Which video formats Bring Back Red supports

8K in. 8K out.

Resolution is not something this correction has an opinion about. It reads every pixel of every frame, so a bigger frame is simply more of them. Nothing is downscaled to make the work cheaper, nothing is sampled once and stretched across the rest, and what comes out the far end is the size it went in.

HDR stays HDR. Audio stays audio.

Your HDR is not flattened to make the maths easier, and 10-bit stays 10-bit. Your soundtrack is carried through rather than re-encoded, so it stays exactly in sync. A 29.97 clip keeps its own timing instead of being nudged onto a rounder number and drifting away from its audio over five minutes.

And your original never moves

Every correction is written as a new copy. The clip your camera made is bit-for-bit what it was before, after any number of passes, and nothing in the video path writes to it. You are never one tap from losing the only version you have.

Common questions about video formats

Does Bring Back Red support 8K video?

Yes. An 8K clip at 7680 by 4320 comes out at 7680 by 4320. Resolution is not a parameter of the correction, so an 8K frame is handled the same way a 1080p frame is.

Does it support HDR video?

Yes, in both HLG and PQ. HDR stays HDR rather than being flattened to SDR, and 10-bit stays 10-bit.

Which cameras does it work with?

Any camera that writes H.264, HEVC or Apple ProRes into an MP4 or a MOV, which covers an iPhone, the common action cameras and the ProRes recorders on a rig. It reads the file rather than the camera, so there is no list of approved models to check yours against.

Does it support ProRes?

Yes, ProRes 422 and ProRes 4444. A ProRes clip is read at its own colour resolution rather than being downsampled first, so a 4:4:4 master is corrected as 4:4:4. The corrected file is written as 10-bit HEVC, which is what an iPhone can encode.

Does it work with Apple Log footage?

Yes. Apple Log from an iPhone Pro is read as Log rather than mistaken for ordinary video, and it comes back out as Apple Log, so it lands in your grade as the Log clip it was. One thing to know before you use it on a hero shot: the correction works from a display-referred picture, so highlights brighter than diffuse white - a sun shaft, a surface glint - come back flat rather than carrying the headroom the original held.

Does it handle Dolby Vision?

Yes, for the Dolby Vision an iPhone shoots. The clip opens as Dolby Vision and the corrected copy is written as Dolby Vision, with the metadata regenerated for the new picture rather than copied across from the old one. Profile 5, whose base layer is not a displayable picture on its own, is turned away with a sentence instead.

Will my audio survive the correction?

Yes. The audio is passed through untouched rather than re-encoded, so it stays in sync and keeps its original quality.

Does it change my original video file?

No. Every export writes a new copy, and the file your camera wrote is bit-for-bit what it was before. Nothing in the video path writes to it. (On the photo side there is one setting, off by default, that saves a correction back onto the photograph in your library - and Photos keeps the original behind it, so Revert to Original still works.)

The spec sheet

Every maximum, in one place