Packing for CES has been a little different than WWDC. The biggest differences are the huge crowds at CES and the limits the conference puts on the bags you can carry into venues.
My trusty Tom Bihn Synapse 25 backpack isn’t big, but it’s too large for CES, so the first thing I did was look for a bag that was small enough to meet the CES security rules but big enough to hold my 14” MacBook Pro and 11” iPad Pro, plus accessories. I decided on a medium-sized Tomtoc Navigator T24 sling bag, which is the perfect size. It holds 7 liters of stuff and has built-in padding to protect the corners of the MacBook Pro and iPad as well as pockets on the inside and outside to help organize cables and other things.
Tomtoc’s medium Navigator T24 sling bag. Source: Tomtoc.
I don’t plan to carry my MacBook Pro with me during the day. The iPad Pro will be plenty for any writing and video production I do on the go, but it will be good to have the power and flexibility of the MacBook Pro when I return to my hotel room. For traveling to and from Las Vegas, I appreciate that the Tomtoc bag can fit everything I’m bringing.
A surprising amount of stuff fits in the T24. Source: Tomtoc.
With little room to spare, my setup is minimal. I’ll write on the iPad Pro and MacBook Pro, carrying the iPad with me tethered to my iPhone for Internet access. That’s a tried-and-true setup I already use whenever I’m away from home.
Today, Apple revealed the latest updates to Final Cut Pro for the Mac and iPad, with both offering a variety of new features and simplified workflows.
Final Cut Pro 11 for the Mac has added magnetic masks, extending the “magnetic” metaphor used for clips placed on your timeline. Apple says the new feature will allow you to quickly mask people and objects in a shot to color grade them or add effects separately from the rest of a scene.
Final Cut Pro for Mac creating closed captions. Source: Apple.
The app can automatically generate closed captions now, too. The feature, which was briefly shown off in a video published alongside the announcement of the new Mac mini, uses artificial intelligence to convert dialogue into text.
Final Cut Pro 11 is also now capable of editing spatial video for the Apple Vision Pro. In its press release, Apple says:
Final Cut Pro 11 now supports spatial video editing, allowing editors to import their footage and add effects, make color corrections, and enhance their projects with titles. The depth position of titles and captured footage can also be adjusted during the editing process. Spatial video clips can be captured directly with Vision Pro, or on iPhone 15 Pro, iPhone 16, iPhone 16 Pro, and Canon’s new RF-S7.8mm F4 STM DUAL lens paired with Canon R7.
Enhance Light and Color in action. Source: Apple.
Final Cut Pro for the iPad has been updated to version 2.1 with several new features. I’ve been using Final Cut Pro more regularly since we started the MacStories YouTube channel, and one of the limitations I noticed immediately is that the color correction tools in the iPad version weren’t nearly as good as on the Mac. The iPad’s color tools still aren’t as sophisticated as what’s available on the Mac, but this update does add new color grading presets as well as a new Enhance Light and Color feature that intelligently applies color, contrast, brightness, and color balance to a video and works with SDR, HDR, RAW, and Log-encoded media.
One of Final Cut Pro for iPad’s new brushes. Source: Apple.
Live Drawing on a video has been expanded with new brushes, too. There are new watercolor, crayon, fountain pen, and monoline pen brushes, letting users create a greater variety of looks for their videos. Other new effects include a picture-in-picture effect, callouts, and a set of built-in soundtracks. I’m eager to try picture-in-picture, which should be a good way to create tutorials and other types of videos and callouts; it’s an effect available from multiple third-party effects vendors on the Mac, but new to the iPad.
The iPad version of Final Cut Pro is also adding a host of other new features, including:
the ability to expand clips in the timeline vertically with a pinch gesture,
dynamic adjustments to the size of the picture-in-picture window,
support for editing high-frame-rate video, and
Apple Pencil Pro haptic feedback for timeline scrubbing and dropping effects onto the timeline.
Lux Camera’s video camera app Kino has been updated to version 1.2, bringing a variety of new features and a redesigned icon. I covered the debut of Kino back in May and have been using it a lot lately because its design makes taking great-looking video so easy.
At the heart of Kino’s 1.2 update is support for the latest iPhones. Kino now works with the iPhone 16 and 16 Pro’s Camera Control for making adjustments that previously were only possible by touching your iPhone’s screen.
Kino Instant Grades. Source: Lux Camera.
On the 16 Pro, the app also supports 4K video at 120fps with its Instant Grade feature enabled. That’s the feature that lets you pick a color grading preset created by video experts, including Stu Maschwitz, Sandwich Video, Evan Schneider, Tyler Stalman, and Kevin Ong. Version 1.2 of Kino lets you reorder those grades in its settings to make your favorites easier to access. Finally, Kino has added support for the following languages: Chinese, Dutch, French, German, Italian, Japanese, Korean, Portuguese, Russian, and Spanish.
On the hardware side, the changes include the addition of Elgato mounts, namely the Elgato Flex Arm and Solid Arm, along with a second Master Mount and Mini Key Light. I also purchased a Moment Multi Threaded Mount that lets me connect my iPhone 16 Pro Max to the Elgato Flex Arm using a strong MagSafe magnet for filming top-down shots. And I switched my podcast recording headphones to the Moondrop ARIA 2 In-Ear Headphones because the Shure model I used before didn’t stay in my ears.
Making the most of a small space..
The rest of my computing setup hasn’t changed much. I removed my M2 MacBook Air because the 11” M4 iPad Pro has replaced it for most of my lightweight portable needs. I’ve also added the Logitech MX Creative Console and Logitech POP Icon Keys keyboard. I’ve grown to like the Creative Console more than the Loupedeck Live for push-button automation, but for now, I still use both. I’m not entirely sure if I’ll stick with the POP Icon Keys keyboard because, as much as I like the automation that’s been baked into it, I prefer the feel of the Magic Keyboard, but I haven’t shelved it yet. I’ve also abandoned the Belkin BoostCharge Pro Wireless Charger because of a recent recall. Instead, I’ve switched to a Native Union Voyage Magnetic Wireless Charger that I’ve been testing and will review soon.
On the videogame side of things, I’ve gravitated to Anbernic devices, adding the Anbernic RG40XXV and Anbernic RG28XX to my setup. Along with the Anbernic RG35XXSP that was already on my list, I now have a nice range of retro handheld sizes and form factors. I have others as well, but these are my current go-to devices. I also added the Nintendo Switch Lite (Hyrule Edition) because I’m a sucker for anything Zelda and I wanted a smaller Switch for traveling.
The Mobapad M6 HD Joycons with my OLED Switch and the Switch Lite Hyrule Edition.
I’ve tried to be good and stop buying controllers, but there have been some great ones released lately, so my list now includes the Mobapad M6 HD Joycons for my OLED Switch and the GameSir G8+. The G8+ is a lot like the GameSir G8 Galileo that it replaced except that it has Bluetooth and works with the iPhone, iPad mini, and Nintendo Switch; I love it.
Finally, I’ve made several changes to my app lineup. There are more Apple system apps on the list, which is usually the case after a long summer of testing macOS betas. Plus, there are several video recording and editing apps on the list now, including Final Cut Pro for the iPad and Mac, Final Cut Camera, a Stupid Raisins plugin for doing split-screen video, and Camo Studio.
That’s it for now. However, I’m already thinking about some fall and winter projects that will mean more changes to my setup, especially with respect to video production tools.
It’s a terrific video about a different time when simple devices like the Flip Video were everywhere, taking low-quality video. What made the Flip and, later, the Nano’s video camera great wasn’t the quality of what you could shoot with them. Instead, it was the convenience. With the tap of a button, you were up and recording instantly. As Farsace explains, there are a lot of limitations to the iPod Nano’s video camera, but in hindsight, it also holds a certain charm.
The video reminds me of the days before I had an iPhone and used a first-gen iPod Touch to take photos. The camera was lousy by today’s standards, but despite its limitations, I was able to take pictures that I enjoy to this day. I appreciate how easy it is to get a usable photo with my iPhone 16 Pro Max today, but I also sort of miss the effort required with the iPod Touch. I don’t miss the inefficiency of the Touch, but the constraints made me a better photographer by forcing me to pay more attention to lighting, framing, and other things. That’s why I’m not surprised at all that Halide’sProcess Zero was an immediate hit.
Insta360 has had a busy week. Earlier this spring, the company released the X4, an advanced 360º action camera, which became available at Apple.com for the first time last week. Then this week, the company released the Insta360 Flow Pro, an AI-powered gimbal for smartphones, including the iPhone. I haven’t had a chance to try either gadget yet, but both caught my eye for different reasons.
First, the Insta360 reminds me of the company’s One X2 that I reviewed a few years ago. As action cameras go, that was a great little device that took excellent video and photos for something so compact.
Source: Insta360.
Three years later, the Insta360 X4 goes much further. The candy bar-shaped camera is capable of 8K video at 30 fps and has a 2290mAh battery that Insta360 says lasts for 135 minutes, which is impressive if it bears out in real-world use. The bundle being sold on Apple.com, includes the camera, a lens cover, a carrying case, a 256GB microSD card, a USB-C cable, and the company’s Invisible Selfie Stick accessory. That last item is key because, through the magic of software, it can be removed from any scene you shoot, creating a third-person perspective without needing someone else to operate the camera.
The X4 also features a 2.5” screen that is protected by Corning Gorilla Glass. Plus, it can take 360º photos, capture different cinematic styles of video like slow motion, and be controlled with voice and hand gestures, making it an intriguing choice for solo creators. The X4 is also available on Amazon.
The Insta360 Flow Pro. Source: Insta360.
Smartphone gimbals have come a long way too. I tried a DJI Osmo 2 gimbal years ago, but it was bulky and difficult to calibrate accurately. Insta360’s new Flow Pro looks like it solves a lot of those friction points. The gimbal, which will stabilize video taken with an iPhone or other smartphone using AI, folds up, saving room in your bag. It also doubles as a tripod with a flip-out base that allows you to set it up to film yourself or others nearby tracking you to keep you framed in the scene. For iPhone users, the Flow Pro uses DockKit, the API introduced by Apple in 2023, that coordinates shots with the gimbal stabilizing them and keeping you in the frame. The only other iPhone accessory that I’m aware of that does this is the Belkin Auto-Tracking Stand Pro with DockKit, which is a tabletop or desktop device, not a gimbal. The Flow Pro, which is available on Insta360s’ website, also offers a fast, integrated pairing process for iPhone users.
It’s summer, which means I and a lot of others will be traveling, and both of these devices strike me as compelling travel companions. The X4 offers high-resolution video, 360º images, and a plethora of cool software tricks for creating unique videos. Meanwhile, the Flow Pro is the kind of accessory that allows you to take the camera you always have with you and use it in new and creative ways, extending its utility. I’m hoping to get a chance to test one or both devices later this summer and will report back.
I’ve been playing around with Kino, a video camera app by Lux, on and off for the past day. That’s not long enough to do a full review, so instead, I got up this morning and headed out for a walk with Kino in tow to see what the default experience is like. The short answer is it’s excellent. Kino is designed to work well out of the box for a novice like me but offers manual controls for someone who needs less hand-holding. It’s similar to Lux’s approach to Halide, the company’s pro camera app, and my early experience with Kino has been just as good as it’s been with Halide.
Kino and Halide share a similar design aesthetic, so if you’ve ever tried Halide, you’ll have no trouble finding your way around Kino’s UI. There’s a record button at the bottom of the screen flanked by a button to access the video you’ve taken, which can be stored in your photo library or in the Files app, and a button for the app’s Instant Grade feature. At the top of the screen are controls for resolution, frame rate, and format presets, as well as a ‘Custom’ option. The top of the screen is where you’ll also see your audio levels and a button for switching between automatic and manual exposure. Just beneath the viewfinder are controls for toggling auto and manual focus, picking your camera lens, and a button for accessing additional controls and the app’s settings.
Like Halide, Kino also comes with a set of guides to get you started, which I haven’t tried yet because they weren’t available in the beta version of the app. However, if they’re anything like Halide’s guides, I expect they’ll be worth checking out if you’re new to shooting video and want to get the most out of Kino.
Some of Kino’s built-in color presets.
The app shoots beautiful video by default. Here’s an example of a short walk through Davidson College’s campus using all default settings, the iPhone 15 Pro Max’s Ultra Wide lens, and no post-processing.
The marquee feature of Kino is its Instant Grade. The app also comes with a collection of built-in color presets that you can preview in the viewfinder, making it easy to find one that fits your needs. The collection that comes with Kino has been created by video experts, including Stu Maschwitz, Sandwich Video, Evan Schneider, Tyler Stalman, and Kevin Ong. But you’re not limited to the presets that come with Kino. You can also import any LUT using the app’s integration with the Files app.
I visited a nearby lake and shot some video with Kino’s default settings enabled, and then tried each of its color presets:
The app also implements something Lux calls AutoMotion, which applies an exposure logic that gives video a cinematic feel. It’s another feature that just works out of the box for novices who don’t want to dig deeper. However, you always have the option to vary from the defaults, adjusting settings manually.
My first-run experience with Kino was great. I didn’t explore the app before heading out the door this morning, yet I had no trouble figuring out the basics and shooting video that looks good with no processing whatsoever. With more practice and some post-processing, I’m sure the results would look even better, but I love how well my video turned out with minimal effort. I’m planning to spend more time with Kino over the summer and look forward to checking out Lux’s guides to improve my video skills.
Marcos Tanaka’s Play has become the way I watch YouTube, which isn’t something I expected would happen as much as I’ve enjoyed the app since its launch early last year. The app, available on the iPhone, iPad, Mac, and Apple TV, started as a way to save YouTube links to watch later. That made Play indispensable for keeping track of videos in a way that is similar to how I save articles I want to read later in Matter.
With version 2.0, Marcos has transformed Play from a utility where I save links for later to how I find videos and watch them in the first place. The big difference is that Play now allows users to manage YouTube channels inside the app. I still come across YouTube links on social media, iMessage conversations, on the Club MacStories Discord server, and elsewhere that I add to Play using its excellent share sheet integration. However, with support for YouTube channels, I now have a chronological list of everything published by my favorite channels delivered to an inbox where I can quickly pick the ones I want to watch, which is wonderful.
If that sounds a lot like RSS, that’s because it is. That’s how I prefer to scan my favorite websites for articles to read, and now, it’s how I’m watching my favorite YouTube channels.
It’s harder than ever to push Apple devices to their limits. Sure, some apps and workflows will do it, but for everyday tasks, Apple silicon has opened a gap between hardware and software that we haven’t seen in a while.
The transformation was gradual with the iPhone and iPad compared to the sudden leap the Mac took with the M1, but the result is the same. There are fewer and fewer apps that push Apple’s chips to the max.
That’s beginning to change with the focus on machine learning and Apple silicon’s Neural Engine. While pundits fret over Apple’s lack of an AI chatbot, developers are building a new class of apps that use local, on-device machine learning to accomplish some pretty amazing feats on all of Apple’s devices.
Detail Duo.
Great examples of this are the apps by Detail, an Amsterdam-based startup. Detail has two apps: Detail Duo, an iPhone and iPad video production app, and Detail for Mac, which does something similar but with a focus on multi-camera setups more suitable to a desktop environment.
As I explained in my Final Cut Pro for iPad first impressions story last week, I don’t work with much video. However, I’ve been dabbling in video more, and I’ve discovered a story as old as personal computers themselves.
Every hardware advance that creates a huge amount of performance headroom is eventually consumed by the ever-growing demands of apps. That’s just as true with Apple silicon as it was for other chip advances. What seemed like more power than average consumers would ever need quickly becomes a necessity as apps like Detail Duo and Detail push that hardware to its limits.
It’s these sorts of advances that I find incredibly exciting because when they’re coupled with intuitive, well-designed apps, they open up entirely new opportunities for users. For Detail, that means simplifying and democratizing video production that would have been out of reach of most users not that long ago, expanding access to video as a creative outlet.
Before digging into these apps further, though, you should know that my son Finn is on the team building Detail and Detail Duo. That’s one of the reasons I’ve known about and followed these apps for a long time now. I figured that’s context readers should know.
