• Updated built-in presets and a revised FilmLook 3. All eight presets have been re-graded, and FilmLook 3 has been replaced with a new version.

• Presets now save the Creative Look you were using. Saving a preset could record the wrong bundled look, or none at all, so reopening it lost the look entirely. Presets saved before this update do not carry the look and need re-saving.

• Fixed a hang that could freeze Final Cut Pro. On projects with many clips using the plug-in, Final Cut could stop responding entirely and need to be force quit. The plug-in and Final Cut could each end up waiting on the other, with neither able to continue. Thank you for the spindump — it is what made this findable.

• Fixed a crash that could take Final Cut Pro down with it — applying a preset from the Gallery, or resetting a section, could bring down the plug-in and Final Cut Pro with it. Thank you to everyone who sent crash reports; they are what made this findable.

• Fixed Whites breaking the image — in 1.0.16, pulling Whites down could produce a hard dark band across bright areas instead of a smooth roll-off. Whites now behaves properly, and still has more range than it did before 1.0.16.
• A new Camera Matrix — each of the three colour channels is now a point you drag on a standard colour chart, with the exact values shown beside it as you work, and you can choose the colour space you are editing against: Rec.709, Rec.2020, DCI-P3 or ACEScg. With Preserve neutrals switched on, whites and greys stay exactly where they are however far you push a channel, and a live readout warns you in amber when a channel starts losing output. Switch it off and you can drag the neutral point anywhere on the chart, with the three channels holding their positions while you do it. Every value is also searchable from the command palette by name (“Red from Blue”, “Green from Green”, and so on).

Please note: grades and presets made before 1.0.17 that used Camera Matrix lose that part of their look. Everything else in them opens and renders exactly as before. Re-create the correction with the new chart and save the preset again.

• Yearly subscription option — Kredi Lab can now be purchased as a yearly subscription alongside the one-time licence. Subscribers always get the latest version while their subscription is active; the account window shows the renewal date, and a lapsed subscription can be renewed in one click.
• Presets gallery stays dark in Light mode — the Presets gallery now keeps its dark appearance no matter your Mac’s system Light/Dark setting, fixing a white toolbar strip that clashed with the rest of the gallery.
• Blacks and Whites respond the way you’d expect — Blacks was roughly twice as strong as it should be, so small moves went too far, while Whites did about a third of the work it should. Both are retuned.
• The version is always visible in the plug-in header — during a trial, or after one expires, the header could shrink to just “Kredi Lab” and hide the version and build. It now keeps the version, and the full build and date are in the tooltip.
• No more dead bypass switch on Colour Management — the ACES Color Management section showed an enable/bypass checkbox that could not actually bypass anything (colour management is always on). Clicking it greyed the section out while the stage kept working, which was simply misleading. The checkbox is gone from that section; every other section keeps its own.
• Clearer Color Wheels labels — the two range sliders are now Shadows Sat Range and Highlights Sat Range, because that is what they do: they set the bands used by the saturation sliders and each wheel’s master brightness. They never affected where the colour pucks reach, and the old names suggested they did.
• Picking a LUT from the gallery now applies that LUT — choosing one of your own LUTs in the gallery could select a built-in film look instead, and your LUT was then forgotten. It now applies exactly what you picked.
• Ten new film looks — the Creative Looks menu now carries FilmLook 1–10, a completely new set replacing the previous eight. Grades made with the old looks will render differently; re-pick the look you want.
• Much smaller download — the built-in looks are now stored in a compact format, taking over 30 MB off the installer even though there are now ten of them instead of eight, with no change to how they render.
• Send crash reports with your feedback — if Kredi Lab has crashed recently, the feedback form now offers to include the crash reports so we can see exactly what happened. It is a simple checkbox, ticked by default, and you can always untick it — nothing is ever sent without you seeing it.
• Fixed a crash that could take Final Cut Pro down with it — under some editing patterns the plug-in could crash, and in Final Cut that sometimes brought the whole app down. The cause was internal state being updated from several places at once; it is now properly serialised.
• Highlights now reaches the brightest parts of your shot — the Base Highlights slider had no effect on speculars, practicals and blown skies — exactly the areas you reach for it to control. It now works across the whole upper range, right up to the brightest pixels, so pulling highlights down actually recovers them.

• Built-in preset library — Kredi Lab now ships with a set of ready-made looks that appear as a “Built-in” group in the Presets gallery, installed automatically on first launch.
• New built-in film looks — the Creative Looks menu now ships eight film-style looks (FilmLook 1–8), replacing the previous built-in set.
• Sync section open by default — the Sync panel now starts expanded, like White Balance and Base, so shared-clip controls are one glance away.
• Picker cursor restored — the crosshair no longer sticks after using a picker; the pointer returns to the arrow as soon as picking ends.
• Creative Looks reset fix — resetting the section after applying a LUT from the Gallery now really removes the LUT (the popup showed None but the look stayed applied).
• Shadows picker fixed — picking a cast in the shadows now removes just the cast instead of crushing the shadows to black.
• Cleaner Color Wheels section — removed the Lift/Gamma/Gain Master sliders that duplicated the master control already under each wheel.
• Gentler Diffusion defaults — a freshly enabled Diffusion now starts subtle (Amount 0.3, Saturation 0.4) instead of full-strength, based on tester feedback that the old default was too heavy-handed.
• New app icon — the Kredi Lab wrapper app now wears the brand artwork.
• Colour management is now always on — the bypass toggle is gone. Every tool in Kredi Lab is built on the managed pipeline, and switching it off produced unpredictable results that varied with the project’s colour settings. Footage that is already display-ready passes through faithfully with the Rec.709 input transform.
• Gallery hover fix — hovering an unreadable or old-format preset no longer leaves the previous preset’s preview stuck on the canvas.
• More colored sliders — Color Density (Cool/Warm, Printer lights, dye gammas), Diffusion’s Tint Hue, Skin Refine (Hue Center, Tone, Saturation), and Selective Color — where the three sliders’ colours follow the selected swatch.
• LUT thumbnails follow the playhead — the Gallery’s LUT browser now refreshes its thumbnails from the current frame automatically when the playhead settles, refreshes when you open the LUTS section, and gains a refresh button for an instant update.

• Quick Grade — grade right on the picture. A small dot in the corner of the viewer opens a command palette: start typing any control (“red saturation 0.9”), press Enter, and drag on the image to adjust — or type a value to set it directly, or “reset all” to start fresh. ⌥-click anywhere on the image for a menu of your eight favourite controls right at the cursor — assign any slider to it from its right-click menu. Esc always lets go.
• LUT Browser — the Gallery gains a LUTS section: browse your .cube library and the bundled looks with live previews on your own footage, rate favourites, and double-click to apply.
• Apply part of a preset — the new Apply Filter menu applies only the sections you want from a preset: Everything, Look, Film Emulation, or your own custom sets.
• Colored sliders — Camera Matrix and White Balance sliders now show colour-gradient tracks, so each control’s direction is visible at a glance.
• Faster and more stable — fixes for issues seen on Final Cut Pro 12.3, a snappier command palette, and smoother keyframe editing.
• Steadier header — the plug-in header is more compact, and the “select the effect” hint now has its own fixed spot: nothing shifts when it appears or clears.
• Better Blacks control — the Blacks slider in the Base section has been rescaled so its full travel covers the useful range; fine black- level moves are now much easier to dial in.
• New preset file format — presets are now clean, hand-editable JSON: readable stage and parameter names, menu selections stored by name, and tone curves as plain control points you can edit in any text editor. Note: presets saved with earlier versions need to be re-saved — re-create the look and save it again with this version.

The Presets Gallery

Your presets, visual — right inside Final Cut Pro. The new Kredi Lab Presets Gallery lives in FCP’s Extensions menu (the puzzle-piece button above the timeline) as a native panel you can float or dock like any FCP window. Every preset in your library shows as a card with the frame it was saved from; double-click applies it to the selected Kredi Lab clip — and on a sync bus, synced sections flow to the whole bus, as always. Save Preset… lands in the library automatically, and a new save pops into the gallery instantly.

Live preview on your own footage

Hover a preset card and the FCP viewer shows your clip with that preset applied — full quality, without changing anything. Move the pointer away and your grade is back instantly. Nothing is written, nothing to undo: audition the whole library before committing.

A library that scales

A sidebar puts everything one click away: All Presets, Favourites, Starred and Recently Added smart views; your own folders under My Presets (create new ones right in the panel); and Online packs — curated collections, delivered automatically, with a Downloaded view that works offline. Search in any language, filter by stars or favourites, rate and heart presets on the cards, delete safely (files go to the Trash), and supply your own preset thumbnails if you prefer them over the automatic ones.

Curated collections

Select an online pack and the gallery shows its title, author (with a link to their site) and description. Collection contents are protected end to end: they ship sealed, are never written to disk in readable form, and presets you derive from a pack reference it rather than copying its assets.

Leaner install

Kredi Lab is now over 30 MB smaller. Nothing was removed and nothing changed visually — the same grade renders identically — just a smaller download and a faster install.

Fixes

• Undo works everywhere — ⌘Z / ⇧⌘Z now reach Final Cut Pro’s undo stack even while you’re interacting with Kredi Lab’s controls or the animation editor. Previously undo went silent after touching the plug-in’s UI.
• Undo after applying a preset restores everything — one ⌘Z brings back the entire previous grade, colour management included. Previously undo could peel a preset apart, reverting the look but keeping the preset’s colour management (or the other way round).
• Reset All now resets colour management — the input, film stock and output transforms return to their defaults like everything else.
• Removing a custom LUT now syncs — with Creative Looks on a sync bus, clearing the LUT on one clip removes it from every clip on the bus. Previously other clips kept the old LUT no matter what you picked.
• Presets capture every setting reliably — a preset saved while the inspector was in certain states could record a stale value (e.g. a Diffusion style of “None” despite the popup showing a style). Saving now reads every control authoritatively.

Animation editor, now a real editor

• Type values directly — the number fields next to each channel now accept keyboard input.
• Scrub from the editor — drag the playhead line or click anywhere in the time ruler to move the playhead, in both the curve and dopesheet views.
• Create keyframes in place — double-click a channel lane (dopesheet) or the focused curve (graph) to add a keyframe right there.
• Frame-accurate by default — dragging keys, scrubbing and new keyframes snap to frame boundaries; hold ⌘ for free positioning.
• Fit Clip — a new toolbar button zooms the editor to the whole clip, next to Fit (which frames your keyframes).
• Timecode ruler — the ruler shows your timeline’s real timecode (or plain frame numbers — pick in the toolbar), with tick spacing that never lets labels overlap.
• Transport controls — go to clip start/end, step a frame back/forward, and jump to the previous/next keyframe, right from the editor toolbar.
• Clip boundaries are visible — the area outside the clip is shaded in both views, so keyframes parked off the clip are clearly off the clip.
• View multiple curves — select several channels (⌘-click / ⇧-click) to see their curves together; one selection shows its real value range; no selection shows every animated curve. Selected lanes are highlighted in the dopesheet.
• Predictable dragging — plain drag in empty space now rubber-band selects; hold ⌥ to pan (two-finger horizontal scroll still pans too). No more guessing whether a drag panned the view or moved a key.
• Remove Animation — right-click a channel in the editor’s list to strip all its keyframes; the parameter keeps the value it had at the playhead.
• The DJI input transform is now simply “D-Log / D-Gamut” — no camera list cluttering the menu.
• Projects now remember colour transforms by NAME, so future menu additions or reordering can never silently change what a saved project means.

Presets can carry your LUT

When you save a preset that uses a custom LUT in Creative Looks, you can now tick “Embed LUT file” in the save dialog — the LUT travels inside the preset, so it works on any machine. Loading such a preset installs the LUT automatically.

Quality of life

• The ACES Color Management section now opens expanded — picking the input transform is usually the first step on a fresh clip.
• The Input Transform menu shows “None” as a single item at the top instead of a one-entry “Default” submenu.

Color wheels match the vectorscope

All grading wheels (Lift, Gamma, Gain, Global) are now oriented exactly like the vectorscope: push toward the scope’s R target and the image’s trace moves toward R — same for every color. The ring’s colors sit at the scope’s own angles, the way professional grading tools lay them out. Your existing grades are untouched — only the wheel orientation changed.

Shows up right after install

The Kredi Lab effect now appears in Final Cut Pro and Motion as soon as you install and open the app — no more quitting and relaunching to make it show up. It also now recognises the subscription version of Final Cut Pro.

Fixes

• Correct handling for DJI D-Log / D-Gamut footage (Mavic 2 Pro, Inspire 2, Zenmuse X5S/X7, Phantom 4 Pro).
• Fixed a menu glitch where a previously selected input transform or custom LUT could get stuck at the bottom of the list and refuse to re-apply.
• Fixed the Send Feedback window: attaching screenshots pushed the Send and Cancel buttons off the bottom of the window, overlapping the update button (which could swallow clicks meant for Send). The window now sizes itself to the form and grows when screenshots are attached.
• Screenshots attached to feedback no longer arrive as black images, and the message text no longer touches the edge of the text box.
• Feedback reports now include your Final Cut Pro and Motion versions, so we can reproduce issues faster.
• Sync buses are more robust when copying and pasting effects between clips: pasting an older copy of a clip can no longer overwrite the bus’s current look, and stages removed from a bus stay removed after reopening a project.
• Editing a look synced across a large number of clips no longer stalls the interface — changes now fan out to bus members in the background, and reopening a project with many synced clips is much faster.

Now runs on Intel Macs

The plug-in is now a universal binary — it loads and runs natively on both Apple Silicon and Intel Macs. Previous builds were Apple-Silicon only and wouldn’t appear in Final Cut Pro / Motion on Intel machines.

Film Stock on/off, done right

• The eye on the Film Stock row turns just the film look off — your footage stays fully colour-managed.
• The section checkbox (and the stage pill) now bypasses the whole colour-management stage when you really want the untouched image.
• Loading a preset now updates every control visibly — previously the look applied but popups and sliders could show stale values.

Quality of life

• Grain starts at a subtler default (8 instead of 50).
• A fresh effect opens tidy: only White Balance and Base are unfolded.
• New artwork for the effect in the Motion/FCP browser.

Film Looks — natural skin tones

All colour film looks have been re-mastered from their original film measurements. Skin tones now stay natural — no more yellow drift on faces — while each stock keeps its character: highlights roll off gently to white the way a real print does.

Diffusion — fixed runaway bloom on clipped highlights

On scene-referred timelines (ACES input transforms), clipped lights and speculars could detonate into huge white blobs — the glow seeds were fed reconstructed highlight values far beyond what any diffusion filter sees. Highlights now bloom naturally at any exposure, matching the reference behaviour on every kind of footage.

Diffusion — consistent look at every resolution

The glow now scales with frame size: a look dialled in on an HD timeline reads identically on 4K and 8K, and preview matches export regardless of playback quality. Previously the halo was a fixed pixel size, so it shrank relative to the frame on higher-resolution timelines.

Diffusion — three styles rebuilt to match their reference look

The Delicate, Compact and Whisper styles were missing the sparkle/glint character of the looks they model — highlights read as plain soft glow instead of the tight, structured shimmer those filters are known for. All three now reproduce their reference optical filters exactly.

Diffusion — truer to the reference on fine highlights

Small speculars and highlight edges now bloom consistently. Previously the effect could under- or over-glow pixel-fine light sources depending on where they landed in the frame, which read as flicker on motion.

Diffusion — glow-only Saturation, plus a new Tint

• The Saturation slider now affects only the glow: at 0 you get a clean neutral-white halo while the image underneath keeps its full colour. Previously it slightly desaturated the whole frame.
• New Tint and Tint Hue sliders colour the glow itself — film-halation orange, cool moonlight, sodium amber — without touching the underlying image. No colour picker: choose a hue angle, drag Tint up. Defaults keep the classic look unchanged.

Film Resolution, corrected

• The scale now means what it says: 100 = full resolving power (sharp, the new default), and lowering it emulates softer, lower-resolving stocks. Previously the control worked backwards — raising “resolution” softened the image.
• It no longer depends on the grain Amount — at a subtle grain setting (10–20%) it previously had almost no effect. It now softens the same at any grain strength.
• Projects that used the old control will need the slider re-set once.

Sync Buses — pasted clips now stay in sync

Copying a Kredi Lab effect to other clips (⌘C/⌘V or Paste Attributes) carries its bus membership — but a pasted clip could miss edits made before Final Cut created its live instance, so one pasted clip followed the bus and another didn’t. Clips now pull the bus’s current look the moment they wake up, so every member converges no matter how or when it joined.

Picker fixes

• The eyedropper magnifier now disappears reliably when a pick completes.
• Click the eyedropper again to cancel a pick — it works as a toggle.
• Moving the pointer off the canvas cancels the pick, so the picker can never get stuck on screen.
• Every picker’s magnifier now says what it’s picking — neutral for White Balance, the tonal range for wheel casts, curve point for Tone — matching the step-by-step captions of the skin picker.

Tone curves that always bite

Fixed a long-standing issue where simple two-point curves had no effect on the image — a steep contrast curve on any channel now grades exactly as drawn. Curve edits and the picture can no longer disagree.

See all your curves at once

While editing one channel, the other channels’ curves now show as dimmed overlay lines in their own colours — so you can shape Red against what you did on Green and Blue without switching back and forth.

Skin Refine, rebuilt around real faces

• Two-click skin picking: click skin in the light, then skin in shadow — the mask range is derived from both, so one pass covers the whole face (and works across every complexion).
• Smoothing now stays strictly inside the mask — no more softness bleeding onto hair, jawlines or backgrounds at the edges.
• New Tone and Saturation sliders correct skin colour inside the mask — fix ruddy or sallow skin without touching the rest of the frame.

Film Grain at any resolution

• Grain now looks identical in HD, 4K and 8K at the same settings — the Film Resolution control finally works on 4K footage.
• The Size control grows real, distinct grain particles instead of softening into a blur, and grain strength stays consistent at every size.

Fixes & stability

• Reset All now fully resets Color Wheels (including the Global wheel).
• Much cleaner behaviour in projects with dozens of clips on Sync Buses.

Safer updates

Updates now wait until Final Cut Pro and Motion are closed before installing, so the plug-in is never replaced while a host app has it loaded.

Sync Buses — faster and more flexible

• Stays responsive even with many clips assigned to a bus.
• Right-click any stage in the Sync panel to Reset it, turn it on/off, or add / remove it from the bus.

Fixes

• Resetting a stage now works for every stage, whether or not its section is open.

Sync Buses — match a look across many clips

Keep the same part of a grade identical across multiple clips, live. Put clips on one of eight colour-coded buses, choose which grading stages should stay in sync (Tone, Color Wheels, White Balance and more), and everything else on each clip stays independent. Perfect for matching interviews, multicam angles or a whole scene — change one clip and the others follow. Joining a bus takes a single click, and Copy / Paste lets you carry settings between clips.

Auto White Balance confidence

The Auto White Balance button now shows a green / amber / red confidence dot so you can see at a glance how trustworthy the result is — and it skips scenes with no usable neutral instead of forcing a guess.

Refinements & fixes

• Cleaner, more compact Sync inspector with clearer labels and tooltips.
• Header version line now aligns with the section titles.
• “Turn all stages on / off” applies reliably.
• Loaded presets reproduce their saved look faithfully.
• Assorted interface polish and stability fixes.