This chapter is the specification sheet. It states what Verana records, at what size, in what encoding, and what the resulting file is called. It does not explain how to choose between the options: each section names the chapter that does.
Two things run through all of it. Some capabilities depend on the hardware, and where a resolution, a codec or a frame rate is not offered on your iPhone it is because the device does not provide it. And photo and video hold their settings separately throughout, so a format chosen in one capture mode leaves the other as it was.
26.1 Still Output
Output Format decides whether a capture writes a raw file.
Where to change it: Settings → Camera → Photo, under Output Format.
| Option | Result |
|---|---|
Raw + Compressed | A raw capture, with the finished image alongside it. The default |
Compressed | A compressed file only |
Raw Format is only live while Raw + Compressed is selected. Chapter 7 covers the
choice and its consequences.
26.2 Still Raw Formats
Four raw formats. All four write one capture per frame, but they do not all write the same number of files.
Where to change it: Settings → Camera → Photo, under Raw Format.
| Format | What lands on disk | 48MP | Flash |
|---|---|---|---|
Apple ProRAW (12-bit) | A .dng, plus a separate .heic or .jpg | Yes | Yes |
Bayer (12-bit) | A .dng, plus a separate .heic or .jpg | No | No |
PearlaRAW (12-bit) | A single .praw, carrying its finished image with it | Yes | Yes |
PearlaRAW (14-bit) | A single .praw, carrying its finished image with it | No | No |
The install default is a PearlaRAW format, chosen on first run to suit the device.
Availability depends on the device and on the camera in use. Unavailable formats are grayed out rather than hidden, and the selection shown is always the format Verana will use. Your stored preference is kept.
Note: Bayer (12-bit) and PearlaRAW (14-bit) are unavailable while 48MP is
selected, and choosing 48MP with one of them active moves the raw format to
PearlaRAW (12-bit).
26.3 Compressed Still Formats
Compressed Format chooses the finished image written alongside a raw capture, and the
whole of a Compressed capture.
Where to change it: Settings → Camera → Photo, under Compressed Format.
| Option | Writes | Applies |
|---|---|---|
JPEG | .jpg | The more widely readable of the two. Both HDR color spaces are unavailable while it is selected |
HEIF | .heic | The default, and required for both HDR color spaces |
26.4 Still Resolution
Where to change it: Settings → Camera → Photo, under Resolution.
| Option | Records |
|---|---|
12MP | 4032 by 3024 |
48MP | 8064 by 6048 |
48MP depends on the device and on the lens. Where it is unavailable the control is grayed
out and reads 12MP.
26.5 Video Resolutions
Where to change it: Settings → Camera → Formats, under Resolution.
| Option | Frame | Records |
|---|---|---|
HD | 16:9 | 1280 by 720 |
1080p | 16:9 | 1920 by 1080 |
4K UHD | 16:9 | 3840 by 2160 |
4K Open Gate | 4:3 | 3840 by 2880, the full 4:3 frame |
The list is filtered to what the device provides. Open Gate is the only resolution at which Verana records raw video. Chapter 10 covers the resolutions and what Open Gate is for.
26.6 Frame Rates
Where to change it: Settings → Camera → Formats, under Frame Rate.
The page offers nine rates, filtered to those the device can deliver at some resolution:
23.98, 24, 25, 29.97, 30, 48, 50, 59.94 and 60. The default is 24.
Rate and resolution are checked against each other, and a rate the current resolution
cannot reach is refused. Two codecs constrain the rate further: PearlaRAW holds it at
24 for as long as it is selected, and ProRes RAW will not exceed 60.
26.7 Video Codecs
Where to change it: Settings → Camera → Formats, under Codec.
| Codec | Records | Rate control | Availability |
|---|---|---|---|
HEVC | A finished image, 10-bit | Compression, four levels | Every device. The default |
H.264 | A finished image, 8-bit | None | Every device |
ProRes 422 LT | A finished image, 10-bit | None | Devices whose hardware provides ProRes |
ProRes 422 | A finished image, 10-bit | None | Devices whose hardware provides ProRes |
ProRes 422 HQ | A finished image, 10-bit | None | Devices whose hardware provides ProRes |
ProRes 4444 | A finished image, 10-bit | None | Devices whose hardware provides ProRes |
PearlaRAW | The sensor readout, as a .prawv | Quality, three levels | Every device, at 4K Open Gate only |
ProRes RAW | The sensor readout | Quality, two levels | Devices that support it, at 4K Open Gate only, written to an external drive |
Everything but PearlaRAW is written as a .mov. The row beneath the codec follows the
selection: HEVC shows Compression, the two raw codecs each show their own Quality, and
the rest show neither.
PearlaRAW additionally requires at least 256 GB of free space when the destination is
the in-app library. Recording to an external drive removes that requirement. Both raw
codecs and their conditions are covered in Chapter 10.
26.8 Compression and Quality Levels
Compression applies to HEVC. Four levels, defaulting to High. The bit rate is not
fixed: it scales with the resolution and the frame rate you have selected, and the label
on each level recalculates to report the rate that will actually be written.
| Level | 1080p / 24 | 4K UHD / 24 | 4K UHD / 30 | Open Gate / 24 |
|---|---|---|---|---|
Low | 1 Mbps | 7 Mbps | 9 Mbps | 10 Mbps |
Medium | 4 Mbps | 17 Mbps | 22 Mbps | 23 Mbps |
High | 7 Mbps | 29 Mbps | 37 Mbps | 39 Mbps |
Max | 10 Mbps | 43 Mbps | 54 Mbps | 58 Mbps |
Quality, on PearlaRAW. Three levels, named for the depth each one stores, defaulting
to L0.
| Level | Stores |
|---|---|
L0 · 14-Bit Lossless | The sensor reading intact, with no loss at all |
L1 · 12-Bit | 12 bits per sample |
L2 · 10-Bit | 10 bits per sample |
Quality, on ProRes RAW. Two levels, Standard and HQ, defaulting to Standard.
26.9 Audio
Where to change it: Settings → Camera → Audio.
Audio selects Field or Manual, and what is available below it follows.
| Mode | Microphone | Format | Channels | Sample rate |
|---|---|---|---|---|
Field | Built-in only | Fixed | Fixed | 48 kHz |
Manual | Any listed input | Your choice | Your choice | Your choice |
Field is the default on devices that provide it, and offers no format controls because
there are no choices to make. The three Manual controls:
| Control | Values | Default |
|---|---|---|
Format | AAC, LPCM 16, LPCM 24, LPCM 32F | AAC |
Channels | Mono, Stereo, Dual Mono | Stereo |
Sample Rate | 48 kHz, 44.1 kHz | 48 kHz |
AAC is compressed. The three LPCM values are uncompressed, at 16, 24 and 32 bits, the
last of them floating point. Mono writes one channel and the other two write two.
A PearlaRAW video recording writes its own audio track and the format controls do not
reach it. Chapter 11 covers audio in full.
26.10 Log Profiles
Where to change it: Settings → Image Processing → Log.
Sixteen profiles, each carrying its own gamut. All sixteen are available on every device,
in photo and in video alike, and the list does not change from one iPhone to another.
Pearl-Log is the default in both capture modes.
Listed in the order the picker uses.
| Manufacturer | Profile | Gamut |
|---|---|---|
Pearla | Pearl-Log | Pearla Wide Gamut |
Apple | Apple Log | BT.2020 |
Apple | Apple Log 2 | Apple Wide Gamut |
ARRI | LogC3 | ARRI Wide Gamut 3 |
Blackmagic Design | BMD Film Gen 5 | BMD Wide Gamut Gen 4/5 |
Canon | C-Log | Cinema Gamut |
Canon | C-Log2 | Cinema Gamut |
Canon | C-Log3 | Cinema Gamut |
DJI | D-Log | D-Gamut |
Fujifilm | F-Log2 | F-Log Gamut |
Insta360 | I-Log | BT.2020 |
Leica | L-Log | BT.2020 |
Nikon | N-Log | BT.2020 |
Panasonic | V-Log | V-Gamut |
Sony | S-Log2 | S-Gamut |
Sony | S-Log3 | S-Gamut3.Cine |
Where a manufacturer has more than one, they are separate encodings rather than revisions of a single one. Chapter 15 covers choosing a profile and monitoring a log signal.
26.11 Output Color Spaces
Photo and video carry their own lists, and each sits with the rest of its capture settings. Chapter 14 covers the choice.
Where to change them: Settings → Camera → Photo and Settings → Camera → Video, both
under Color Space.
| Photo | Notes |
|---|---|
sRGB | The default |
Display P3 | |
HLG BT.2020 | HDR. Requires HEIF |
HDR Gain Map | HDR. Requires HEIF |
| Video | Notes |
|---|---|
Rec.709-A | The default |
HLG BT.2020 | HDR |
While Compressed Format is set to JPEG the two HDR photo spaces are grayed out, and
switching to JPEG with one of them active returns Color Space to sRGB.
26.12 File Names
A capture is named from three parts: a prefix you set, an optional date, and a five-digit number. Empty parts fall out, and the rest are joined with underscores. Two controls decide the first two parts. Both live on the System tab, which also carries the thermal warning threshold, covered in Chapter 27.
Where to change it: Settings → System.
File Name Prefix
The prefix leads every file name. It defaults to PRL. Characters that cannot appear in a
file name are dropped as you type, so what the field shows is always a name Verana can
write. An empty prefix is valid, and that segment simply falls out of the name.
File Name Date Format
Nine options, controlling the date segment between the prefix and the number. Photo
defaults to NO DATE and video to YYYY_MM_DD.
| Option | Produces |
|---|---|
NO DATE | Nothing. The segment is omitted |
YYYY_MM_DD_HH_mm | 2026_07_31_14_08 |
YYYY_MM_DD | 2026_07_31 |
MM_DD_HH_mm | 07_31_14_08 |
MM_DD | 07_31 |
YYYYMMDDHHmm | 202607311408 |
YYYYMMDD | 20260731 |
MMDDHHmm | 07311408 |
MMDD | 0731 |
The two-digit segments are month, day, hour and minute in that order, on a 24-hour clock, in the phone’s own time zone.
Both settings are held per capture mode
The System tab edits the capture mode you were in when you opened settings. Open it from photo mode and you are setting the photo name; open it from video mode and you are setting the video name. Nothing on the page says which, so check the capture mode before you change either control on a job that depends on the naming.
The number
The number runs from 00001 and counts up. It is kept per prefix and per capture mode, so
photos and videos number independently, and changing the prefix starts a fresh count. A
number is never reused, whether a capture goes to the library or to a folder, so two files
from one shoot never collide.
What that produces
A live example sits at the foot of the page showing what the next capture will be called. Worked through, on the defaults:
| Capture | Settings | Lands on disk as |
|---|---|---|
A still, PearlaRAW (14-bit) | Prefix PRL, NO DATE | PRL_00001.praw |
A recording, HEVC | Prefix PRL, YYYY_MM_DD | PRL_2026_07_31_00001.mov |
A still, Apple ProRAW (12-bit) with HEIF | Prefix ACAM, MMDD | ACAM_0731_00042.dng and ACAM_0731_00042.heic |
The last row is the general rule for a capture that writes two files: both take the same name and differ only in what follows the dot.
26.13 Where Files Are Written
Stills always land in Verana’s own media library. There is no file destination control on the Photo page.
Video is written to the destination set under Save To.
Where to change it: Settings → Camera → Video, under Save To.
| Destination | Writes to |
|---|---|
Library | Verana’s own media library. The default |
Files | A folder you pick, on the device or on a drive connected over USB-C |
Recordings written to a folder appear under the media library’s FILES source rather than
LIBRARY. ProRes RAW can only be written to a folder on an external drive. The media
library is covered in Chapter 18, save destinations in Chapter 10, and export in
Chapter 20.
Save Copy to Photos, on both the Photo and the Video pages, adds a copy of each finished
capture to the iOS Photos library rather than choosing a destination. Raw video recordings
are not copied.