macOS
Lulucat Flow
Footage a person or an agent can work with
Lulucat Flow records displays, cameras, microphones and system sound at the same time and writes each source to its own file. What it leaves behind is not a video but a folder of material: every track separate, a manifest describing what was recorded, and file names built to a stated convention. More and more of the work that comes next is done by software rather than by hand — a script, a batch job, a coding agent asked to cut two hours of capture down to something watchable. None of it can un-mix a file that was flattened while recording, so Flow flattens nothing.
What it records
Four kinds of source can run at once, and any number of each kind.
Displays
Every connected display is recorded through ScreenCaptureKit at up to 60 frames per second. You decide, for each display, whether to record at Retina resolution or at half size, and whether the pointer appears in the picture. Two displays produce two files, so a presentation on one screen and notes on the other stay separate in the edit.
Cameras
Built-in cameras, USB cameras and Continuity Camera are all treated the same way. Each camera records at the highest format it reports and keeps its own frame rate, which means a 60 fps webcam is not slowed down to match a 30 fps one. Cameras that are switched on but not ready are reported before recording starts, not discovered afterwards.
Microphones
Every microphone and every input on an audio interface can be recorded as a separate track, at the sample rate and bitrate you choose, or as Apple Lossless. Two people on two microphones stay on two tracks, so one voice can be levelled or noise-reduced without touching the other.
System sound
The sound your Mac plays is recorded as its own track through a Core Audio process tap. You can capture everything the machine plays, or name the applications whose sound you want and leave the rest out, which keeps notification chimes and background music out of the recording.
What a recording leaves behind
Each recording becomes a folder named after the moment you pressed record, and each source inside it becomes a file named after the source. Nothing is composited and nothing is downmixed, so the files open directly in Final Cut Pro, DaVinci Resolve, Premiere Pro or anything else that reads QuickTime and AAC.
Two files describe the rest. A project.json lists every track with its resolution, frame rate and codec — the same information an editing script would otherwise have to work out by probing the files one by one. An AGENTS.md explains in plain language how the folder is organised and how the names are built, so a coding agent handed the path, or a person opening the folder six months later, can start without being briefed. Names carry no spaces and nothing a shell would need quoted, which is why a pattern like *.WA.mov is enough to select every video that carries an audio track.
Pause and resume
Pausing closes the files that are open and leaves the previews running, so the recording is safe on disk even if the Mac loses power a minute later. Resuming starts a fresh set of files inside the same project. Files that share a folder also share a timeline: dropped into an editor they land on parallel tracks with no offset to correct.
While recording
The console gives each source a panel of its own. Displays and cameras show a live picture; microphones and system sound show a scrolling waveform with a decibel reading, which is how you notice a dead microphone in the first ten seconds rather than in the edit. Every panel reports its resolution, frame rate, codec, file size and write speed, and the footer keeps track of free disk space and how much recording time is left at the current bitrate.
Settings that change the result
Resolution and frame rate are set per display, and the pointer can be included or left out. Video is written as H.264 for the widest compatibility or HEVC for smaller files. Cameras can be mirrored, audio can be recorded at the sample rate and AAC bitrate you prefer or as Apple Lossless, and the output folder can be anywhere you have write access. Each setting applies to the next recording, so nothing changes underneath a session that is already running.
Stays on your Mac
Flow uploads nothing, transcodes nothing after recording ends and has no account to sign in to. The files are final the moment you press stop, which also means a recording is never waiting on an export queue or a server before you can use it.
Free and paid
Free
Every source and every setting is available. A free recording stops after five minutes, and everything recorded up to that point is saved.
One-time purchase
Removing the time limit is a single purchase that applies to every Mac signed in to your Apple Account. There is no subscription and nothing to renew.
The price differs by region; the App Store shows the one that applies to you.
Paying changes the time limit and nothing else. Free or paid, every source writes its own file, no recording is watermarked, and no quality is held back.