Scene-referred highlight engine New

On log and linear input formats:

• Exposure now operates in true scene-linear light before the tonemap — pulling it down genuinely recovers specular/highlight detail instead of dimming the finished print.
• The film shoulder allocates gradation per photographic stop, and the new Highlight Range (Stops) control (4–10, default 6) chooses how many stops above mid-grey survive before paper white. Most visible from 6 upward on footage with bright content (windows, speculars, practicals); it is intentionally inert on display-referred (Rec.709 etc.) sources.

Color-managed timeline support New

• Output Encoding: Same as Source (Resolve and Adobe) re-encodes the finished look back into the input format’s gamut and transfer, so DaVinci-color-managed timelines (DaVinci Wide Gamut / Intermediate) render the look correctly with no double tonemap. Final Cut Pro conforms the plugin’s output itself, so this control is not needed (or shown) there.
• Host Working Space (Premiere/AE) declares the encoding the Adobe host delivers — set it to Linear for AE 32-bpc linearized projects.
• Wide-gamut display sources (P3, Rec.2020) now get smooth out-of-gamut compression instead of hue-skewing channel clipping.
• Fixed: the Linear DaVinci Wide Gamut (EXR) input format used an incorrect gamut matrix.

Fixes

• (Final Cut Pro / Motion) Fixed an issue where the effect could fail to load, showing a red error frame on any clip it was applied to.
• (Premiere Pro) GPU rendering: Output Encoding and Host Working Space now take effect with the Mercury GPU renderer (previously they only worked with the software renderer).
• (macOS installer) Final Cut Pro plugin registration is more reliable on first install and on reinstall.

• (DaVinci Resolve, macOS) Fixed: on some macOS versions the effect could render no change (passthrough).

• Initial release. DaVinci Resolve (OpenFX), Premiere Pro / After Effects, Final Cut Pro / Motion (FxPlug 4); macOS universal (signed + notarized) and Windows x64.