Load film in your phone: FVLM.
One roll takes both pictures: the kind that holds still and the kind that moves. Real colour science, real grain, real light leaks, developed the moment you shoot. Photos and video land on the same stock.
The look
Daylight roll
Straight out of the camera
Light leak
One frame in three
Colour
The cube does this
Motion, upright
Portrait rolls the same stock
In motion
Real grain, every frame
Night
Grain in the shadows
Shoot now.
Grain that boils
Off, then on
Get FVLM.
Get the app →The films
Every look in FVLM is a film: twelve of them, modelled on the best of the twentieth century’s classics, from the gold consumer roll to the night-pushed 800. Every stock loads for both pictures, stills and motion alike. Pick a carton; the finder wears it live and the develop bakes it in. Re-tap a stock to walk its variants.
KD1 400
The house gold: the roll every family camera carried.
DX2 200
Bargain-bin orange: charm over accuracy.
VELLA 160
The portrait cream: skin first, always.
SR2 200
Cool cobalt street film for the walk home.
CINEVA 500T
Tungsten cine stock: city light after dark.
VERDIA 160
Green-box colour: garden light, honest reds.
ARVIA 100
Cold chrome: ice light and clean blues.
NV4 400
The utility roll: kraft, plain, dependable.
NOKTVA 800
The night film, pushed fast; modernist black.
HP-V 400
The mono classic: silver, square, serious.
CR-64
The slide legend: dense colour, born for sun.
DVOTON 400
The duotone eccentric: two inks, one frame.
Video
Every clip develops like the roll it belongs to. Graded, grained, finished the moment it's saved. The gate does the framing, not the phone: 4:3 plays back wide, 9:16 drops straight into a feed reading like authentic film.
One-tap film
The look, live in the finder
Made for the feed
9:16 wears the grade like authentic film
A roll that counts down
A can of film, not infinite frames
Light leak
Hold the door open.
The effects button is a camera door. Press it while you roll and light gets in for exactly as long as you hold it.
You will not see it in the finder. It lands when the clip develops, and no two leaks come out the same.
Held, mid-roll
The dot is the door, open
What the hold burned in
Light floods the strip, then seals
The 4:3 gate
Film framed the world in 4:3
Hold it either way
Landscape shoots landscape
REVA 16
The everyday colour
DUVA 16
A warmer, punchier colour
HP·V 16
16 mm in black & white
Roll film.
FVLM STOCK. 100 FT DAYLIGHT SPOOL. 16 MM
The roll
Remembered, not recorded.
16 mm comes in a can: 100 feet of stock, 2 minutes 46 of picture. A can like that changes how you think. You stop collecting and start choosing. You wait for the light. You frame before you press. And the gauge itself has a feel no sensor has: grain you can actually see, colour that breathes, highlights that bloom instead of clipping. Small enough to carry anywhere, it became the personal gauge; it films life at arm’s length. 100 feet, then you develop. FVLM is designed around all of it: real 16 mm grain on every clip, the roll measured in feet, spent at 16 mm speed. We built it to go back to simplicity, and to live: point, roll, and be where you are; the can keeps count. At zero, the film goes to the lab. Infinite video changes nothing. A roll that ends changes the way you see.
Feet and seconds, spending in real time.
Make
The same clip on three stocks. The grain is the only thing that changes, so you can see it move. Tap a gauge.
Cut your reel
A frame-accurate timeline
Pick your grain
Tap to swap the reel
Real emulsion, in colour
Not a filter, real 16 mm
Tapes
16 mm never carried sound — you recorded it on a separate tape and married the two in the edit. So FVLM keeps sound on its own reel: a third mode beside photo and video, a voice recorder that fills a sixty-minute tape one take at a time. Record a room, a note, a song; clean it up on the bench; lay it under a film.
A mic in the deck
The same toggle, a third mode
The reel
A tape holds an hour.
Five minutes a take, sixty minutes to a tape — a roll of sound, measured in time. A video-style counter spends it down as you record, feet-of-film for the ear.
Fill one and a fresh tape loads itself.
The gallery
Every take, on its reel.
Takes gather onto their tape — Tape 1, Tape 2 — the way frames gather on a roll. Tap one and the waveform itself is the scrubber; drag to hear any part.
Enhance
Clean it on the bench.
Three presets — Clean, Voice, Tape — plus bass, mid, treble and noise, run on the phone with no cloud. The finished take lands on the shelf, ready for a film.
Hit record.
FVLM TAPE. 60-MINUTE REEL. ONE TAKE AT A TIME
The soundtrack
A film's sound is a tape.
16 mm shot silent; the sound lived on a separate reel and met the picture in the edit. FVLM works the same way — lay a finished tape under your film on its own track, slide it into sync, and mute silences the picture, not the tape. The reel is measured in time, not takes: sixty minutes of sound, spent five at a stretch, and when a tape fills the next one loads itself.
Sixty minutes a reel, spending down as you record.
Photo
One look, many controls. There is no second filter: just the same stock, worked by hand. Exposure, focus, slow shutter, rear-sync flash, multiple exposure. A sketchbook: one medium, and every way to draw with it.
Effects
Rear-sync flash holds the shutter open, lets the light streak, then fires on the tail so your subject snaps sharp against the trails. Or drag it handheld and let the whole frame smear into paint.
Rear-sync flash
Trails first, the pop lands last
Slow shutter
Drag it, let the frame paint itself
Freeze the pop.
Zine
The rarest thing now is a photo you can hold. Every roll folds into a real little book: your frames laid into spreads, printed and bound, and we ship it anywhere in the world. Tap the ground to turn the page; hit shuffle to re-lay the spread.
FVLM PRESS ROOM. HAND PLATEN. ISO VIEW
Print on demand
We run the press.
Finish a zine and it can leave the screen. We print it as a real bound book and post it anywhere in the world.
Pick the paper. We handle the rest.
The whole roll
One camera, both pictures. The indie look: a real colour cube, real 16 mm grain, real light leaks. Baked in the instant you shoot. Roll film for the feed, drag the shutter for effects, fold the roll into a zine. No filter. No darkroom. No settings.
