ISO
400
Control the camera, watch the picture full-screen, file every take into the day's shoot, and send the finished cut to YouTube — one cable, one window, one app.
One USB cable carries the picture and the controls at once. Everything you'd set on the body, you set here — with a monitor the size of your screen.
ISO, shutter, aperture and white balance, read live from the camera — the options are the values your body actually supports, not a generic list. Exposure compensation is a ticked scale you read like a light meter.
Edge highlighting with adjustable sensitivity, and a live luma histogram over the picture. Know it's sharp and exposed before you roll, not after.
Zoom to 8× into the live picture and drag around it. The most-asked question in a tethered session is "is the eye sharp?" — a picture scaled to fit a pane can't answer that. This can.
Rule-of-thirds grid, plus crop guides for 16:9, vertical, square and scope — so the Reels crop is decided while the subject is still in the room, not in the edit.
Codec, frame rate, bitrate, chroma sampling, ticking SMPTE timecode, card time remaining per slot, shooting mode, focus state, lens and battery — read live down the right-hand side. A figure the camera didn't report is left blank, never invented.
Send the take to the camera's card, or record the feed straight to a folder on your Mac — with the Mac's microphone if you want it, and a live level meter so you can set sound before rolling. Files are named by date and time, so they sort themselves.
Press the shutter — on screen or on the body — and the photo lands on the Mac and fills the screen, RAW included. Choose card, Mac, or both; the shot count and filename are right there, with a Reveal button.
One keypress during a take drops a timestamped mark — no dialog, because naming a mark mid-take costs the take. Name them afterwards, and they become YouTube chapters when you publish.
Name the job, and every take, still and mark from then on files itself into one folder of that name. A shoot is its folder — no database, nothing to export. At the end of the day, you hand over a folder.
Card nearly full, disk nearly full, battery about to go, sound clipping or barely audible — measured all the time, but surfaced over the picture only while a take is running, which is the only moment they matter. Red for what will end the take; amber for what will spoil it. Nothing appears when nothing is wrong.
The still format — RAW, JPEG, size, quality — is on screen, read live from the camera. With a warning when the body is set to write no raw file at all: a camera left on JPEG after a holiday, carried into a paid shoot, is the mistake this exists to catch.
Plug a card in and it appears. Everything the Mac recorded is already there. Browse it all the same way — thumbnails, Quick Look, and an import that organises itself.
Removable cards are detected as they're plugged in, scanned through Sony's own folder layout, and shown with a capacity bar. Anything else — a folder on a drive, an already-copied shoot — opens the same way.
Everything recorded or tethered onto the Mac sits at the top of the list and browses exactly like a card — same grid, same Quick Look, same import. Shoots are listed as jobs.
A thumbnail grid that fills in as the scan runs, badges for duration, resolution and size, Quick Look on any clip with arrow keys through the whole card, and sorting that knows C2 comes before C10.
Copy selected clips or the whole card into one folder, by date, by type, or by date then type — with an example path shown before you commit. Dates are laid out so they sort in every region.
Already-imported clips are skipped, checked inside the destination folder itself — so re-running yesterday's import only brings over what's new.
Right-click a clip, Send to Publish — the file is set, the title pre-filled from the filename, and you're one screen from uploading.
Upload straight from the app — to YouTube, Facebook Pages and Instagram — with a queue that keeps working after you've gone home.
Videos go up in pieces, so a dropped connection resumes where the bytes stopped instead of starting over. New uploads land Private, so you decide when they go live.
Line up a day's clips and walk away. The queue keeps sending, survives quitting the app, and a clip that was 60% sent when you closed the lid resumes at 60% the next morning — not from zero.
The marks you dropped during the take (⌘M) turn into YouTube chapters, placed at the top of the description where YouTube looks for them. The app checks YouTube's chapter rules for you — rules YouTube itself enforces silently.
Upload to a Facebook Page directly, or publish to Instagram from a public link. Titles, descriptions and captions are set in the app.
When an upload is refused, the app translates the reason into one sentence naming what to change — not a JSON blob and an error number. Anything unrecognised is shown verbatim, copyable in one click.
Sign in to YouTube with a code you approve in your own browser — the app never sees your password. Everything is stored in the macOS Keychain.
A figure the camera didn't report is left blank, never invented. No 100% battery that isn't real, no made-up shot count, no bar drawn without a denominator. Blank means "not reported" — everywhere.
One colour is reserved for one meaning. If something on screen is red, a recording is at stake — nothing else in the app is allowed to borrow it.
No library format, no database, no export step. Rename the folder in the Finder and you've renamed the shoot. The thing you hand over at the end of the day is the thing the app was keeping all along.
No analytics, no account with us, no server of ours anywhere — the app never phones home, because there's no home to phone. Credentials live in your Mac's Keychain, and uploads go from your Mac straight to your own channel. The whole privacy policy fits on one screen.