KOLORISTIKA APP · 1.1.2 · MONTAGE ANCHOR
Mar 31st 2026 • PRESS RELEASE
THE MATCH CUT, PLANNED AT CAPTURE.
A scalable shape that locks to the same spot on screen across many shots. Place it on a wheel, a clock, a doorknob, and align a whole series frame to frame.
Montage Anchor headlines Koloristika 1.1.2, out now.
Here is why it matters. The match cut is one of the oldest moves in film, two shots joined so that a shape in one lands exactly where a shape in the other was. A bone becomes a spaceship. A struck match becomes a desert sun. The cut works because the eye holds the position across it, and the two images fuse into a single idea. It has always been hard to do, because it has to be planned at the moment of shooting, not found afterward.
Montage Anchor puts that planning in the viewfinder. Set a shape, a circle or a rectangle, and it locks to the same screen position no matter what you point at. Place it on a wheel, then a clock, then a doorknob, and shoot each so the object sits under the anchor. The objects line up frame to frame, sized and centered, a series built to be cut together. You compose the montage before you have it, the way it was always meant to be done.
Also in 1.1.2: interface refinements, performance improvements, and bug fixes.
A scalable shape that locks to the same spot on screen across many shots. Place it on a wheel, a clock, a doorknob, and align a whole series frame to frame.
Montage Anchor headlines Koloristika 1.1.2, out now.
Here is why it matters. The match cut is one of the oldest moves in film, two shots joined so that a shape in one lands exactly where a shape in the other was. A bone becomes a spaceship. A struck match becomes a desert sun. The cut works because the eye holds the position across it, and the two images fuse into a single idea. It has always been hard to do, because it has to be planned at the moment of shooting, not found afterward.
Montage Anchor puts that planning in the viewfinder. Set a shape, a circle or a rectangle, and it locks to the same screen position no matter what you point at. Place it on a wheel, then a clock, then a doorknob, and shoot each so the object sits under the anchor. The objects line up frame to frame, sized and centered, a series built to be cut together. You compose the montage before you have it, the way it was always meant to be done.
Also in 1.1.2: interface refinements, performance improvements, and bug fixes.
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