Full body · 6–7 ft · just off the backdrop
Looks
Live previews of the current frame in each look. PIP looks are graded from the current frame directly, without the smoothing the live PIP view builds up over time. Tap a look to use it.
Advanced shows the full set of controls. Simple keeps the looks, one capture button, and plain entries to your pictures.
Relief shows the graded brightness as a raised surface, using the mid-anchored grading and ignoring any PIP baseline.
Slow view lengthens the Live change integration time, so changes that build up gradually become visible as bands. Turning it off restores the normal Live change timing exactly.
Stretches the camera's measured brightness range across the full palette in Still field, PIP and Relief modes.
When a photo is downloaded or shared, a label band is added along the bottom of the image naming the app, the mode, the palette, the sensitivity and gain, the grade count and the time. Recorded videos are exported without a label band.
Point the camera at the empty scene and set it as the control frame, then turn on the deviation view to grade how the scene's brightness differs from that empty scene.
Soft grades the picture through the palette without hard band steps, with a light softening of the brightness before grading. Turning it off restores the banded grading exactly.
Field spread lets the graded colours reach outward into the surrounding background. At zero the picture is graded exactly as before.
Mirror view shows the graded picture beside a left-right flipped copy of itself. The difference overlay warms the colours wherever the two sides of the picture differ from each other.
Soft grades the smoothed brightness through the palette without hard band steps, with a light softening before grading. Turning it off restores the banded grading exactly.
Field spread lets the graded colours reach outward into the surrounding background. At zero the picture is graded exactly as before.
Captures — press Space in PIP mode to grab a still; tap a thumbnail to download it.
Capture tools — present a clean full-screen view, draw marks over the live picture, or frame a full-body shot.
While Annotate is on, drag on the picture to draw marks over it. Marks are included when a photo is taken; recorded videos are saved without marks.
The framing guide outlines where a full-body subject sits in the frame.
Assessment set — work through a list of shots in order. Sets belong to this session only, like the rest of the gallery: they are here while this page stays open.
No set started yet. Start a set, then use the Photo button to work through the shots in order.
A finished set joins the gallery as one contact sheet, with each still labelled by its shot and time. The session labels on the sheet are: symmetry · colour banding · artefact · focal points · amplitude.
Session stages — build a strip of up to five stills from one session, taken by hand or on a timer, laid out as one labelled image.
No stages captured yet.
Gallery
Photos, recordings, PIP grabs and stage strips from this session appear here.
Slow playback stretches a recording out in time, so gradual changes in the bands are easier to follow.
Before / after: use the A and B buttons under any two stills to place them side by side here.
No pair chosen yet.
Chakra color key
Traditional color assignments used in this style of imaging — a display convention, not a measurement.
What this does
What you’re looking at is a false-color visualization of light captured by your camera — an image-processing effect, nothing more.
Live-change mode runs a temporal bandpass filter: two running averages of the picture’s brightness (one fast, about half a second of memory; one slow, about four seconds) are subtracted from each other, isolating minute fluctuations in light. The difference is amplified by the Sensitivity control, quantized into discrete bands by Detail, mapped through the selected color palette, and blended with the grayscale camera image.
Still-field mode skips the time differencing entirely: it maps static brightness levels through contrast, quantization, and the palette, producing contour bands of equal brightness (isophotes) that trace how light falls across the scene. With Auto-brightness on, the measured brightness range of the scene is stretched across the full palette before banding.
PIP mode grades the static brightness of the light reflected from the scene (not changes over time) through the same banding and palette steps, using the APIP palette by default. Its Reality, Enhanced and Reality Max buttons change only how much the graded picture is smoothed over time and how hard the band edges are. With Auto-brightness on, the measured brightness range of the scene is stretched across the full palette before banding.
Relief mode presents the same graded brightness as an oblique raised surface: each palette band becomes a step of elevation, viewed at the angle set by the Tilt control, with the Height control setting how far the bands rise (at zero the surface is flat). It uses the mid-anchored grading and ignores any PIP baseline.
Slow view and slow playback stretch time in two places: Slow view in Live change mode integrates brightness over a much longer window so gradual changes accumulate into visible bands, and a recorded video in the gallery can be played back as slowly as a tenth of its recorded speed.
Deviation from a control frame in Still field mode grades the difference between the scene's current brightness and a stored empty-scene control frame through the same banding and palette steps as the flat Still view, so what changed relative to the empty scene is what gets coloured.
Mirror view places the graded picture next to its left-right flip; the difference overlay colours the places where the left and right sides of the scene fall differently across the palette.
PIP mode setup
For a comparable PIP view: light the scene with a full-spectrum light source, use a plain matt white background, and place the subject about 6–7 feet from the camera, close to the background. Frame the shot first, then lock the exposure if your camera offers that control, so the brightness stays fixed while you work. Before the subject steps in, look at the empty scene first and note how the bands fall across the background on its own — then compare it with the view once the subject is in place. The Normal view button (key N) shows the unprocessed camera picture at any time, which is useful for checking plain shadows against the graded view.