REWIND PRO

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.

NEW 34

• 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; CMD+Z on CHANNELS takes back the last change on the CAM you are on). BYPASS (CTRL+SHIFT+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, SHIFT+OPT+K puts a chroma key and SHIFT+OPT+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

  CTRL+SHIFT+1 to CTRL+SHIFT+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), CTRL+SHIFT+0 is BYPASS, and OPT+CMD+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 CMD+K by name, and its keys are together in KEYS under WINDOWS.

• 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 CMD+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.

• Output keys

  F1 to F5 pick an output. OPT+RETURN 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 CMD+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 (CTRL+CMD+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 OPT+CMD+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.

• Composites, live

  COMPOSITE CMD+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 (CTRL+CMD+1 to CTRL+CMD+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 CMD+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 (SHIFT+OPT+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). SHIFT+OPT+A switches, SHIFT+OPT+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

  CTRL+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. CTRL+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 SHIFT+CMD+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.

• The whole slate

  The SLATE drawer (CMD+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 (SHIFT+OPT+[ ] season, CTRL+OPT+[ ] episode, CTRL+SHIFT+[ ] 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

  OPT+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. OPT+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 CMD+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

  SHIFT+CMD. 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 (CTRL+CMD. 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.

• 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; CTRL+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. CTRL+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

  SHIFT+C flags the picked clip, and its flag shows in the list. FLAGGED sits beside ALL and CIRCLED; CTRL+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 SHIFT+CMD+N makes a bin of your own and you type its name in place. Drag takes onto it, or CTRL+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 CTRL+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 SHIFT+CMD+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 SHIFT+F loads whatever you pick in the library. LOAD RETURN on LIBRARY (CTRL+RETURN from anywhere) loads the picked clip, and PLAY OPT+SPACE 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.

IMPROVED 08

• 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.

• 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.

• 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 CMD+5 says what each one shows.

• 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.

• 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 CMD+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.

• 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 SHIFT+J SHIFT+L and CHANNELS' second key SHIFT+CMD+P are listed in CMD+K and the key map, and CMD+N, CMD+DELETE and SHIFT+CMD+DELETE 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.

FIXED 05

• 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.

• 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.

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.

NEW 16

• 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.

• 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 OPT+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

  SHIFT+1 to SHIFT+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. OPT+← and OPT+→ 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. CMD+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 OPT+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. CTRL+OPT+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 (OPT+O, SHIFT+OPT+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 (CTRL+- and CTRL+=). MUTE is CTRL+M, DIM drops it 20 dB with CTRL+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 CMD+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. CTRL+CMD+N types it.

• Up to eight CAMs

  ADD CMD+N, REMOVE CMD+DELETE to the trash and RESTORE SHIFT+CMD+DELETE, MOVE OPT+↑ OPT+↓, DUPLICATE CMD+D, COPY SHIFT+CMD+C and PASTE SHIFT+CMD+V a setup, RESET OPT+CMD+DELETE. 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 OPT+CMD+S keeps every slot as a setup, OPT+CMD+1 to OPT+CMD+5 bring one back with its sources, and each can be renamed or deleted to the trash. Not while a take rolls.

IMPROVED 02

• 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.

• 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. CTRL+M mute, CTRL+D dim, CTRL+= and CTRL+- level, CTRL+OPT+M the next channels, OPT+O the next output. The status line now says the same words as the bar.

FIXED 04

• 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.

UPDATE READY gets its own place in the bar.

FIXED 01

• 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.

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.

IMPROVED 01

• 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.

FIXED 02

• 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.

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.

NEW 05

• 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 CMD+1 puts one CAM big with the others small at the bottom or on the left. MULTI CMD+2 shows every CAM at once. V steps the big CAM.

• 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.

• Check for updates and What's New

  Settings › ABOUT and CMD+K check for a new beta and show these notes. They open once when a new beta starts.

IMPROVED 05

• 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.

• CUT CMD+C and LIVE CMD+L

  Cut is CMD+C and back to live is CMD+L, on the bar's keys, in CMD+K and in KEYS.

• 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.

FIXED 02

• 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.

• Pictures after a theme switch

  Switching theme no longer leaves the viewer black: the picture comes straight back, big and small.