NDI sources now tell the camera or app sending them whether they are on Program or in Preview. Any NDI-aware monitoring app or PTZ camera — the NDI mobile app, NDI Studio Monitor, and others — shows the standard red or green tally border the moment a source is placed.
InterDirector now looks for updates at updates.interdirector.com instead of the address earlier versions used. There is nothing to do: this copy is offered the change through the old address, and from then on checks the new one. The old address keeps working for copies that have not updated yet.
The Overlay button under the fades now lights up, and says "Overlay Off", when the overlay source in Preview is on air. It only did so for a picture the button itself had put up. Pressing it takes that overlay down, and the layer boxes move it. If the button has put a picture up, it stays about that one whatever Preview holds, as before.
The coloured buttons on the operator window keep their colour when another window or a settings sheet has focus. AutoDirector On, Animations, an overlay that is on air, the numbered overlay layer boxes on the input cards and in the replay panel, CUT and Replay's Capture used to fade to grey the moment the window lost focus, which made it impossible to tell at a glance what was running. They now look the same whether or not the window is in front, like the Stream, Record, Input Rec, NDI and External buttons already did.
Licences. InterDirector now needs a licence to start its outputs. Open InterDirector → Licence… to see where you stand, enter a licence key, start a free trial, buy a licence, or manage an existing one. - A free trial of 14 days on each Mac, started from the startup window or the Licence window. While it runs, the Program output carries a small TRIAL VERSION mark in the bottom-right corner, under the InterDirector logo. The Licence window shows a short code for the Mac, which is what to quote if you contact support about your trial. - A licence covers two Macs, for example an operator Mac and a spare. To move it, free a Mac with Free This Mac in the Licence window, or from your customer portal; the freed place is available at once. - What needs a licence is starting streaming, Program recording, input recording, NDI output, SDI output and the external Program window. Without one, InterDirector says why and offers Licence… and Buy Licence…. Opening, preparing and editing Shows, the monitors, Replay and updates all keep working. - A licence never ends a show in progress. If it runs out while you are live, everything already running carries on; the change applies the next time you start an output. A licence that is about to end is announced a few days ahead. - InterDirector checks your licence when it starts, and again from time to time. If it cannot reach the licence service, for example when there is no internet, it keeps relying on its last answer for three days and tells you so, so a bad connection never stops a job. - What is sent: your licence key, the Mac's name, and, for a trial, a one-way code made from the Mac's hardware identifier so that a trial cannot be started twice. Nothing about your Shows or how you use InterDirector is ever sent.
The Show journal notes when the licence state changes, and when an output start is refused because of it, so a refused start can be explained afterwards.
The Check for Updates…, Licence… and Settings… entries in the InterDirector menu now have icons, like the other entries in that menu.
InterDirector now looks for updates at interdirector.com instead of the address earlier versions used. There is nothing to do: this copy is offered the change through the old address, and from then on checks the new one. The old address keeps working for copies that have not updated yet.
The orange warning in Input Recording settings that armed inputs might be more than a Mac can encode. It compared against a figure measured on one Mac mini, so it was wrong on faster Macs and silent on slower ones. A recording that cannot keep up still drops frames, counts them, and says so on its row.
Settings → Diagnostics → Log monitor pacing writes to the system log, every ten seconds, how the Preview and Program monitors and the external output window are keeping time: frames shown twice, frames skipped, and how long each frame stayed on the display. For finding out where a micro-stutter comes from; off by default.
The Preview and Program area can no longer be dragged so short that the Transition, T-bar and Overlay controls between the monitors are clipped. The divider stops at the height those controls need, and a Show saved with a shorter share is shown at that height. In a very short window the row of controls below still stays reachable, so the deck can be shorter there.
Countdowns in overlay text. Type a countdown shortcode into any text value of an overlay — alone, or inside other words — and it runs by itself on air: Live in [countdown to="20:30" format="{mm}:{ss}" done="On air"]. The format can be anything from {hh}:{mm}:{ss} to running text such as {hh} Hours, {mm} Minutes and {ss} Seconds; the largest unit you use counts everything above it, so {mm}:{ss} shows 90:00 for an hour and a half. done is optional text shown at zero; without it the countdown holds at zero. A time without a date is that time today, so for a show that runs past midnight give a date (2026-09-20 00:15). A shortcode that is misspelled is left as typed so you can see it.
A Countdown Generator section in an overlay's settings, with a Build… button, opens a small panel that builds the shortcode for you — pick the time (or date and time), a format, optional finished text — shows what it reads right now, and copies it to the clipboard. It appears for any overlay with a text value.
A Simple Text overlay: a rounded rectangle of colour and opacity behind text, placed where you want it. Type the text in a multi-line box — your line breaks are kept — and set the backdrop colour and opacity, the text colour and size, left / centre / right alignment, the horizontal and vertical position, and how wide a line may run before it wraps. It fades in and out. Add it like any other built-in overlay.
Fight Card Lower Thirds keep their text centred when it wraps. In the Split version's middle column, and in the Stacked version's RED / BLUE tags, a class, format or tag long enough to run onto a second line used to line up flush left inside its centred box. Every line now centres.
Moving a data source's cursor no longer marks the Show as changed, and no longer replaces what you typed beside a data-bound overlay value. The value under a binding is now always kept as you typed it, so removing the binding puts it back, and a row with nothing in the bound field falls back to it instead of to the previous row. An overlay value you bound with an earlier build may have had a row's text saved over it; type it again if so.
The Data panel no longer scrolls sideways on its own. It opens at the first column, and a wide table keeps the horizontal position you gave it when the cursor moves or the data refreshes; only the vertical position follows the highlighted row. A row moved by a hotkey, Stream Deck key or rule is brought to the middle as before, while one that merely shifted because a refresh reordered the rows is kept in view without re-centring the table.
A Data panel, opened with the new Data button beside Replay and the Audio Mixer (shown when the Show has a data source). Each data source is a tab, in the look of Replay's bucket tabs, with its row count; click any row to point that source's cursor at it, and every overlay bound to it follows. The selected row is highlighted, and the highlight follows the cursor when a hotkey, a Stream Deck key or a rule moves it, scrolling the row into view. It is read-only, has a Read Now button for re-reading the source, and takes the place of Replay or the mixer when docked, or moves into a window of its own like they do.
In the Data panel, click a row and then use the up and down arrow keys to walk the list. They stop at the first and last row rather than wrapping.
Moving a data source's cursor from anywhere now appears in the Show journal, naming the source and the row.
A Fade to Black button in the Program monitor's bottom-right corner, matching the frame-rate chip opposite it. It fades Program's picture, overlays included, and Master audio to black and silence over the Show's Fade duration, and holds there until you press it again, which fades back up to the same source. Preview and what is in Program don't change, so you can line up the next source while black. It can be mapped to a hotkey or Stream Deck key ("Fade Program to black, or back up"), and its key lights while Program is black. Hardware sends on Bus A and B keep playing.
A Dip transition beside Fade 1 and Fade 2 on the deck, with its own duration box: Program fades to black and then Preview comes up out of it, picture and Program-following sound together. The duration is saved with the Show (1000 ms to start with) and used by a hotkey, Stream Deck key or rule mapped to "Dip Preview to Program through black".
The Audio Mixer, the Replay panel and the live inputs (the input cards) can each be moved into a window of their own, for a second display, say, with the arrow button beside their titles; the same button in the window puts them back. Closing the mixer's or Replay's window puts it away; closing the live inputs' window puts them back. Which are out is saved with the Show, and where each window sits is remembered on each Mac. The toolbar buttons read Mixer window and Replay window while those are out and bring them to the front.
With the mixer out, the input cards take the whole row and Replay can open freely. With Replay out, the mixer and Replay can be open together.
With the live inputs out, the Audio Mixer opens by itself and takes the whole row, its strips gathered at the left, and Replay can open beside it. Put the live inputs back and the mixer returns to how you had it. With both the live inputs and the mixer out, Preview and Program take the height they leave.
A new X-Large card size for the input cards, above Large.
The input cards now sit under a Live inputs headline in the mixer's style, which holds the button that moves them into a window and the Card size control (moved down from the row of buttons above; the window has both).
The Audio Mixer has a titled header of its own, level with the live inputs' headline, so its strips are a little shorter than before.
The row of buttons above the input cards (Add Input, Input Rec, AutoDirector, Animations and the panel buttons) now sits on a slightly lighter strip.
A running Dip is reported as "Dip active" rather than "Fade active" in the Program renderer's status.
A source's zoom and position can now loop back and forth between a start and end framing, with a stopwatch icon beside the Size and position sliders: set current framing as the start or end, pick a duration, and turn the loop on. Motion eases smoothly rather than moving at a constant rate. A show-wide switch on the deck's bottom row turns every configured loop on or off at once, and dims and disables itself when no source has one set up.
Any Camera, Blackmagic, Media, or Image input can now use another input's audio instead of its own, from an "Audio Source" picker on the input's settings — one picker shared by every source kind, replacing the old Camera-only mechanism.
Blackmagic inputs can be set to None for audio, for a clean video-only feed that takes up no mixer strip.
The audio picker no longer offers "This Input's Own Audio" for sources that don't actually have one, such as a webcam.
The diagnostics settings explanation for the logging toggles no longer ends with the confusing "Kept for this Mac" fragment.
The old Camera-only "Paired audio" picker — audio pairing for a Camera input is now set from the same Audio Source picker every other input kind uses.
Turning the show-wide Animations switch off now stops a looping source that's currently in Program, not only ones in Preview.