1.0.0 beta 4

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.