of eight. Now 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. Every frame is scaled down before it is stored, so 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 used to be cut short in the printed report. The column now takes the width the longest name on the page needs, 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. The button in the corner of the log used to do two different things depending on whether you tapped it or held it down, which no one could see. It is now split in two: 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, instead of a browser pop-up that some in-app browsers block entirely.
• 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 rewrites your whole log to it in the background after every change, 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 five or more takes are newer than your last backup.
• 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.