Design — colour correction. The cameras do not match each other, so correction is per camera, never global. It rides the live path only — preview, program and what leaves for Vahana. Recording stays ISO: exactly what the camera sent, untouched. Nothing here reaches the camera either — the Orah protocol has no exposure or gamma control, so all of it happens in the Metal pass on this machine. ALL is the first key of the strip: every camera side by side, each with its own picture, its own lens keys and a tally across its head. Press a name instead and that one opens in full. Either way the two controls a shader keeps a hand on are the lever and the pad with the centre point.