All features

The Mac app's setup makes it the default app for MP4 videos (macOS asks you to confirm): double-clicking one plays it with everything on this page. Other videos open with it from Finder's Open With.

Right click → Quick Actions: Play Stabilized opens the selected videos in the player; Stabilize + LUT exports them in the background, with a notification as each one is done.

ActionFootagePlayer is in Open With for MP4 and MOV videos, and Explorer's menu has Play in ActionFootagePlayer and Stabilize + LUT, which exports in a window of its own that shows how it goes (on Windows 11, under Show more options).

A video opened while one plays takes its place. The other videos in the folder are the next and previous clips, in the side panel's Clip.

In the side panel's Clip: the camera, its log curve, whether it has motion data and telemetry, and how many highlights it has.

Your originals stay as they are, unless you cut a spoiled part out: then the clip is rewritten without it, nothing re-encoded, and the original goes to the Trash. A Gyroflow project is a .gyroflow file next to the clip, and so are your marks; moments and exports go to the project folder.

Play clips as they come off the card. An app that exports or trims them drops the metadata the player reads: the log mode, the motion data, the telemetry, the highlights.

The clip's metadata says it's log, not its file name, so there's nothing to set up: D-Log M on the Osmo Action 6 and Osmo 360, GP-Log and GP-Log2 on recent GoPros. Normal clips play as usual.

Verified Osmo Action 6 (D-Log M); GoPro HERO12 Black (GP-Log, firmware 1.20 or later) Should work Osmo 360; HERO13 Black; GP-Log2 (MISSION 1)

D-Log M, D-Log, GP-Log, GP-Log2 and 10-bit I-Log are converted to HDR (Rec.2100 HLG): a fixed technical transform, the same for every clip, with no creative look added. Ctrl+h goes straight to HDR.

For clips whose metadata doesn't say: D-Log M, D-Log, GP-Log, GP-Log2 and I-Log (10-bit) in turn, in HDR.

Should work Insta360 single-lens, 10-bit I-Log Not yet 8-bit I-Log

SDR through NBCUniversal's neutral HLG → SDR conversion (the same for every camera), through the camera maker's own Rec.709 LUT (DJI's, for D-Log M), or through mpv's tone mapping. Ctrl+s goes through them with the HDR outputs.

Not yet a maker's Rec.709 LUT for the curves other than D-Log M

DJI's Rec.709 LUT isn't redistributed: the app's setup downloads it from DJI and checks it. HDR and NBCU's SDR work without it.

Log handling off for this clip: the file as it is, flat as the camera recorded it.

A file tagged HDR (an export, a phone's or an action camera's HDR video) plays in HDR with no LUT, and is never taken for log and graded a second time. Ctrl+s shows it in SDR, through NBCU's conversion or mpv's tone mapping; the player's own Dolby Vision exports also with their own trims.

On an HDR screen (a MacBook Pro's, for one), log clips start in HDR. On a Mac without an HDR screen (a MacBook Air, most external monitors), the Mac app starts them in HDR, HLG+DV: HLG shown through macOS's own Dolby Vision® display management, which tones it down for that screen, the way QuickTime and Apple's devices show the export. What you choose with Ctrl+s is what the next clips start in on that kind of screen, for the session.

The clip's next video output, of the ones it has:

• HDR, HLG: HDR; on a screen without HDR, macOS tones it down;
• HDR, HLG+DV: HDR on an HDR screen, toned down by the trims on one without;
• SDR, HLG+DV: toned down by the trims on an HDR screen too: what an SDR screen shows;
• SDR through mpv's tone mapping, through NBCUniversal's neutral HLG → SDR conversion, or through the camera maker's own Rec.709 LUT (DJI's, for D-Log M).

On an HDR screen, the SDR ones show the way an SDR screen would show them.

Mac app the two HLG+DV outputs

With HLG+DV, each frame's darkest, average and brightest levels go along with it (Dolby Vision's L1), measured on the GPU as it plays, so macOS maps every scene for what's in it rather than for a typical one: a dark dive and a sunlit beach each get their own room. Exports made in an HLG+DV look measure each of their frames the same way.

The trims go on top of the frame's levels: the author's, to taste, fitted to NBCUniversal's HLG → SDR conversion, with no scene-level offsets, so an HDR screen still gets HDR. The side panel's Dolby Vision has them as sliders, with a way back to the author's and to neutral ones (Dolby Vision's own mapping, nothing added). Exports made in an HLG+DV look take what's set there.

Exported in an HLG+DV look (the one the Mac app starts in on a screen without HDR), a clip is HEVC Main10 HLG with Dolby Vision profile 8.4 metadata: the player writes compatible metadata (RPU) itself. Apple devices, an iPhone or a Mac, play it in HDR and on a standard screen apply the trims, so they show it as the player does. Devices without Dolby Vision play plain HLG and tone it down themselves.

Exports in HDR, HLG, and those from Stabilize + LUT and the command line, are plain HLG. Exports made on Windows or Linux never carry Dolby Vision.

A clip keeps its look when its window goes to a screen of the other kind. On Windows and Linux every screen counts as HDR.

After an HDR display (an HDR TV, say) has been connected, macOS can show HDR about a stop darker on the SDR monitor plugged in where it was, until the Mac restarts. The player tells you when it sees that, the first time HDR plays on such a monitor.

Clips recorded with the camera's stabilization off play stabilized without a project: DJI with EIS off and the Wide FOV (only then does it record its motion), GoPro with HyperSmooth off, Insta360 with FlowState off. Only when the camera recorded that it was off: a clip the camera stabilized already plays as it is.

Verified Osmo Action 6 (EIS off); GoPro HERO12 Black (HyperSmooth off) Should work Osmo 360; other DJI cameras; other GoPros; Insta360 single-lens Not yet other cameras, without a project

Old trips play stabilized as they are, with no rendered copy of each clip to make and keep: a file is written only for the parts you export.

The stabilization itself is Gyroflow's engine; the player adds playing it in real time, HDR from log and the telemetry.

Stabilization on → on with a wider view → off. The wider view doesn't zoom: the stabilized picture covers about as much of the window as the frame, and the edges show at times, filled. On and Wider stick for the next clips without a project; Off is for this clip only. A clip with a project starts On, as Gyroflow has it.

Weak, medium or strong, for a clip without a project: 10, 20 or 30 % cropped, smoothed at 50, 75 or 100 %. It changes while the clip plays, and sticks for the next clips.

As preset (As project, for a clip with one), Level or Free. Level needs more zoom, so the edges show more.

A project made in Gyroflow and saved next to the clip is used as it is: the clip plays as the project says, its horizon lock and lens included.

Verified Osmo Action 6 Should work the other cameras, and any camera Gyroflow supports

Pauses and opens the clip's project in Gyroflow, written next to the clip first when it has none, from what you saw: the same lens, smoothing, zoom and refraction. Each time you save there, the stabilization here reloads at the same spot. A project that's already there is never overwritten.

Windows a clip without a project needs gyroflow_app set in gyroflow.confLinux gyroflow in the PATH, or gyroflow_app set

A clip the player doesn't stabilize by itself opens in Gyroflow as it is. One with no motion data (DJI with EIS on, or a camera that records none) is stabilized there from the picture (optical flow); a GoPro or Insta360 clip shot with the camera's stabilization on has its motion data, and Gyroflow loads it. Save the project there, and the clip plays stabilized with it. The side panel has it as Stabilize in Gyroflow…

In-camera stabilization gives up under water (DJI's EIS, as tested), likely because water bends light and the lens then acts like a longer one than it's tuned for. Turn it off, and the clip plays steady here: the default preset is made for footage under water, corrected for how water bends light. On a test clip, the jitter between frames went from 0.16 px to 0.02 px.

The lens above water, and back to under water. By default the refraction follows the camera's In water / Out of water over the clip, changing over one frame. Other cameras' clips play as the project or the preset says (under water, by default).

Following the camera: the Osmo Action 6, the only camera that records it.

What fills the parts the stabilized frame doesn't cover, blurred and blended in:

• Trail by direction, the default: what was last seen in that direction of the world, so it lines up with the picture through a pan; where nothing was seen yet, the colors around spread in;
• Frame's edge spread out: only the frame's own colors, spread out from its edge;
• Background color: the project's background color, as Gyroflow renders it.

A clip without a project plays from its first seconds of motion data and reads the rest as it plays: from a NAS in about a second, where reading all of it first took 5-10 s.

When the stabilization keeps dropping frames for more than 2 s, playback pauses and offers a lower frame rate, resolution or edge fill, or leaving the color fringes under water as recorded. Performance & Quality in the side panel sets them.

Each field shows when the clip has it: the depth and In water / Out of water on a DJI clip; on a GoPro the position and speed once the GPS has a fix, or the exposure on one without GPS. Ctrl+t turns it off and on; it sticks for the next clips.

Verified the depth, in water, on the Osmo Action 6 Should work its other fields (no GPS fix seen yet); Osmo 360; GoPro GPS, speed and exposure Not yet other cameras

Under water, from the barometer, in 0.1 m steps about once a second. In a dive housing it isn't recorded (the barometer measures the air in the housing), but In water still shows, from the picture.

There for the asking: pressure, the altitude out of water (relative, so a rough guide), the exposure (ISO, shutter, aperture, white balance), and on an Osmo 360 the image sensor's temperature and the heart rate from a paired device.

Any corner of the video (bottom left by default), metric or imperial (feet, mph, °F), from the menu or the side panel.

Press the camera's highlight button while it records: the marks show on the seek bar, and the keys jump to the next one and back, landing two seconds before it, since the moment has usually happened by the time you press. Page Up / Page Down go to the mark itself.

Verified DJI Osmo Action 6 (the quick switch button, or the GPS Bluetooth remote) Should work DJI Osmo Action 4 and Action 5 Pro; GoPro HERO5 and later (HiLight, "GoPro, HiLight", or the remote) The Osmo 360 and the Pocket 3 don't mark highlights.

The side panel's Clip has every highlight; without the panel, the plugins' menu lists them by time.

At the start of the part and at its end (mpv's A-B loop): what Shift+E then exports, and k saves as a moment.

Mark a part with l twice, then k saves it as a moment, after asking for its name. The field is empty, with a suggestion shown: Enter takes it, typing replaces it, Esc cancels. A moment you don't name is named after its date and time.

Each moment is a small MP4 in the project's _Moments/ folder, under its name: <name>.afplink.mp4. Finder's thumbnails and Quick Look show itFile Explorer's thumbnails and its preview pane (Alt+P) show it in color, not log grey. Opened in the player, it plays that part of the original, in full quality, stabilized as it was when you saved it.

Its icon is the first mark inside it, else its middle frame. Its file dates are the moment's real time, so sorting by date puts the moments in the order they happened.

Deleting the file deletes the moment. Subfolders of _Moments/ are yours, to sort moments into; renaming a file renames the moment.

Points in a clip, on the seek bar. M adds a mark where the video is; on a mark, it removes it. The marks are the camera's highlights until you change one: your first change saves all of them to a small marks file of the clip's, <clip>.marks.json. Delete that file, and the camera's are back.

Made when you ask, with Make clip previews in the side panel's Project tab: a _Clips/ folder with one small MP4 per clip, a flip-book of the clip in color. In icon view the folder is the whole trip in color instead of a wall of grey log, and Quick Look flips through each clip in seconds.With large icons the folder is the whole trip in color instead of a wall of grey log, and the preview pane (Alt+P) flips through each clip in seconds.

Not interesting: X in the player, or deleting the clip's flip-book from _Clips/, which is the same thing. The clip itself stays where it is.

A moment or a clip's flip-book that exists is kept; one deleted is not. K makes the moment playing, else the clip, a favorite, and again takes it off: a green Favorite tag in Findera rating of 4 stars or more in File Explorer. Your editor gets them too.

Mark the part with l twice, press Ctrl+x and confirm. The clip is rewritten without that part, without re-encoding: what's kept is copied as it was, and checked before anything is replaced. A part in the middle leaves two clips; the second starts at the keyframe at or before the cut's end, so up to about a second of the spoiled part can stay.

The original goes to the Trash, with its marks file, Gyroflow project and clip preview. Marks and moments move to the new clips; exports aren't touched. There's no undo in the player. No project needed.

DJI clips; GoPro clips when the check passes. Not Insta360 or iPhone clips, moments, clip previews or exports.

A project is a trip's folder, set up once: the first time you save a moment, export or make clip previews, the side panel's Project tab asks which folder, the clips' own or one above it, and Initialize the project here makes it. Every folder inside belongs to the project. In it go _Moments/, _Clips/ and _Exports/, and _ActionFootagePlayer/ for the player's own notes. Marks and Gyroflow projects stay beside each clip. When that folder can't be written to (a locked card, a read-only share), the player asks for a name and makes a project folder in its folder in Documents (Documents/ActionFootagePlayer/), with a Sources.txt that points to the footage. Coming soon

Your originals stay as they are, unless you cut a spoiled part out.

The clip as it plays, in one pass: stabilized or not, the same view, edges, horizon and lens, the same look. With a part marked, only that part. Shift+E twice on a clip being exported cancels it.

Verified HDR exports from the Osmo Action 6 Should work Rec.709 exports; the other cameras (any camera Gyroflow supports: with a project)

Log clips export as HEVC 10-bit in HDR (Rec.2100 HLG), tagged so that macOS, iOS and YouTube show them as HDR. Exported on a Mac in an HLG+DV look, they also carry Dolby Vision metadata for Apple devices (see HDR on any screen). NBCU's and the camera maker's SDR looks export Rec.709 instead, and so does Export in SDR in the side panel's Clip, whatever plays. SDR tone mapped by mpv exports HLG, and SDR, HLG+DV exports HLG with Dolby Vision. 10-bit stays 10-bit.

The project's _Exports/ folder, under the name you give it in the same dialog as a moment's, with the look in brackets unless the export is HDR, HLG: Turtle.mov, Turtle (SDR).mov, Turtle (Dolby Vision).mov. It carries a link to the original: without the side panel, the right-click menu's Open the original plays its part of the clip. The audio is copied as it is and the file keeps the clip's dates. A notification says where it went, and the side panel's Clip shows the last export in FinderFile Explorer.

Playback goes on during an export, with its progress in the top right corner; several clips can export at once. On a Mac, an export runs at background priority while the video plays, and nearly stops: pause, and it goes on at full speed.

Stabilize + LUT in Finder's Quick ActionsFile Explorer's right-click menu exports the selected videos, log as HDR (HLG), into the project's _Exports/ folder, or a stabilized/ folder next to the clip when there's no project. So does the command line, which can also write ProRes 422 HQ for editing.

Exports encode with the first of NVENC, Quick Sync and AMF that works, else x265 on the processor (much slower; on Windows on ARM, always).

Pick the editor, and the player writes the trip's file for it into the project folder, named after the project, and says where it is. It takes every clip you haven't set aside, or only those with a moment or a mark. Folders of moments become bins, Finder tags keywords, and favorites stay favorites.Folders of moments become bins, and favorites stay favorites. Times follow the clips' own timecode, so each marker lands on its frame.

An event of the clips with the marks as markers, the moments as keyword ranges with favorites and rejects, and a project of the moments in a row.

FCPXML 1.10: File → Import → XML.

Timelines on the original files: the moments, one per folder of moments, and the clips. The marks go on as timeline markers, and the favorites, rejects and keywords as clip colors, flags and keywords.

FCPXML, plus a marker EDL and a metadata CSV.

Bins as your folders are, the clips with their markers, each moment as a named clip with its in and out, and a sequence of the moments.

FCP7 XML: File → Import.

A moment after the video pauses, the frame is rebuilt from it and the 5 frames on each side of it, each moved onto it by the motion between them: the sensor's noise from dim light mostly goes (temporal noise reduction), and the detail stays. About a second for 4K; the stabilization must be on. It's on by default, so pausing is enough; Ctrl+p turns it off, and on again, for the next clips too.

The paused frame at the source's own resolution, whatever the playback settings, cleaned up in the same pass when Ctrl+p is on. In the side panel, Performance & Quality → Paused frame → Full size does it after each pause.

The blotches of color in shadows and under water mostly go, and the detail stays. Any clip, log or not, on the GPU. It sticks for the next clips. Playback only: exports aren't denoised.

Water bends blue more than red, so behind the camera's flat glass red and blue land apart towards the edges of the frame. Wherever the lens is under water, each color is moved back to where its own ray lands, from physics alone, nothing fitted to footage; above water nothing changes. Ctrl+a leaves the fringes as recorded, and takes them out again. Playback only.

On Osmo Action 6 dive clips, red's fringe of 3-7 px at the edges goes to within about a pixel.

The settings, in a panel at the right of the window, beside the video, which moves over for it; the keys are beside what they do. Tab hides it and shows it again.

• Project, where the panel opens: the trip's project folder (Initialize the project here), clip previews, this clip's marks and moments, marking a part and saving it as a moment;
• Clip: what it is, FinderFile Explorer and its path, its highlights, exporting it or the marked part, Export in SDR, the next and previous clip;
• Look: the video output, the log curve by hand, noise reduction;
• Stabilization: Gyroflow, the view, the level, the horizon, the lens and its color fringes;
• Performance & Quality: the frame rate and size it's stabilized at, the paused frame, the edge fill, whether it asks when the GPU can't keep up;
• Telemetry: whether it shows, the corner, the units, the fields;
• Dolby Vision (the Mac app): the trims, as sliders;
• Support: the version, Keys…, Note for the agent…, Report this camera…, Set up again…, and links to the website and GitHub.

With the side panel there (the app, and the plugins' zip), right click is mpv's own menu. Without it, right click opens the plugins' menu: everything the keys do, with the keys beside it, and what has no key. It needs mpv 0.41 or later.

At the bottom of Look, Stabilization, Quality and Telemetry (Remember as default, in the menu): the settings as they are, for the next start.

Opens an issue on GitHub with what the plugins found in the clip.

macOS 15 or later. The app carries its own mpv and ffmpeg: nothing else to install. It's signed ad hoc, so the first time: System Settings → Privacy & Security → Open Anyway. Its setup makes it the player for MP4 videos, adds the Quick Actions and downloads DJI's LUT.

An app of its own, for x86-64 and for Windows 11 on ARM, with everything in it. The x86-64 app has been tried and works, with little testing so far; the ARM one is only checked by the build. It installs for you alone, with no admin rights; SmartScreen warns the first time: More info → Run anyway.

The plugins, in an mpv of your own: built by every release, not tried yet. The stabilization needs an mpv built with VapourSynth.

On any system: log in color, telemetry, highlights and the menu are plain Lua and GPU shaders. The stabilization and the export need an mpv built with VapourSynth, and come built for macOS on Apple Silicon, Linux x86-64 and Windows. Nothing goes in mpv.conf or input.conf.

dlogm.conf

hdr_screen=hdr and sdr_screen=dv: the look log clips start in on HDR screens and on screens without HDR (hdr, dv, dvsdr, tonemap, nbcu or maker); denoise=yes: noise reduction on from the start; dv_live_l1=no (the Mac app): the trims' fixed light levels instead of each frame's

gyroflow.conf

view, level, horizon_lock, underwater: what clips without a project start with; chromatic, edges: for every clip; resolution, fps_limit, edge_fill_rate, ask_when_slow: for slower computers; still_radius, paused_full_size: the clean still frame; gyroflow_app: the Gyroflow app to open (Windows, Linux)

dji_telemetry.conf

fields, units, position, font_size, visible

highlights.conf

before=2: seconds before a highlight a jump lands; chapters: the marks on the seek bar

Clips without a project get Gyroflow's default preset, then a default.gyroflow of yours, put in the app's gyroflow/ folder.

For working on the player with an AI agent: drag a rectangle round what you mean, write a line, and the note is saved with the screen, the frame and what the player was doing, for the agent to read.

~/.config/mpv/scripts/gyroflow/gyroflow-export DJI_0007_D.MP4 DJI_0008_D.MP4
~/.config/mpv/scripts/gyroflow/gyroflow-export --from 1:20 --to 1:45 DJI_0007_D.MP4

--prores

ProRes 422 HQ instead of HEVC, for editing

--sdr, --nbcu

Rec.709: D-Log M through DJI's LUT, or any curve through NBCU's conversion

--level, --wide, --edges, --underwater

the stabilization, as the keys and the menu set it

--no-stabilize

the color conversion only

--background

at background priority, to keep working meanwhile

The plugins' options work on mpv's command line too: --script-opts=dlogm-sdr_screen=nbcu.