Northlight DP

• Studio opens showing everything on the Mac. • A new Ebony skin tone extends the preview presets to deep, melanin-rich complexions. • The contrast readout's top band now reads "noir" instead of the film-jargon "low-key" — same 9:1-and-up territory, clearer at a glance. • Skin now reads like skin under bounced light: light a face off a wall or a window behind it and it keeps its soft, warm subsurface glow — before, the slider only worked when light hit the face directly. • Window light got real: pick a sunny time of day and a hard, warm shaft of sun falls through the window — a patch of light on the floor, barred by the frame and glazing, over a soft cool sky fill. • Lens and aperture now sit side by side above the camera settings • Looks, your way: browse saved looks as the familiar list or as bigger cards with a proper plan preview — room walls, camera spot and colour-true source dots. Pin favourites and they hold the front of the line on every device. • The Library grew into wide screens: • Colour slider tracks now show the truth: each one is painted with the colours that dial will actually produce on screen at the current camera white balance — so a daylight source that's going to read warm shows warm, right on the slider. • Steadier Studio: pushing the colour target past the camera's WB dial no longer pops a warning block into the panel mid-drag — the Renders readout shows a compact "pinned" note (hover it for the full story), so nothing below ever jumps. • Light or dark, your call: a new appearance switch in the window's top bar flips the whole app between light and dark — or follows the system. • A roomier control surface: every Studio slider — fixtures and the at-the-subject panel — now runs the full width with larger icons, brighter readouts and more breathing room. Colour sliders paint their own track, and blue is reserved for level. • Subsurface glow now stays honest in shadow: bright spots no longer appear around the eyes, nose or ear edges on the dark side of the face — including behind negative fill — while thin features still catch a natural translucent glow. • Skin's subsurface glow now softens the shadow line instead of sharpening it — turn it up and hard light falls off across the cheek the way real skin does, warm through the transition. • Paint sheen for your walls, floor and ceiling — flat, eggshell, satin, semi-gloss or gloss. A flat wall bounces broad, forgiving fill; a glossy one throws a hot spot you can see coming and place before you get there. • Flags and negative fill now take the room down with them: put one in front of a source and it cuts the bounce off the walls too, not just the light on your subject — so subtracting fill works the way it does on set. • Skin now renders like skin, not clay: surfaces pick up a real sheen from the light and the room, with softer, warmer shadows in the creases of the face. • Bounced light now carries its colour: a warm lamp off a green wall lands warm and green on your subject, so a bounce-lit setup predicts the way it really renders. • Truer room bounce: light now bounces around the room the way it really does, so a fixture aimed at a wall lights your subject off that wall — even when it takes two bounces to get there — while keeping the shaping and form on the face. • Contrast-ratio overlay on the preview: badges on the face sides and each visible wall, joined by colour-coded links that show the ratio between them at a glance — face side to side, face to wall, and wall to wall — each spot metered like a light meter held right there. • Barn doors: add them to any light and drag the four leaves closed to flag spill — the preview shows the beam shaped, just like on set. • More lights in the library: Godox LP-Series and LITEMONS LP800Bi panels. • New looks now start from a clean two-light setup instead of every fixture at once. And much, much more.