Frequently asked questions

iPhone 12 or later, running iOS 17 or newer.

No accounts, no tracking, no cloud. Your footage stays on your device.

ARRI, RED, Sony, Canon, Blackmagic, Panavision, Panasonic, DJI, Fujifilm, Z CAM, Kinefinity, Vision Research and Freefly, including the older Alexa and RED bodies and Arriflex film cameras. Sensor formats cover Open Gate, Vista Vision, Super 35, Super 16 and film gates. New bodies arrive with every update. Contact us if yours is missing.

Spherical primes and zooms, anamorphics, Super 16 glass, probe lenses and rehoused stills lenses from ARRI, Zeiss, Cooke, Angénieux, Canon, Leitz, Panavision, Fujinon, Atlas, Hawk and many more. New sets arrive with each update. Contact us if a set you need is missing.

Lenset’s vignettes come from reference captures of real lenses, not estimates from spec sheets. And if a sensor exceeds the reference data, the viewfinder shows a calibration warning, so you always know exactly how far to trust the frame.

Not yet. The lens picker shows which lenses have vignette data. A lens without one still previews with the right focal length and frame lines. Vignettes are added set by set, and each release page on What’s new lists the new ones.

Yes. The preview desqueezes to the right aspect ratio and recordings crop to match it, whatever the squeeze of the lens.

The preview keeps the lens’s full field of view and shows the extra area as a grey border around the picture. Recordings save exactly what the preview shows, border included.

It is based on zoom controls like the Preston Micro Force and the ARRI ZMU-4. A speed dial sets the zoom speed, a thumb control zooms in or out, and you can choose between zoom curves.

Yes. 4K recording with timecode overlay, straight from the viewfinder.

LUTs, vignettes, frame lines and crops are applied as you shoot, so the clip saves the moment you stop. Clips shot at 24, 25, 50 or 60 fps keep their frame rate.

Yes. Lenset has photo and video modes and remembers which one you used last. Vignettes and LUTs apply to both.

Everything up to the last few seconds is kept and recovered on the next launch, whether the app was interrupted, the battery died or it crashed while saving.

Yes. Import a 3D .cube file from the LUT library in settings and it shows on the preview and bakes into photos and recordings. Build the LUT for Apple Log input and Rec.709 output, the same as a LUT made for Apple Log footage from an iPhone. That is what Lenset feeds it in every capture mode, so a LUT built for Rec.709 input or another camera’s log will look wrong.

Start with a project set to DaVinci YRGB, not Color Managed, so the LUT contains exactly what the nodes do. Then three nodes: a Color Space Transform from Rec.2020 / Apple Log to DaVinci Wide Gamut / DaVinci Intermediate, your grade, and a Color Space Transform from DaVinci Wide Gamut / DaVinci Intermediate to Rec.709 / Gamma 2.4. Right-click the clip thumbnail, choose Generate LUT at 33 or 65 points, and import the file in Lenset’s LUT library.

A LUT made for another camera works too. Replace the first transform with one from Rec.2020 / Apple Log to that camera’s log, put the LUT on the second node and generate. The file takes Apple Log in and gives the same look back.

Sun data is baked into every capture. You can view every shot on a map and see the sun direction, along with sunrise, sunset, blue hour and golden hour for morning and evening, all in the time zone of the location.

Clips and stills live in projects and scenes, with a gallery you can sort, filter and like. Exports are named with the project name in the order you picked them, carry the cinema info bar, and a project can go out as a PDF shotlist with thumbnails.