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you rolling.

In INGEST, import from Files, Photos, or an external drive connected over USB-C. Bebop reads each clip’s resolution, frame rate, colour profile, and timecode.

If the file carries its squeeze, Bebop uses it. Otherwise choose your lens profile or the squeeze factor (1.33x, 1.5x, 1.6x, 1.8x, or 2x) when asked. Tap RAW in the viewer at any time to compare against the squeezed, ungraded frame.

In COLOR, Log clips get a technical transform to Rec.709 first. Pick a look from 709 Presets, add your own .cube LUT with +, then refine with wheels, curves, and the qualifier. Grades apply per clip or to the whole timeline.

In EXPORT, choose a preset (16:9, 9:16, 4:5, or 2.39), drag to reframe, pick resolution and codec, and export. Every file gets a verification report. Save to Photos, Files, or share it.

Choose Finish on desktop to export a folder for DaVinci Resolve, Premiere Pro, or Final Cut Pro: media, timeline XML or FCPXML, and each grade as a LUT in Grades. The README in the folder lists the import steps for each app, including how to set the squeeze in Premiere Pro.

Check the squeeze badge on the clip. If it is missing or wrong, set the right lens profile or squeeze factor for that clip. A clip shot spherical should be set to none.

Flat footage is usually Log without its transform: check that the clip’s input colour space matches what the camera recorded. Overly contrasty footage is usually Rec.709 footage treated as Log; set its input to Rec.709.

Make sure there is enough free space for the export, keep Bebop open until it finishes, and try HEVC if ProRes is too large. Send us the verification report if the warning remains.

In TestFlight, take a screenshot in Bebop and tap Share Beta Feedback, or open TestFlight and tap Send Beta Feedback. You can also email us below.