METAWRKS changelog

ENGRAM PRO 1.3.0

Sat, 07 Nov 2026 12:00:00 +0000

Reports read the offload's own checks, one offload window with ticked live drives, the next card queues, Sony looks right, less CPU, SORT, buttons that stay put, and updates inside the app.

There was no way to update from inside the app, and Settings said "No update channel configured yet" — Now: ENGRAM ▸ Check for Updates… and Settings ▸ System ▸ UPDATES ▸ CHECK FOR UPDATES. It also checks by itself at launch and every 4 hours (switch it off in the same place)
A new version was never announced — Now: a calm window shows the new version, its build, the date and the changes in a text block, with UPDATE, REMIND ME LATER (asks again tomorrow) and SKIP THIS VERSION (stays quiet until a newer one)
An update could have landed mid-job — Now: nothing installs, and the window doesn't pop up, while an offload, verify, report or transcode runs or cards are queued; it says what it's waiting for
An update had no way back — Now: UPDATE checks the package and gets it ready; RESTART TO USE swaps it in when you choose, keeps the version you had, and puts the old one back by itself if the new one doesn't check out. ROLL BACK in Settings goes back one step in one press
About said "1.2" on every build — Now: About and Settings show the real version and build: 1.3.0 (build 130)
New changelog page at engram.metawrks.com: every release, searchable, by area (Offload, Reports, Viewer & colour, Library, Transcode)
Sony S-Log3 clips showed ENGRAM's own S-Log3 curve, about a stop hot in the highlights — Now: they show Sony's own LC-709TypeA LUT, taken from your Resolve LUT folder. Pick another Sony look (LC-709, Cine+709, SLog2-709, s709) in Settings ▸ Functionality ▸ SONY LOOK. ENGRAM's own curve is still in the LUT list, now named "ENGRAM generic, not Sony"
S-Cinetone clips (C CAM day 1) got an S-Log3 LUT on top and went half black — Now: S-Cinetone, Rec.709, Cine and HG clips show as recorded, with no LUT. HLG reads as HLG. S-Log2 asks you to set it by hand
FX6 MXF clips fed the Sony LUT the wrong code values (crushed blacks, hot whites) and didn't match FX3/FX30 MP4s through the same LUT — Now: the LUT gets the values the camera recorded; FX6 and FX3 now agree within half a code value. On the D002 demo clip the picture is within ΔE 0.44 (avg) of Sony's own LUT, from 2.21 before
S-Gamut3 clips (not .Cine) went through a .Cine LUT as-is — Now: they're converted to S-Gamut3.Cine first (Sony's S-Gamut3 LUT is used instead when you have it)
False colour with the LUT on read the LUT's picture as log: +2 stops showed as +6 — Now: false colour always reads the camera's own image: +2 shows +2.0, −4 to +4 within 0.05 stop, LUT on or off
Posters, scrub frames and the viewer decoded about 2 code values dark — Now: decoded exactly (old cached frames rebuild by themselves)
A paused frame was a lower-quality JPEG of the clip — Now: it's the real full-quality frame, the same one playback shows
33-point LUTs lost detail between their points in the viewer — Now: they're applied on a finer grid
New option: Settings ▸ Functionality ▸ "Viewer as a Rec.709 monitor (gamma 2.4)", so the viewer matches your SDI monitor. Off by default
Transcodes with a Sony S-Log3 LUT on FX6 MXF had the same wrong code values — Now: they get the camera's values too
Pressing START (or plugging in the next card) while a card copied did nothing — Now: the card QUEUES. When the copying card is certified, the next one starts by itself. If it isn't certified, the queue stops and tells you which card; START NEXT or CLEAR on the queue bar. A card that needs you (a red ✕ drive, a duplicate) stays open in the offload window
After-copy options were buried in Settings — Now: the offload window has an AFTER row: EJECT CARD · REPORT · TRANSCODE, ticked right there
Nothing told you a card was done with — Now: a lime SAFE TO PULL bar and a notification ("SAFE TO PULL — A005 · 3/3 DRIVES VERIFIED") once every drive verified and the card re-read clean
A card going in only showed a small bar (and only if you had turned it on) — Now: it opens the offload window, filled in with the card. It never starts by itself unless you turn on "Then start by itself after 5 seconds" (off by default); STARTING IN 5 shows in the window, STOP holds it
Routes had no camera letter — Now: new CAM LETTER token: A005 lands in "A CAM" by itself
New Library ▸ New Day (⇧⌘D): copies the latest DAY's folders as the next DAY, empty, with UNDO
New Library ▸ Wrap Day Report: the whole DAY's report from the library, using the offload's own checks — nothing is scanned again
SAFE TO PULL showed after RUN ON 1 when one of your usual 2 drives was offline ("1/1 DRIVES VERIFIED" while the card was only on one drive) — Now: SAFE TO PULL only shows when the card is on every drive you usually use; the count matches the result line (1/2 stays amber, no SAFE TO PULL)
A queued card went into whatever bin was selected when it started, not the bin you queued it into — Now: the bin is locked in when you press QUEUE and shows on the card's chip (B001 → A CAM). If that bin was deleted, moved to another show or the project changed, the queue stops with NEEDS YOU instead of copying
The library file was rewritten whole, about once a second, while a card copied (61 MB each time on today's job) — Now: only a small catalog (≈2 MB) is written, at most every few seconds during a copy; each clip's metadata is added as one small line instead. Your old library file is kept next to it as a backup the first time
Opening or closing a folder in the library rewrote the whole library — Now: it saves only which folders are open
Clip metadata landing during an offload redrew the library once per clip — Now: it lands in batches, about once a second
Scrub previews, posters and the viewer decoded on the CPU, up to 4–6 cores per clip — Now: Sony XAVC-I, XAVC-L and XAVC HS (H.264 / H.265) decode on the GPU, with the exact same picture (checked byte for byte). ProRes stays on the CPU, because the GPU decoder is 2–3 code values off
One scrub-preview builder could take 4–6 cores and 1.2 GB — Now: it uses 2 at most, runs at the lowest priority, and reads only keyframes on long-GOP clips
After each card, scrub previews for the whole drive were built while the next card copied — Now: they wait until the copy is done, and stop if a new card starts
Each drive's copy was checked one drive after the other — Now: all drives are checked at the same time, on separate cores
Clip metadata was read one clip at a time — Now: several at once across the cores; fewer while a card copies, so the copy keeps its speed
The CPU meter showed the app only, not ffmpeg or the copy engine — Now: it shows the app plus everything it started, and the GPU next to it (click it for the app's own share)
Scopes kept redrawing on a paused frame — Now: they rest until the picture changes
Picking a source opened one window, then a scan window, then the offload window — Now: it is ONE window: card list → scanning → setup, all in the same window. Nothing asks for a destination after the card
You had to pick the card again even when you were already looking at it — Now: a card you're browsing in the grid (or the one card plugged in) opens the offload window straight on it. SOURCE in the window swaps the card
Drives showed OFFLINE only, and a dead drive could still be ticked — Now: every drive is a tile with a tick box and a status: READY (and how many more cards of this size fit), or a red ✕ OFFLINE / READ-ONLY / SOURCE / FULL. A red ✕ drive can't be ticked
START could make folders before finding a drive it couldn't write — Now: every ticked drive is checked again at START, before any folder is made; a red ✕ drive holds START and RUN ON N copies to the rest
× on a drive was final — Now: × is instant and UNDO puts it back (place, tick, route)
The drive list was the same for every project — Now: each project remembers its own drives; a new project starts with the drives you have
The finished result could show inside the offload window — Now: the window never shows a result or DONE; the copy's progress and verdict are in TASKS and on the library strip
There was no way to copy a day's folders — Now: right-click ▸ Duplicate Structure or ⌘D: DAY 003 → DAY 004 with every OCF / CAM folder, empty (no rolls, no clips, nothing marked verified), placed below the last day and ready to rename. UNDO in the note at the bottom. It only makes the folders on your drives when you tick "Also Make On Drives" (off by default)
GRID/VIEWER/LIST/DATA slid sideways and shrank when you opened VIEWER (a BACK chip appeared in front of them) — Now: the four buttons sit in the exact same spot and size on every page; GRID, Esc and ⌘1 still go back
The GRID/VIEWER/LIST/DATA bar sometimes dropped to icons only on one page — Now: it always shows its words, every button the same width
Switching LIBRARY/TRANSCODE/TASKS made the whole top band drop and fade in — Now: the page crossfades in place; nothing in the band moves
Buttons came in different heights (18, 20, 22, 26, 28, 30) — Now: every boxed button in a top band is one height, the same as LIBRARY/TRANSCODE/TASKS; window and footer buttons share one height of their own; both follow UI Scale
The gear and the CPU meter were taller than the chips beside them and ignored UI Scale — Now: same box as the chips
The selected tab turned bold and nudged its neighbours — Now: selection shows by colour only; nothing reflows
TASKS' CARDS/TIMELINE were two loose icons on the right — Now: one boxed switch at the left, where LIBRARY's view switch sits
INFO disappeared in DATA, and TASKS' chips jumped when CLEARED appeared — Now: both are always there, dimmed when they can't be used
Going to TRANSCODE pushed the project name sideways — Now: the project name never moves
Going LIBRARY — Now: TASKS → LIBRARY landed on GRID → it comes back to the same clip in VIEWER
OFFLOAD window tabs (LIBRARY & METADATA / BACKUP & VERIFY, rename scope, existing files) were a different size — Now: same box as the other tabs
There was no way to put clips in order — Now: SORT button in the LIBRARY band: Name, Record time, Backup time, Size, Duration, Camera, Reel / Mag, Format / codec, Frame rate; ascending or descending. One order for GRID, LIST and the VIEWER strip, remembered between launches. LIST's NAME / TYPE / SIZE headers use the same order. Clips missing a value go last. Sorting never re-reads the clips
Backup time had nowhere to come from — Now: each clip now records when it landed verified
Exporting a report re-read and re-checked every clip that was already verified on the offload — Now: the report reads what the offload already recorded; 0 clips are read from the drives for a verified bin
There was no way to force a full re-read when you actually want one — Now: RE-SCAN MEDIA in the REPORT window, off by default, for that one report only
Picking a source sometimes showed the last card's finished/report window instead of the new card — Now: every offload button closes the finished job first; the window always opens on the new card's setup (the result stays in TASKS)
After a report, View ▸ Offload and GO TO OFFLOAD reopened the report, and ⌘R ran it again — Now: they open OFFLOAD; ⌘R after a finished report opens its setup
RETRY / RUN AGAIN could fail on files the first run already copied, or copy the whole card when you had picked some files — Now: it re-checks what is already there (Skip Identical) and copies the same files you picked
The bin's Offload buttons stayed live while a card was copying — Now: they grey out until the copy ends
Sources vanished from the list while a drive was spinning up or busy — Now: the drive stays listed and says BUSY, and comes back to normal on its own
A clip still being written (size changed after the scan) could pass — Now: that clip FAILS and is named: "SOURCE CHANGED DURING OFFLOAD"
NOT CERTIFIED didn't say which file — Now: it names the file, the reason and the fix
The REPORT tab could walk a whole drive — Now: it reports on the library selection; a whole drive only when you pick it yourself
Camera thumbnails, XML/JSON sidecars and system files counted as "files backed up" — Now: the total counts media; the rest are their own rows (still copied and in the ASC-MHL)
The grid opened full of JPGs and thumbnails — Now: motion clips first; stills behind one chip
The long drive list sat across the grid — Now: hidden behind one drive toggle, remembered
Sony cards: blank metadata on a clip whose XML landed after it, odd frame rates, a 4294967295 "serial", reel letters other than C/L missed — Now: probed again once the XML lands, exact rates, serial left blank, any camera letter
With RENAME on, the dailies transcode after an offload looked for the card's original names and found nothing — Now: it opens the renamed copies that actually landed on the drive
A START that was refused left empty <bin>/<MAG> folders on every drive — Now: the empty folders that START made are taken back; a folder that was already there, or holds a file, is never touched
RUN ON N stayed armed after a refused START — Now: a refused START asks again
If the engine itself failed to launch, RETRY could register the copy into a bin that had been removed — Now: the mag bin and its folders stay for RETRY
A card pulled after you opened it still let START make the mag bin and folders, then jumped to an empty bin — Now: START says "Source is offline" and stays put; nothing is made
If a job refused to start after START, the window closed onto an empty bin and the drive folders stayed armed for the next run — Now: the card stays open in the window, the bin and your answers go back, and nothing is left armed
The dailies transcode after an offload could read a drive you skipped with RUN ON N, or look at the drive root — Now: it reads the copy that job just wrote and verified, in <drive>/…/<CAM>/<MAG>
⌘N on an open card kept that card's resume answer — Now: the new card replaces it the same way the top OFFLOAD button does
⌘R with no card did nothing — Now: it asks for the card, same as the top OFFLOAD button
Clicking a bin with no drives listed added that bin's drive, right-click didn't — Now: neither adds a drive; you add drives in the window with ADD DESTINATION
A drive that dropped without warning (the OWC RAID) could still count as plugged in for a few seconds — Now: START, RETRY and COPY TO MISSING check every drive fresh before writing; no stray folder on the Mac's disk
A destination folder on the Mac's own disk read as a different drive every card — Now: it counts as the same drive, so no false "drive missing"
The library's "Offload Into This Bin" and the OFFLOAD button up top behaved differently — Now: both ask for the card, open the same window, land on every drive in the same folders and use the same START check; the only difference is which bin it goes into
With no drive listed, the library door asked for a destination the top button didn't — Now: both open the window and you add drives there with ADD DESTINATION
The top OFFLOAD button reopened the last card without asking — Now: it asks for the card, starting on the last one, so one press re-picks it
⌘R while a card was open skipped the drive check and could copy loose to each drive root — Now: ⌘R does exactly what START does, red line and all
A RETRY that was refused (card not back in yet) hid the result and left the next RUN copying loose to drive roots — Now: a refused RETRY keeps the result on screen and leaves nothing behind
An offload could never run without its <drive>/…/<CAM>/<MAG> folders now — if they are missing, it says so and copies nothing
RUN ON N left the skipped drive unticked on every card after — Now: the drive is ticked again for the next card, and warns if it is still missing
The finished-job banner could say "3/3 drives ✓" when the job was then marked NOT CERTIFIED — Now: the banner waits for the final verdict
Checking drives on every redraw could stutter the window while a shuttle spun up — Now: drive status is remembered and refreshed when a drive comes or goes
Right-click "Offload Into This Bin" cut your drives down to one — Now: every drive you listed stays; the bin only picks the folder on each drive
New Offload (⌘N) wiped your drive list — Now: it clears the card and slate only; your drives stay
Clicking a bin on another shuttle swapped out your first drive — Now: clicking a bin never changes your drives
Nothing warned when fewer drives were going than last card — Now: START shows a red line ("2 drives missing: …") with ADD BACK or RUN ON 1 DRIVE, one press each
An unplugged drive could vanish from the list — Now: it stays listed and says OFFLINE
"Verified" read the same for 1 drive as for 3 — Now: the result, the library strip and the notification say "I004 · 3/3 drives ✓ 008 · 006 · 003", amber when short
No way to see which mags were on fewer drives — Now: each mag shows its copy count (3×, amber when short); right-click a DAY or CAM ▸ Copies… lists the short ones with COPY TO MISSING
A card staged while the last one was still copying renamed the last card's record (C009 saved as I004) — Now: each record keeps its own bin name; a new card can't be staged mid-copy
COPIES counted a stopped or part-copied card as a full copy — Now: a drive counts only when the whole card verified on it
RETRY / RUN AGAIN dropped the card loose at each drive root and skipped the drive check — Now: it re-runs into the same <drive>/…/<CAM>/<MAG> folders and asks the same drive question START does
A failed drive still read "3/3 drives ✗" — Now: the count is drives that verified, and the bad one is named ("2/3 drives ✗ 008 · 003 — 006 FAILED")
Taking a drive off with × kept warning "1 drive missing" on every card — Now: × forgets that drive
COPY TO MISSING failed on a half-filled folder and could start a transcode — Now: it re-checks files already there (Skip Identical) and never chains a transcode
RUN ON N could skip an offline drive and then do nothing when another warning was open — Now: it is greyed until that warning is cleared, and skips nothing
A leftover /Volumes folder from a dropped drive counted as the drive — Now: only a real mounted drive counts; the leftover reads OFFLINE
Note blocks that explained the code are off the screen. Controls, values and real warnings stay

BLOCKY 1.0.9

Tue, 27 Oct 2026 12:00:00 +0000

Owners can remove people, big lists load in full, the Mac gets a menu-bar icon with real alerts, and every screen is easier to read.

REMOVE people from your list — List owners see REMOVE next to each person in PEOPLE. One tap, and UNDO in the message if it was a mistake. The join code changes, so they need the new code to come back. If WEB LINK is on, turn it off too, or they can come back through the link.
WEB LINK off gives a new code — Turning WEB LINK off sends everyone who came in through the link out of the list and gives the list a new join code. Share the new code again wherever you posted or printed the old one.
Blocky in the Mac menu bar — A Blocky icon sits in the menu bar and Mac alerts are real notifications. The first time you open 1.0.9, macOS asks for "Blocky" Notifications: press Allow.
Big lists load in full — Lists with more than 1000 items now load every item. Everyone on a list that big needs 1.0.9 (or a reloaded web page) to see all of it.
Less data, less battery — Only the list you have open refreshes on its own, and unchanged rows are skipped. Opening a list you just joined no longer downloads it three times.
Easier to read — Values are white and labels a soft white instead of grey: times, ACTIVITY, the clock, PEOPLE and the sync line. Team notes stay orange.
Shorter header on phones — On a phone the clock sits on the top line and the sync line uses short words, so more items fit on screen. At large text the status moves to its own line instead of being cut.
ONLY THIS BLOCK and OPEN ALL — Open a block's menu to fold every other block, or open them all again, with UNDO. On the Mac: ⌥⌘← and ⌥⌘→.
SIGN IN on an empty LISTS — With no lists yet, SIGN IN · SEE YOUR LISTS is right under CREATE LIST, and on the first-run screen too.
Signed out says so — If your account was signed out on another device, Blocky says SIGNED OUT with a SIGN IN button. Your name and settings stay, and signing in brings your lists back.
Removed from a list says why — If the owner removes you, Blocky says REMOVED FROM <LIST> · ASK THE OWNER FOR THE CODE instead of the list just disappearing. On the web the page says NO ACCESS · JOIN WITH CODE.
Clear words when something fails — No signal says "No signal · try again online", never that sign-in is off. Refusals say what happened and offer RETRY. SYNC LOG reads in plain words.
Mac keys and words — The Edit menu shows ⌘Z ⇧⌘Z ⌘X ⌘C ⌘V ⌘A, with Redo and Enter Full Screen (⌃⌘F). The Mac says "this device" and "Press". It opens faster and updates are smaller.
PICK TIME… picks a time — REMINDER › PICK TIME… opens hour and minute buttons and SET, instead of quietly setting a reminder 2 hours ahead.
Live updates come back on their own — After a long time without signal, live updates reconnect by themselves. On the Mac, live starts at launch even before you click the window.
Small fixes — Long messages wrap instead of being cut off. Long list titles shrink to fit one line. UNDO and the status buttons work with VoiceOver on the Mac. The update screen names the TRY AGAIN button.
Safer 2FA and sign-in — Android blocks screenshots of the authenticator setup screen. The Mac clears the 2FA key from the clipboard and keeps sign-in files out of Time Machine. A slow phone moment can no longer replace your account.
Safer web page — Stronger page security, the join code no longer stays in your browser history, a link can't swap who you're signed in as, and an invite link always waits for your JOIN tap. SETTINGS matches the app and ABOUT shows the version.
If you're still on an older version — Renaming yourself on 1.0.5 to 1.0.8 doesn't reach lists you already joined until you update to 1.0.9. Reload any Blocky web page that has been open since before today.

BLOCKY 1.0.8

Mon, 26 Oct 2026 12:00:00 +0000

Blocky keeps you signed in when you reopen it.

Signed out after reopening — Reopening Blocky after a while could sign you out and stop your lists syncing. Your account and lists now stay. If your Mac already shows you signed out, sign in once in SETTINGS and it stays.

REWIND PRO 1.0.0 beta 5

Wed, 21 Oct 2026 12:00:00 +0000

Filters on every CAM, composites live, outputs on your displays, the whole slate with your own file names, and a library with labels, bins and library slots: one app, every picture through its CAM's filters, never in a recording.

Filters on every CAM — CHANNELS now has FILTERS beside each CAM's picture, so you see what a filter does while you set it; the list takes the whole height beside the picture, so four filters show whole even in a 1280 window. + ADD gives thirteen filters in four groups: SHAPE (crop, flip, transform, desqueeze, fit), ON TOP (frame lines, metadata, tally, image), KEY & BLUR (keyer, blur) and COLOUR (adjust, LUT). They work top to bottom; each one has its own on and off, its words say what it does now, a click opens its settings under the picture, and up, down and remove sit on its row (RESTORE brings a removed one back, no typing; ⌘Z on CHANNELS takes back the last change on the CAM you are on). BYPASS (⌃⇧0) shows the clean picture at once and keeps every setting. Filters go with the slot: saved with the project, in slot setups, copy and paste (a filter from a newer beta is kept as it is). A filter can go on or change while the CAM rolls: the take never loses a frame for it, and the rest of the app does not stall. When a LUT, logo or still is not in the project, CHANNELS says FILE MISSING in amber with its name, and the filter comes back by itself once the file is put back. A CAM's filters are on every picture of it: its tile, VIEWER, MULTI, a comp's cells (live, and the take beside it), and every output, FORCE LIVE while MAIN replays too. They change what is shown and sent only: every take stays the camera's own picture, and replay goes through the same CAM's filters as live.
LUTs — Put a .cube LUT on any CAM: 1D or 3D (17, 33 or 65 points, and a 1D shaper with a 3D LUT, each with its own input range as Resolve writes them), with IN and OUT colour named (709, 2020, HLG, PQ, P3), LEGAL or FULL range, and MIX to blend it in. 3D LUTs are tetrahedral, within one code value of a reference everywhere on the picture. The picture is tagged with the LUT's output colour, and the LUT says so in amber when it is set for another colour than the camera's. A LUT you pick is copied into the project's LUTS folder, so the project carries it to the next Mac; every CAM can then pick it from the list.
Frame lines, metadata, tally and logos — FRAME LINES for 2.39, 2.35, 2.00, 1.85, 16:9, 4:3, 1:1, 9:16, 4:5 or any aspect, on exact rows and columns, in a colour, line width and opacity of your choice, with shade outside the frame, a centre cross, and title and action safe. METADATA puts the CAM, the slate, the TC of each picture and the codec in a corner on a plate. TALLY puts a red border on the picture while that CAM rolls and a lime one while it replays. IMAGE puts a PNG, JPEG or TIFF logo or still on the picture (place, size, opacity), copied into the project's IMAGES folder. Lines, words and the tally land on the same colour as the app's own on 709, HLG and PQ pictures (white on reference white). Nothing is drawn on a picture unless the crew adds it.
Crop, flip, transform, desqueeze and fit — CROP cuts the edges or crops to an aspect. FLIP mirrors across or upside down. TRANSFORM scales, moves and turns the picture. DESQUEEZE unsqueezes 1.25, 1.3, 1.33, 1.5, 1.8, 2.0 or any anamorphic squeeze, the way a monitor shows it (2× shows 1920 × 540 for a 1080 camera). FIT puts it back into the CAM's frame (fit, fill or stretch). At whole pixels and quarter turns they move every pixel exactly.
Keyer and blur — KEYER keys a green or blue screen (tolerance, softness, spill) or by brightness (luma, with invert), over black, a still from the project, or another CAM's live picture. MATTE shows the key in black and white to check it. On COMPOSITE, ⇧⌥K puts a chroma key and ⇧⌥L a luma key on the selected CAM (its settings on CHANNELS). BLUR softens the whole picture or a box on it.
Adjust for the screen — ADJUST changes exposure (in stops), lift, gamma, gain, saturation, warmth and tint on what the CAM shows, on the camera's own signal, never a guessed one, and never on the take.
Filter keys — ⌃⇧1 to ⌃⇧7 turn a LUT, frame lines, desqueeze, metadata, tally, flip and adjust on or off on the selected CAM (adding one when it has none), ⌃⇧0 is BYPASS, and ⌥⌘L opens the CAM's filters on CHANNELS. The CAM drawer shows what is on as FILTERS with the same jump. Every filter is in ⌘K by name, and its keys are together in KEYS under WINDOWS.
Exact colour with filters — A CAM with no filter shows the camera's picture untouched, the same picture bit for bit. Filters work on the 10-bit picture as the camera sends it, and a stack that changes nothing gives back every code value. Each CAM's filters run once a picture however many places show it: on an M3 Max eight CAMs at 1080p 59.94, each with a LUT and frame lines, use under a third of a frame.
Outputs on your displays — Any display plugged into the Mac (HDMI, USB-C, an SDI converter) can be a full-screen output for the village. Pick a display in an output's SEND TO and it goes full screen at once: no title bar, no menus, nothing of the app on it, just the picture. MAIN keeps the keys and the focus the whole time, and an output never goes over the display MAIN is on. Unplug a display and its output says GONE; plug it back in and the picture comes back by itself. The outputs stay up and keep playing when you hide or minimise MAIN, when another app hides the others, or when MAIN is on another Space, and the output displays never go to sleep or to a screen saver, between takes too. Two of the same TV or monitor are two displays, each with its own output.
Output slots — OUTPUTS ⌘5 has one card per output (five to start: DIRECTOR, CLIENT, SCRIPT, FOCUS, SPARE; up to eight), each with the picture it sends, what it shows and where it goes. Each output shows a CAM, what VIEWER shows big (a CAM, a comp or a library slot), a comp drawn as COMPOSITE draws it, a library slot (its cued clip or still, the standby card while it is empty), the standby card, black, a still, or nothing. A comp or a library slot from another project is found by its name or number, so an output keeps working from job to job. FOLLOW SELECTION makes it show the CAM you select on MAIN. FORCE LIVE keeps it live while MAIN replays a take, a comp's CAM cells too (a take cell stays the take); without it the output plays the replay, and a CAM that is not in the take stays live, so a monitor never goes black. A comp's state on OUTPUTS is what its cells show: grey LIVE while every cell is live, lime only when one plays a take. When what an output shows is gone (another day's project has no comp of that name, no LIB 3 or no CAM E), its display shows the standby card and OUTPUTS says why in amber. Name, duplicate, reorder and remove outputs; RESTORE brings a removed one back. Outputs belong to this Mac, not to a project.
Four outputs on one display — Set a display to QUAD and it shows four outputs, a quarter each (Q1 top left to Q4 bottom right). The map under an output's options shows every display and which output is in each quarter: click a quarter to send the picked output there. Picking a QUAD display in SEND TO puts the output on its first free quarter.
Standby card and stills — An output can show the standby card (STANDBY with the project and the day, made at the display's own size) or a still you pick (PNG, JPEG, TIFF). The still is copied into the project's STANDBY folder, never moved, and shown in its own colour. Picking one never holds up MAIN; while a take rolls it is refused, so pick it after the cut. Rename the project and its stills go with it. If the still's file is gone (a drive ejected), the output says STILL MISSING in amber and its display shows the standby card.
Exact colour on the outputs — An output display gets the very picture MAIN shows (a comp's cells too): the same 10-bit picture, tagged with its colour, matched by macOS to that display's own profile. Nothing is copied or converted on the way, and takes are never touched.
Output keys — F1 to F5 pick an output. ⌥⏎ sends the CAM selected on MAIN to the picked output. F makes every output follow the selection and H keeps every output live in replay; press either again and every output goes back to how it was. Every output command is in ⌘K.
Settings › DEVICES — DISPLAYS lists each display with its number, name, serial, size, refresh and what it shows, with SINGLE or QUAD and ON. The display MAIN is on says MAIN IS HERE. ALL OFF gives every display back to the desktop at once. A display seen before and not connected now is listed under NOT CONNECTED with FORGET, so a rental cart's TVs from past jobs leave the list (an output still sent to it is not sent then). CARDS lists every Blackmagic and AJA card with its model, id or serial, its ports in and out and what is on its input, read only (nothing is opened). Blackmagic SDI out comes in a later update. MOUSE puts the mouse back on MAIN after 2, 3, 5 or 10 seconds on an output display, where it is hidden; it is on by default.
Lock a CAM's source — On CHANNELS, the lock beside SOURCE (⌃⌘L) keeps a CAM on its source: picking another source on it, picking its source on another CAM, moving, removing the CAM and restoring a setup all leave it where it is, and the status line says how to unlock it. A saved setup never carries a lock, and RESTORE from the trash never brings back a lock you took off.
Rescan the sources — RESCAN ⌥⌘R on CHANNELS and in Settings › DEVICES lists every camera, card and display again, for one plugged in since, and puts each CAM back on its own source. While a take rolls it is refused: press it again after the cut.
Duplicate a saved setup — Each saved setup on CHANNELS has a copy key: the copy lands beside it with the next free number, ready to change into a variation.
The village on MAIN — The outputs block under the takes shows the real outputs: each one's picture (the standby card or still too), its name as you typed it and whole (a long name goes onto two or three lines, never cut), a comp it sends drawn as a comp, SENDING with how many are on a display, or NOTHING SENT. An output that is not sent says OFF. F1 to F5 pick them, and OUTPUTS ⌘5 says what each one shows.
Composites, live — COMPOSITE ⌘4 now draws real comps live from the CAMs' own pictures, in eight layouts: SINGLE, WIPE, SIDE BY SIDE, 3 ACROSS, 2×2, 3×3, 4×4 and PIP (⌃⌘1 to ⌃⌘8; the old keys stay). Each cell is the camera's own 10-bit picture with its own colour, the very picture its CAM tile shows: nothing is copied, converted or changed. Nothing is drawn on a picture: what each cell shows is in the row under it, as its CAM's tile says it: LIVE, REC while it rolls, and in amber NO SIGNAL or CAMERA OFF (with no picture, never a frozen one) or NOT REC. A cell can also show a library slot (L1, L2 … on COMPOSITE). Send a comp to a monitor with SEND TO on COMPOSITE, an output's source menu on OUTPUTS, or ⌘K; recording a comp comes later.
WIPE and PIP settings — WIPE: the edge from 0 to 100 %, across or down, and MIDDLE puts it back. Drag on COMPOSITE's picture to move the WIPE edge or the PIP inset. PIP: the inset from 10 to 100 % of the frame, its opacity (under 100 % at full size it is a mix of the two), OFFSET X and Y, a snap to each corner (⇧⌥C steps round them) and a border (off until you turn it on). A snapped inset stays in its corner when you resize it.
AUTO or MANUAL sources — AUTO puts the CAMs in order. When they do not all fit, it starts from the selected CAM, so a SIDE BY SIDE follows your pick. MANUAL gives each cell its own pick: a CAM live, that CAM's take, or empty, one press each, laid out like the comp (a 4×4 shows four rows of four). ⇧⌥A switches, ⇧⌥S swaps cells 1 and 2 (SINGLE has one picture, so it stays as it is), ALL LIVE starts again in CAM order. MANUAL starts from what AUTO showed, so the picture never jumps.
The director's compare — ⌃C shows the selected CAM live beside its own take, big in VIEWER (the selected take, else the last one). The take, named with its setup (12A-2 T2), starts on its IN and has its own keys under the picture, on VIEWER and on COMPOSITE: to IN, a frame back, play, a frame on. On VIEWER, space plays and holds it, J K L shuttle it and ← → step a frame, as on a replay. Both cells go through the CAM's filters, so the take looks the way its CAM's tile does (a LUT and frame lines on both), and a CAM keyed over another CAM keys over that CAM's own take. It is never heard, and it opens only the CAMs its take cells show. While a take rolls it never plays or opens a take (its frame stays and PLAY says why; a new take waits for the cut). A take that will not play says so in amber and is tried again a moment later. While MAIN replays, a LIVE cell stays live and a take cell follows MAIN's playhead. ⌃C again goes back to the CAM. The COMPARE comp is yours to change: make it a WIPE and it stays one.
Several comps per project — COMP 1, COMP 2 … up to twelve, saved with the project: add, rename (double-click), remove to the trash and RESTORE. ON MAIN puts a comp in VIEWER's strip while the big picture keeps its size, and on MULTI in a place the CAMs leave free (the CAMs never shrink for a comp). BIG IN VIEWER shows it as VIEWER's picture, and V steps through the CAMs, then the library slots and the comps its strip shows (a comp with no room in the strip is never stepped to). CHANNELS › COMPOSITE lists them (they scroll when there are many) with the picked comp beside the list: its picture, layout, sources and ON MAIN; ↑ ↓ walk them and a double-click opens one. A comps file, or one comp in it, that will not read is said in amber; the rest stay in use.
CAM tile sizes — SMALL, MEDIUM or LARGE CAM tiles, from the key beside the pages in the bar or ⇧⌘2. On VIEWER the small CAMs get smaller or bigger and the big picture the other way. On MULTI the tiles take less or more of the window and the takes column the rest; SMALL never gives bigger pictures than MEDIUM, LARGE never smaller. MEDIUM is the size you had.
VIEWER's small CAMs in the APPLE font — With FONT on APPLE, VIEWER's small CAMs scrolled at 1280 with the drawer open, and eight CAMs on the left cut the take bar's keys. The gap between them now tightens first, so every CAM stays whole in its row and eight go to the bottom.
The whole slate — The SLATE drawer (⌘E, or SLATE above the take list) holds everything the slate says for the next roll: scene, shot and take, season, episode and shooting day, each with − and + and its keys (⇧⌥[ ] season, ⌃⌥[ ] episode, ⌃⇧[ ] shooting day), the crew unit, the location, a caption, INT / EXT and DAY / NIGHT. The date and time are filled in when you roll. The bar still shows only scene, shot and take. Each take keeps its whole slate and the time it rolled, its drawer lists them (a long caption wraps, never cut), search finds them, and take lists from earlier betas open as before.
Slating rules — Settings › SLATE picks US or UK / EU slating for the project. US: a new setup is the next letter on the scene (12A, 12B), skipping I, O, Y and Z by default (click a letter to skip it or use it), on to AA after X. AUTO LETTER: going back to a scene you already shot picks its next free letter (12C after 12A and 12B). UK / EU: the shot reads SLATE and the slate number counts up at every new setup, scene and take beside it. You also set what the scene, shot and take go back to on a new setup. A skipped letter is never used, not even for a new scene, and a project switched to UK / EU starts the slate number at the next setup. If a project's slate rules cannot be read, the old copy is kept, the defaults are used and the status line says so in amber until you set a rule.
Rehearsals — ⌥R makes the next rolls rehearsals: they read R1, R2 (or RH, REH, your pick) in the bar, the lists and their file names, and the take number stays where it was. ⌥R again and the next roll is the take.
Name your files and clips — Settings › SLATE › NAMES sets how each CAM's file and each take are named: CAM FIRST (A_12-A-T3, as before), CAM LAST, with the shooting day, with the episode, or your own order: OWN (or own order in ⌘K) opens a line to type it, with the words SCENE, SHOT, TAKE, CAM, DAY, EPISODE, SEASON, DATE and more to add; Return or ESC keeps it. The CAM can be the slot's letter or its name (STEADI). The next roll's name shows as you pick and type. A value left empty takes only its own label and dash with it (scene 12A with no shot stays 12A-3), names never hold a character a drive refuses and never run longer than a drive takes, and a name already on the drive, or one that differs only by capitals from another CAM's (STEADI and Steadi), gets _2 instead of being written over.
Cancel a take to the TRASH — ⇧⌘. cancels the take rolling (it cuts first) or the last take. Its files move to the project's TRASH folder on the same drive, never deleted, the take leaves the lists, and the next roll takes its number again. A TRASH chip on the take list shows the cancelled takes; RESTORE (⌃⌘. for the last one) puts every file back where it was, byte for byte. A take restored beside a newer one with its name comes back as _2. A library slot holding it goes to its standby card (on VIEWER, in a comp and on the outputs too) and never loads it again; RESTORE puts it back in that slot. The take drawer has CANCEL too, and the Stream Deck layout on the KEYS page shows CANCEL on its face (the deck itself comes with its plugin). If the drive will not take the move (full or locked), nothing moves and the status line says so in amber until the next roll. RESTORE moves the take number on again only when its cancel gave the number back, so a crew keeping the number keeps it.
Replay opens at IN — A take with an IN opens there for replay, on every CAM. 1 to 9 and REPLAY LAST still play from the top. Switch it off in Settings › SLATE.
Check online: how often — Settings › ABOUT › Check online is still OFF until you pick AT LAUNCH, DAILY or WEEKLY. Nothing about this Mac is sent and nothing downloads.
Marker types for every department — Each project has eight marker types beside MARK: GOOD, NG, NOTE, CONTINUITY, CAMERA, SOUND, HAIR / MAKE-UP and VFX to start. SETTINGS › LIBRARY renames them and picks each one's colour and the letter a track shows when the word does not fit. No type is amber, which is kept for problems, so an NG never reads as a problem with the take (NG is pink to start). Each type keeps its own colour and letter: pick a colour another type has and they swap, WHITE and M stay MARK's, and a letter another type has is said at once and not kept. In the take drawer, click a marker's type to pick it from the list; ⌃T still steps through them. Markers from earlier betas keep their type.
Clip labels — Name and colour your own labels, each in its own colour (pick one another label has and they swap) and never amber (kept for problems), orange (kept for notes) or violet (a marker type's): TAKE, REHEARSAL, REFERENCE, COMPOSITE, IMPORTED and STILL to start, ADD for more. ⌃L steps the picked take's label, or pick it in the take drawer or under the clips. Each kind of clip can get its label by itself: rehearsals (a scene of R and a number, like R1), imported movies and imported stills. A label you remove comes back with RESTORE.
Flags — ⇧C flags the picked clip, and its flag shows in the list. FLAGGED sits beside ALL and CIRCLED; ⌃F steps through the three.
Bins — LIBRARY's bins list every clip, the imported clips, your own bins, then each shooting day by itself (DAY 1 is the project's first day). A night shoot past midnight stays one day: a new day starts only after eight hours with no takes. NEW ⇧⌘N makes a bin of your own and you type its name in place. Drag takes onto it, or ⌃B moves the picked take into the next bin. A bin you remove keeps its takes in ALL and comes back with RESTORE, however many you removed.
Pictures, columns and the grid — The clip list shows a picture of each take (its IN frame, else its first), then CAMS, TC IN, TC OUT, LENGTH, LABEL, FLAG, RATING and NOTE. COLUMNS picks which ones show. On a small window the least needed step aside instead of being cut. GRID ⌃G shows bigger pictures. Each picture is made once and kept in the project folder, so the list is quick next time. An imported clip's name shows in full in the list, the grid and the library slots, on more lines when it is long, never cut. A picture whose drive is not plugged in yet never holds up the others, and comes as soon as its drive is back.
Import stills and movies — IMPORT ⇧⌘I, or drop files on the clips. PNG, JPEG, TIFF, HEIC, MOV and MP4 are copied into the project's IMPORTED folder and the originals stay where they are. A movie plays in replay with its own TC. A still holds on CAM A exactly as its file is, colour for colour (8-bit stills up to 4096 pixels; bigger ones are scaled to fit), and the status bar says STILL. Imported clips live on LIBRARY, never in MAIN's take list or REPLAY LAST. While a take rolls, IMPORT asks you to wait for the cut (CUT always works), and files already copying pause until the cut. SWITCH waits until the last file is copied, so every clip lands in its own project. Each clip is in the project's take list the moment it lands, so a crash part way through a big import keeps the ones copied. A file dragged back in from IMPORTED picks the clip it already is.
Library slots — CHANNELS › LIBRARY holds LIB 1 and LIB 2 to start, up to eight. Each one holds a clip or a still, like a standby card between setups. Put a slot on MAIN and it sits in VIEWER's strip after the CAMs; click it, or step to it with V, to see it big. FOLLOW LIBRARY ⇧F loads whatever you pick in the library. LOAD ⏎ on LIBRARY (⌃⏎ from anywhere) loads the picked clip, and PLAY ⌥␣ runs it, picture only. The slots and what they hold stay with the project. A take with IN and OUT plays IN to OUT in its slot, and LOOP goes round to IN. A clip that will not open says FILE MISSING or WON'T PLAY in amber on the slot, even while it follows the library. A slot never squeezes a CAM: when VIEWER has no room for it beside your CAMs at this window size it steps aside, and CHANNELS says NO ROOM, judged on the window as it is now (a resize counts at once). A slot can also be a comp's cell or an output's source. With a slot big in VIEWER, the bar under it says MAIN, because its keys drive MAIN's take.
The LIBRARY page — The library slot sits over the bins with its picture, its state and the big FOLLOW LIBRARY switch. When its full picture would leave the bins fewer than about five rows (a 1440 × 900 window too), its picture moves beside its words, so the shooting days are there without scrolling. ↑ ↓ walk the clips, and every key is in ⌘K and the key map. A project saved by a newer beta opens here with every label and bin it can read, and a copy of its library setup is kept so nothing is lost.
Replay's first sound on time — When the Mac was busy, the first moment of a replay's sound could come with no time on it and be played as it came, a little early or late. It is now placed on its picture like the rest, so the first sound you hear in a replay is on time with its picture.
No quit when a filtered picture is let go — Rewind Pro could quit, now and then, when the filters of a CAM were let go while one of its pictures was still being made: a compare dropped, a comp's take changed, a project switched. Each picture now lets go of what it was made with in a safe order, one at a time.
No hitch when a clip loops — Each time a library slot or a replay on LOOP went back to the top, MAIN's pictures and every output display could stop for two or three pictures. The TC now comes from the picture on screen, so a loop is as smooth as the rest. The record drive's free space is checked beside the pictures too, never in their way, so nothing stutters once a second while a take rolls.
SETTINGS › AUDIO with eight CAMs — With more than four CAMs, the CAM you hear is one key with a menu (FOLLOW and every CAM), so MUTE, DIM and the volume stay on the page on a 1280 window, in every FONT and LOOK.
Nothing lost to a newer beta — Step back from a newer beta and a take it wrote that this one cannot read is kept in the take list as it was, never shown and never lost; the other takes open and the status line says so in amber. A comps file with layouts or cells this beta does not know is kept as it was beside the project before anything is saved over it, and an output setup it cannot read is kept on this Mac and said in amber.
Every key on the key map — Slow motion ⇧J ⇧L and CHANNELS' second key ⇧⌘P are listed in ⌘K and the key map, and ⌘N, ⌘⌫ and ⇧⌘⌫ say what they do on CHANNELS › LIBRARY. On KEYS › STREAM DECK, MARK, the five outputs, ALL F and the village page's SEL and LIVE keys are lit: they work today. The status line names a save that failed in the crew's words: the drive is full, locked or not there.

REWIND PRO 1.0.0 beta 4

Wed, 21 Oct 2026 12:00:00 +0000

Record H.265 beside ProRes, exact 10-bit colour from the camera to the file, markers you drop live while rolling, hear any CAM on any output, and every slot set up on CHANNELS with up to eight CAMs.

Record H.265 — SETTINGS › FORMAT › Codec now has H.265 and H.265 HQ beside the four ProRes. Both are 10-bit 4:2:2 on the Mac's media engine. H.265 writes 40 Mb/s a CAM at 1080p 23.98 (18 GB an hour): better than ProRes LT at about half its size. H.265 HQ writes 80 Mb/s: about ProRes 422's picture at under three quarters of its size. Other sizes and rates get the same bits a picture. Colour stays exact: bars, black and white come back code for code, and every file is tagged like ProRes. A key frame every 6 pictures and no reordered frames, so replay seeks, steps both ways, plays backwards and loops like ProRes, and shuttles at 4× and 8× smoother than ProRes. The media engines take a set number of CAMs (on an M3 Max: 8 at 1080p 59.94, 4 at UHD 23.98). Settings says how many fit on this Mac. Past that, the extra CAMs record ProRes LT, the bar says H.265 FULL in amber before you roll, and no CAM ever loses frames for the codec. The take list keeps each file's codec.
Exact colour — A camera on a Blackmagic card now stays 10-bit, code for code, from the SDI cable to the take: no 8-bit step and no RGB round trip, so a 75 % bar in the file reads exactly what the camera sent. Every picture and every take is tagged with its colour (709, 601, 2020, HLG or PQ), the screen shows it colour-managed for your display instead of guessing, and replay shows the file as it is. The CAM drawer says the signal's colour, like 709 · 10-BIT, or amber UNKNOWN when the card cannot tell. BARS are now true SMPTE 75 % bars with PLUGE. When the card reports a camera switching to HLG, PQ or 2020, the CAM follows within a second. A webcam's CAM says the camera's own colour, P3 included, and its takes keep it.
Live markers — While a take rolls, the bar under VIEWER's big picture goes red with REC and the time growing. M drops a marker on the frame you see, on every CAM or the one picked with ⌥M. They land in the take at the cut.
The take bar — In replay the bar under the big picture shows played and left, the scrub with markers and cues, and every key: speed, LOOP, J ← K → L, previous and next marker, MARK, go to IN and OUT, IN, OUT and the TC. MULTI has it under the grid.
Hot cues, IN and OUT — ⇧1 to ⇧9 set a hot cue at the playhead, then jump back to it. I and O mark IN and OUT; LOOP plays just that part, to the frame. ⌥← and ⌥→ step through the markers.
Markers in the take drawer — Each take lists its markers with type, TC, CAM and note. Click the type to change it (MARK, GOOD, NG, NOTE), click the note to type it, ✕ to remove. ⌘Z brings back what you removed, no questions asked.
Hear what a CAM sends — The sound control in the bar shows what you hear: the CAM and its channels (A 1-2) with a small meter. FOLLOW, the first choice, hears the viewer CAM. Pick another CAM in its menu, or press HEAR ⌥S in the CAM drawer; press it again to follow the viewer CAM.
Pick the channels — Hear a pair (1-2, 3-4 and so on), one channel in both ears, or ALL. ⌃⌥M steps through them. Replay plays the same CAM and channels, at normal speed forward, held to its picture.
Send the sound where you want it — Pick the Mac's output (speakers, headphones, a sound interface) and which two of its channels, in Settings › AUDIO or the bar's menu (⌥O, ⇧⌥O). If that output is unplugged, nothing plays (never the Mac's speakers instead) and the bar says OUTPUT GONE in amber until it is back or you pick another. System default follows the Mac.
Volume, MUTE and DIM — Volume from 0 to −60 dB, then OFF (⌃- and ⌃=). MUTE is ⌃M, DIM drops it 20 dB with ⌃D. The first time you open this beta it starts MUTED; after that MUTE and DIM stay as you left them, so it never sounds on its own at launch. Rewind Pro never listens to a microphone, so nothing feeds back.
Slot options on CHANNELS — Each CAM's slot has its own NAME, SOURCE, CAMERA, RECORD, TC, LEVELS, PLACE and ARMED, all set in place on CHANNELS ⌘6. Each project keeps its own slots.
Crew names on the tiles — Name a CAM A CAM, STEADI or DRONE: the name shows on its tile and in its takes. The source's name stays in the tip. ⌃⌘N types it.
Up to eight CAMs — ADD ⌘N, REMOVE ⌘⌫ to the trash and RESTORE ⇧⌘⌫, MOVE ⌥↑ ⌥↓, DUPLICATE ⌘D, COPY ⇧⌘C and PASTE ⇧⌘V a setup, RESET ⌥⌘⌫. MULTI and VIEWER show all eight whole, down to the smallest window.
Roll on the camera's record — Set RECORD to CAMERA and the take rolls when the camera starts recording and cuts when it stops, read from its Rec Run timecode on SDI. A CAM with no signal is left out and named.
The camera's timecode in the file — Set TC to CAMERA and that CAM's files carry the camera's own SDI timecode. The others keep the time of day. NO CAMERA TC shows in amber when the camera sends none.
Sound channels per CAM — LEVELS records OFF, 2, 8 or 16 channels on one CAM, whatever SETTINGS › AUDIO says for the rest.
Slot setups — SAVE ⌥⌘S keeps every slot as a setup, ⌥⌘1 to ⌥⌘5 bring one back with its sources, and each can be renamed or deleted to the trash. Not while a take rolls.
Sound in the top bar — What you hear sits in the top bar: the CAM and its channels, MUTED, VOL OFF, OUTPUT GONE or NO OUTPUT, with a small meter. A first launch starts MUTED and says so there. ⌃M mute, ⌃D dim, ⌃= and ⌃- level, ⌃⌥M the next channels, ⌥O the next output. The status line now says the same words as the bar.
LOOP on one frame — IN and OUT on the same frame (or IN on the last frame) used to restart the loop over and over and load the Mac. It now parks on IN.
Fast reverse to the start — Shuttling back at 4× or 8× into IN or the start of a take stopped on the right frame but could leave an older picture on screen. Every CAM now shows the frame it stopped on.
One marker per press — Holding M while rolling added a marker for every key repeat, and two quick taps on one frame added two. You now get one.
Replay sound after a seek — A long seek during replay could play a moment of the old position's sound. The sound now starts with the new picture.

REWIND PRO 1.0.0 beta 3

Tue, 20 Oct 2026 12:00:00 +0000

UPDATE READY gets its own place in the bar.

UPDATE READY has its own place — The UPDATE READY · RESTART button sits in its own place in the top bar and never covers the project name. In a narrow window it reads UPDATE · AFTER CUT while a take rolls.

REWIND PRO 1.0.0 beta 2

Tue, 20 Oct 2026 12:00:00 +0000

120 Hz on ProMotion screens, the OUTPUTS panel fits with the drawer open, and the window only zooms when you double-click the bar's empty space.

120 Hz — On a ProMotion screen the pictures, meters and readouts move at 120 Hz, in step with the screen. The meters update four times as often.
OUTPUTS fits with the drawer open — With the drawer open, the OUTPUTS panel stays inside its column: its head shows OUTPUTS alone when there is no room for the NO OUTPUT chip, and each monitor still says OFF.
Double-click zoom only on empty bar — A double-click on a button in the top bar never resizes the window any more. Double-click the bar's empty space to zoom, as the Mac's setting says.

REWIND PRO 1.0.0 beta 1

Tue, 20 Oct 2026 12:00:00 +0000

The first beta: cameras over SDI with their sound, one slim bar and bigger pictures, VIEWER and MULTI, projects, and one copy that updates itself.

Blackmagic SDI in — A camera on a Blackmagic card's SDI input shows and records on its CAM. When the camera changes format, Rewind Pro follows it on its own.
Sound from the SDI cable — The camera's sound records with every take. Each CAM shows a meter, or NO AUDIO when its source sends none. Replay plays the selected CAM's sound.
VIEWER and MULTI — Pages are tabs now. VIEWER ⌘1 puts one CAM big with the others small at the bottom or on the left. MULTI ⌘2 shows every CAM at once. V steps the big CAM.
One slim bar — ROLL, CUT, REPLAY, LIVE, the slate, the project and the pages share one slim bar at the top, so the pictures get the room: VIEWER is much bigger. TC, drive, drops and the format sit in the status bar, amber when something is wrong.
Everything in one window — Settings, Keys, Library, Composite, Outputs and Channels open inside Rewind Pro as pages, never as a window of their own.
Every theme, one layout — SCANNY, MATTE and GLASS show the same layout as RAYVN. A theme changes colours and surfaces only.
Projects — The project name sits in the window row. Its menu renames, switches and creates projects. Each project keeps its own takes, and Rewind Pro opens the last one.
CUT ⌘C and LIVE ⌘L — Cut is ⌘C and back to live is ⌘L, on the bar's keys, in ⌘K and in KEYS.
NO SIGNAL, never a frozen picture — A CAM whose camera sends nothing says NO SIGNAL in amber instead of LIVE over its last picture. While rolling it says NOT REC.
One copy, updates at restart — There is one Rewind Pro on the Mac. A new beta waits until you press RESTART: it never swaps in while a take rolls.
Check for updates and What's New — Settings › ABOUT and ⌘K check for a new beta and show these notes. They open once when a new beta starts.
Pictures after a theme switch — Switching theme no longer leaves the viewer black: the picture comes straight back, big and small.

SCANNY 1.1.0 beta 32

Wed, 14 Oct 2026 12:00:00 +0000

MAP and PATCH carry CHECK's proof: each ColorBox on the map, its pin on PATCH, crossed patches named, ALEXA metadata checked through the box, and a log of every signal-path change.

ColorBoxes on MAP — After a CHECK, MAP gets a COLORBOX column: each box sits beside its base station. Lines run base → box → router only where CHECK proved them; a guessed join is dashed and still. TRACE SIGNAL runs through the camera's own box, and the side panel shows the 9-hop chain and where the black starts. A CHECK older than 10 minutes turns grey, and a CHECK that finishes while MAP is open shows at once.
ColorBox pins and crossed patches on PATCH — Pin the ColorBox that feeds each camera: saved at once in Scanny, one-press UNDO. When a box's own picture names another camera, PATCH and MAP say CROSSED PATCH · BOX 14 SEES CAM 14, with the time of the CHECK. Pins stay in Scanny; nothing is sent to the boxes or the router.
ALEXA metadata checked through the box — On ALEXA chains the box input's ARRI metadata is read by position: camera index, LOG or 709, frame rate, model and the REC flag, each checked against the camera itself. Same is lime, different is amber with both values named, not readable is grey. Boxes join their camera by serial first.
Signal-path change log — ACTIVITY logs signal-path changes: router up or down, Livegrade devices lost or back, genlock, the SDI standard on camera and CCU, and the fiber band. A change must hold 20 s before it is logged, and one change across several devices is one line.
One colour rule on every value — Amber only for a fault at that device. A problem number is never lime. Input lines that only show what arrives are grey. Fleet pills count a box in BYPASS, FRAME STORE, OVERLAY or SAFEBOOT as AT BOX. A Livegrade device never reached, on another network, reads NOT REACHED.
SEEN · NOT READ — CHECK lists signal devices Scanny sees but cannot read, such as a KUMO or a Decimator, in grey. LUT boxes stay on LUT BOXES, so each box shows once.
HELPER knows CHECK — Three new HELPER sections: the 9 hops, the verdicts and the colour rule, and what to check first.

SCANNY 1.1.0 beta 31

Wed, 14 Oct 2026 12:00:00 +0000

CHECK finds every LUT box on the network — FSI BoxIO, AJA, Blackmagic, TVLogic and more — and says what each one is and whether Scanny can read it.

LUT BOXES in CHECK — CHECK lists every LUT box it can find: AJA ColorBox, FSI BoxIO, Blackmagic, TVLogic, Teradek and more. Each row shows the maker, model when the box itself says it, IP, how it was found (the box's web page, its network name, Livegrade, or its maker's network ID), whether it answers, and a button to open its own web page. A model is never guessed from the maker's network ID alone. A device known only by its maker's network ID is listed apart as MAKER ONLY and never counted as a LUT box.
Readable or not, said plainly — ColorBoxes keep their full verdicts. Boxes whose maker has not published a way to read them, such as BoxIO, read found · Scanny cannot read its picture or LUT, in grey, never as a fault. Boxes saved in Livegrade but missing from the last sweep say so, in those words.
Finding boxes sends nothing new — The finder uses only what Scanny already does: the network sweep you allowed, the names devices announce, and Livegrade's own list. No new probes, no broadcasts, nothing sent to any box.
HELPER knows the other LUT boxes — The HELPER library gains notes on FSI BoxIO and the other LUT boxes: what each is and how to check it by hand.

SCANNY 1.1.0 beta 30

Wed, 14 Oct 2026 12:00:00 +0000

CHECK: one press checks the whole signal path, shows where each camera's picture stops, and exports a one-page proof per camera. ColorBox verdicts now rest on each box's own settings.

CHECK tab: the signal chain per camera — A new tab after MAP follows each camera through nine steps: camera SDI out, fiber, base station in, CCU out, ColorBox in and out, router in and out, and the destination. Each step is proven, broken, not read, or known only by label. Where the picture stops is marked between the last step proven good and the first proven bad; a step Scanny could not read is never blamed, and a box matched only by guess never raises an alarm.
CHECK EVERYTHING and a proof page per camera — One press (or Cmd+Return) checks the ColorBoxes, the router, the base stations and Livegrade together. EXPORT writes the whole truck or a single camera's chain: an index, a one-page proof per camera with the box pictures and waveform, the chain data, and the list of every request Scanny sent.
Blame only what is at fault — Every view, report and export uses one rule: amber only for a problem at that device (a box's black output or a box setting such as Frame Store or bypass), grey for problems upstream or matches that are only a guess. A fleet line reads like 20 BOXES · 9 PASSING · 10 UPSTREAM · 0 AT BOX.
Router read in more detail, still read only — Scanny now reads the router's output locks, model and which ports are fitted, on the connection it already had. It still sends the router nothing.
Livegrade devices from another job — A Livegrade device or router saved on a network this Mac is not on now reads SET UP · NOT ON THIS NETWORK in grey instead of LOST or ROUTER FAILED. A device that worked this session, or sits on any network the Mac has, still shows its real fault.
ColorBox verdicts rest on the box's own settings — Whether a box is processing now comes from its active mode, the same way AJA's own web page reads it: LUT stages, Colorfront, Orion, BBC or NBC. PASSING · NO LUT needs the settings to confirm it; otherwise Scanny grabs the output once more, and if it still matches the input the verdict is OUTPUT NOT CONFIRMED, with no claim either way.
HELPER: ColorBox connectors — The ColorBox notes now describe the rear panel as SDI In, SDI Loop Out (the raw input, no LUT) and SDI Out (processed), plus HDMI: a feed taken from LOOP shows ungraded log, never the LUT.

SCANNY 1.1.0 beta 29

Wed, 14 Oct 2026 12:00:00 +0000

AJA ColorBox check: one press reads every box, gives a verdict with the numbers behind it, and exports evidence an engineer can check.

ColorBox check: one press, every box — Network › COLORBOX reads every AJA ColorBox in parallel through the box's own API: input lock and format, output, bypass, Frame Store, overlay, safeboot, pipeline and 3D LUT, firmware, and the box's own picture before and after the LUT with a luma waveform. A 60-second lock check catches dead or flapping links. Each box gets a verdict with the numbers behind it: NO INPUT, UNSTABLE INPUT, BLACK INPUT, FLAT INPUT, PASSING, PASSING · NO LUT, or BOX OUTPUT BLACK — the only one that blames the box, and it names the box setting when one explains the black.
Which camera feeds each box — Scanny reads the ALEXA metadata riding in each box's input (model, software, clip, lens) and matches it to the camera it already knows. Packets marked for deletion show when a feed passed through another processor first.
A dark log scene is not a box fault — When a LUT turns a dark scene almost black but highlights still reach the top, the verdict says PASSING · LUT crushes a dark scene, with the highlight level, so nobody mistakes it for a blocked signal.
EXPORT EVIDENCE — One press writes a timestamped folder with a PDF report, summary and lock-poll CSVs, every box's raw API answers, the pictures and waveforms. The report states how each verdict is decided and only claims what was read: anything a check could not read says not read.
Reads only, one reversible exception — The only thing Scanny changes on a box is the web preview's INPUT / OUTPUT button, to grab the post-LUT picture: only on boxes that report as ColorBoxes, only after re-reading, confirmed before the picture is trusted, and always put back and read back. READ ONLY in Settings turns even that off.
HELPER knows the ColorBox — The HELPER library gains an AJA ColorBox section: the chain, the connectors and LEDs, bypass, Frame Store, LUTs and Livegrade, and how to tell whose black it is.

SCANNY 1.1.0 beta 28

Tue, 13 Oct 2026 12:00:00 +0000

FR7 follow-up: SEND reads the tally before it sends, Auto ND says why it can't, and the camera strip keeps its words and fits long camera names.

SEND reads the tally first — When Scanny couldn't tell an FR7's tally (status too old, tally or REC not read), SEND now reads REC and PGM fresh before it decides, so a send-anyway never goes out on stale information. Standby and Power on use the same fresh read.
Auto ND says why — With the ND filter on Clear or the ND mode on Preset, AUTO ND stays pressable and says what to change on the camera instead of greying out silently.
Camera strip keeps its words — Identify, IP settings and Web app keep their labels whenever they fit, and a long camera name is shortened before the result line is, so the camera's answer stays readable at any window width. Function keys fall back to short names (A.IRIS, PGM, PVW) only when the window is narrow.

SCANNY 1.1.0 beta 27

Tue, 13 Oct 2026 12:00:00 +0000

Every FR7 key works in one press, or says why. Includes all of beta 26.

FR7 keys work in one press — AUTO IRIS, AUTO ISO, AUTO SHUTTER and the other FR7 keys could wait on an on-air confirm window that never showed, so presses did nothing. Now a press goes straight to the camera. A camera on air, or one whose tally Scanny can't read, is skipped automatically with one line and SEND to send anyway. No hidden asks.
Every press says what happened — Each press logs the camera's answer, and a refusal reads in plain words, for example Camera refused: not possible in its current mode. Keys the camera can't use in its shooting mode are dimmed with the reason, and the info bar updates right after a press instead of on the next poll.

SCANNY 1.1.0 beta 26