Older releases.

Animated GIF, PNG and WebP. An Image input plays an animated file at its own speed, transparency included, alone or as a slide in a carousel. It loops as the file says: most loop for ever, and one that plays a set number of times holds its last frame and starts again each time it goes to Program or on air as an overlay. In a carousel, an animated slide plays from its start each time it comes up, for the slide's set duration.

Peak hold on every meter. A short mark stays at the highest level of the last second and a half, then falls back to the bar. It turns red when that peak came within 1 dB of clipping.

Double-click a mixer fader to set it to 0 dB.

Companion buttons that take an input straight to Program. The Companion module that comes with this version (0.1.8) has a new set of ready-made buttons, Inputs to Program: one per input, cutting it to Program rather than to Preview, lit red while it is there. The Inputs buttons are now called Inputs to Preview. Get it from Help ▸ Get the Bitfocus Companion Module and import it in Companion.

New audio meters, the same in the mixer and on the input cards. Each part of a meter keeps its colour as the level rises through it: green up to −18 dB, then yellow, orange and red towards 0 dB, and the range near 0 dB is taller, where you set levels. A source whose sound reaches no bus shows its meter in grey. In the mixer, a line across each meter marks where its fader sits at 0 dB, and the fader's cap has a white line that meets it there.

A hotkey's colour is dimmer while it is off, on Stream Deck keys, the web remote and Companion buttons, so a lit key stands out more clearly from an unlit one.

An image or other source taken to air as an overlay is drawn as it is in Preview. It was stretched to the whole picture on Program while Preview showed it fitted, so a square image came out wide. It now follows the input's own scaling, or the Show's, in both. Overlay packages are not affected.

Record without overlays. A switch in the recording's settings records Program as it is under every overlay, including a source or a replay played as one, so the graphics can be put back, changed or left off when editing. The stream, NDI, SDI and the external display still carry the overlays, and Fade to Black does not reach the recording. The recording button says so while it records. It applies from the next recording.

Shows saved by this version open in this version or later. Earlier versions cannot open them; keep this version on every Mac that opens the same Shows.

A key belongs to one hotkey. Learning a keyboard key or Stream Deck button that another hotkey already has now says which hotkey runs it and offers Move Here, which leaves that hotkey with no key; Cancel changes nothing. Hotkeys that are switched off count too. A Show that has one key on two hotkeys keeps it on the one that ran it, and the report shown as the Show opens names the others.

A Stream Deck key shared by two hotkeys showed the wrong one. It ran the first hotkey but took its name, colour and light from the last. It now shows the hotkey it runs.

Solo. An S button on every source strip in the mixer sends that source to a solo output for your headphones, after its fader, and even while it is muted or off Program. Several sources can be soloed at once; with none soloed, the solo output plays Master. Nothing that goes out changes: Program, the stream, recordings, NDI and the mixes' own outputs carry exactly what they did. Set the solo output in Audio Device Setup: any device and a pair of its channels, such as your interface's headphone output, or the Mac's own headphone jack. A Solo strip in the mixer has its level, its meter and Clear. Changing the solo output never interrupts audio. Solo or unsolo and Clear every solo are actions too, for a hotkey, a Stream Deck button, a rule or Companion, and a solo key lights while its source is soloed.

A stream destination can have its own encoding: resolution, video and audio bitrate, and keyframe interval, instead of the settings every destination shares. Switch on Use its own encoding on the destination. It gets an encoder of its own, whose bitrate lowers itself for that destination's connection alone. The shared Encoding section now shows the keyframe interval too.

Shows saved by this version open in this version or later. Earlier versions cannot open them; keep this version on every Mac that opens the same Shows.

Bitfocus Companion. An InterDirector module for Companion, downloadable from the website's Bitfocus Companion help page, puts switching, overlays, sound, media, outputs, replay, data sources, Fade to Black and your hotkeys on any surface Companion drives, with Program and Preview tally, names as variables, and ready-made buttons for each input, bucket and hotkey. A button can take its hotkey's own colour, bright while on and dimmed while off, as on a Stream Deck, and its text can be an input's or a hotkey's name, which follows a rename. It works on this Mac, or from another machine through the web remote with its password. Stopping an output still asks on the Mac unless a button says not to.

Help ▸ Get the Bitfocus Companion Module puts the Companion module that comes with this version of InterDirector in your Downloads folder and shows it, ready to import in Companion.

Fade 2 everywhere Fade 1 is. A new action, Fade 2 Preview to Program, for a hotkey, a Stream Deck button or a rule, uses the Fade 2 duration set beside the Fade 2 button. The web remote has a FADE 2 button beside FADE 1.

Play All replay buckets is now an action too, so a hotkey, a Stream Deck button, a rule or Companion can play every bucket, as the replay panel's Play All does. Companion can also play the selected bucket, or one by name.

More replay actions for a hotkey, a Stream Deck button or a rule: Stop the replay, Select a replay bucket (its key lights while that bucket is selected), Select the next or previous replay bucket, and Clear a replay bucket, which asks first when the bucket has clips.

Start or stop the Auto Director, Put Preview up as an overlay, or take it down (the Overlay button under the fades), Start or stop the external output, and Turn a stream destination on or off are actions too, and their keys light while each is on. Turning a destination off while streaming asks first, and says when it is the last one, which stops the stream.

Turn Follow Program on or off for a source, lit while it follows, and Set a mix's level for Master, Bus A or Bus B, as actions.

Reload the source (a web page, an overlay's package, or a folder of images or media), Reshuffle a playlist or carousel, and Read the data source now, as actions.

Hotkeys can be put in order, by dragging a row onto another, or with Move Up, Move Down, Move to Top and Move to Bottom on a right-click. The order is the one the web remote and Companion list them in, and where two share a key, the higher one runs.

Search the hotkey list by name, key, what a hotkey does, or the source it acts on.

The journal now notes when the Auto Director is switched on or off and why, and when a stream destination is turned on or off.

The Auto Director can take each source with a Dip through black, of its own length, as well as with a Cut or a Fade.

The playback buttons under a media or image source (previous, play or pause, restart, next, reshuffle), and the replay panel's + for a new bucket, now take a click anywhere on their square, not only on the icon.

Play, Pause, Restart and Go to item were offered for the replay input, and did nothing there. They are now offered for media and image sources only; use the replay actions for replay.

Clearing a replay bucket now also forgets its clips the next time the Show opens, as deleting a clip does.

Shows saved by this version open in this version or later. Earlier versions cannot open them; keep this version on every Mac that opens the same Shows.

Mute or unmute, a new action for a hotkey, a Stream Deck button, the web remote or a rule. It mutes the source if it is playing and unmutes it if it is muted, so one key does both, and the key lights while the source is muted.

A Show with a hotkey that was not finished could not be saved. Adding a hotkey and leaving it before learning its key made every save fail, and the automatic copy too. Such a Show now saves, and the hotkey list marks a hotkey that does nothing yet, with what it is missing: its key, or the source it acts on.

Closing a settings window straight after typing in a field, without pressing Return, could say that what you had just typed was missing, for example "Destination 1 needs a server address" with the SRT address on screen. What is typed is now kept before the window checks what is unfinished.

When a Show cannot be saved, the message now says why, naming the input or hotkey involved, and the journal records it. Before, it said only that the Show could not be saved.

Shows saved by this version open in this version or later. Earlier versions cannot open them; keep this version on every Mac that opens the same Shows.

LUTs. Any input with a picture can apply a .cube LUT as a look, in the new LUT tab of its colour settings, after its correction and grading, with a Strength from 0 to 100%. The LUT shows wherever the input does. A missing LUT file is listed with the Show's other missing files, and Save As with Files copies it. If a file cannot be read, the input shows without it, and the LUT tab says why. Reload reads a file again after you have edited it.

Chroma key. Key out a green or blue screen from any input with a picture, in the new Key tab of its settings. Pick the screen's colour by clicking it in a frozen frame, or choose Green or Blue, then set Tolerance, Softness and Spill. You can see the result over a checkerboard, or as a black-and-white matte. The key goes wherever the input does: inside a Composite, over Program as an overlay, and in Preview and its card. Colour correction, grading and LUTs then apply to what stays. To cut away lights and the edges of the screen, crop the input in its Picture tab.

A large photo on Program, such as a 24-megapixel camera JPEG, made Program drop frames all the time. Image inputs now read a large picture once, at the size it can be shown at, still sharp at a 200% zoom.

The soft edges of an overlay or image with colour correction, such as anti-aliased text or a logo's feathered edge, came out thinner than they should. They now keep the transparency they have.

Over a frozen frame you can pick a colour from, for the white-balance reference or a chroma key's screen, the pointer turns into an eyedropper.

Shows saved by this version open in this version or later. Earlier versions cannot open them; keep this version on every Mac that opens the same Shows.

Help › InterDirector Help (⌘?) opens InterDirector's documentation on the website, and Help › Release Notes opens what changed in each version.

When an NDI source drops, the journal now says why — nothing arrived from it for 2 seconds, or the sender changed its address or format — and, once it is back, how long it was gone. When several NDI sources drop within 2 seconds of each other, the journal says so once, counting them, because sources failing together almost always points to the network they share rather than to the sources themselves.

The web remote over the internet. Switch on Also over the internet in Show Settings › Remote, and your crew can open the Show's own link, or scan its QR code, from anywhere: at home, or on a phone's mobile data. It uses the same password, needs no certificate warning, and keeps the same link each time you use the Show; New Link… replaces it. At most four remotes use the link at once, and it needs a licence or a trial. The network address keeps working if the internet drops.

The web remote no longer sends your password. Signing in now answers a question from the Mac that only the right password can answer, so the password never travels over the network. After updating, reload any remote page that was already open, or it cannot sign in.

The web remote notices when your Mac stops answering, within about 25 seconds, turns its buttons off, and signs back in by itself when the Mac is back.

The privacy notice for customers, and the Licence window's privacy note, now describe the web remote's relay: what goes to it, and that it keeps none of it.

Shows saved by this version open in this version or later. Earlier versions cannot open them; keep this version on every Mac that opens the same Shows.

ProRes recording. Program and input recordings can be written as ProRes 422 Proxy, LT, 422 or HQ, chosen beside HEVC and H.264 in their settings, which show how much disk each takes. ProRes is encoded separately from the stream, so you can record many more inputs at once without the stream dropping frames — as many as your disk can write. It needs an M1 Pro, M1 Max or any later Mac.

ProRes for the replay buffer. Choose ProRes 422 Proxy or LT on the Replay input's settings: it is encoded apart from the stream and recordings, and a capture starts on exactly the frame you asked for. It takes more memory, up to 2 GB, and the settings say how long the buffer holds. Its clips are MOV files.

Shows saved by this version open in this version or later. Earlier versions cannot open them; keep this version on every Mac that opens the same Shows.

Luminance for each grading band. Brighten or darken the shadows, midtones or highlights without adding colour.

Colour grading blends the way photo editors' does. The Shadows, Midtones and Highlights bands now sit and blend where you would expect them to, and never colour pure black or pure white. Inputs you have already graded will look different, so check their grading.

Shows saved by this version open in this version or later. Earlier versions cannot open them; keep this version on every Mac that runs the same Show.

The Stream Deck and the web remote come back reliably after New Show. Starting a new Show straight after closing one could leave them unable to connect until InterDirector was restarted.

Save As with Files. File › Save As with Files… saves the Show where you choose and copies every file it uses into a Media files folder beside it, so the whole folder can go on a USB stick or into a shared cloud folder and open on another Mac with nothing missing. Folders an input follows are copied as they are, replay clips come along, and files that are missing are listed at the end. Recordings stay where they are. While you are on air it asks first.

Tools › Recordings… plays your recordings. The Cut Marks window is now the Recordings window: it lists every Program recording in a folder, plays the one you choose, and shows a timeline where you can drag the playhead, drag a mark, or add one where you are — so a recording can be marked afterwards, not only while it records. Space, J, K, L, the arrow keys and M control the player while the window is in front. It starts muted while you stream or record. Set an In and an Out to trim the start and end away when you export, and drag the bar under the picture to make it bigger.

Replays stay with a show folder that moves. A show folder synced to another Mac, or moved on this one, opened with its replay buckets empty even though the clips were still in its Replays folder. They now come back.

Network stream inputs. Receive RTMP or SRT sent to your Mac from a phone app, streaming software or a hardware encoder, or pull SRT or RTSP from a camera or encoder. A listening input shows the address to give the sender, and waits for it; an RTMP input only accepts a sender using its own stream key. Latency is 500 ms to start with, and can be lowered where your network allows. Like any live input, a network stream can be armed for input recording, and its sound can be swapped for another input's, such as a microphone.

A web remote. Other operators on the same network can put sources in Preview, Cut, Fade and Dip, and press your Show's hotkeys from a browser on a phone, tablet or laptop. Switch it on and set a password in Show Settings under Remote; the top bar shows how many remotes are connected, and each can be disconnected. Anything that asks before it happens on your Mac asks on the remote instead.

Colours for hotkeys. Give a hotkey one of nineteen colours in Show Settings under Controls, and it shows on the web remote and on its Stream Deck key: dimmed while off, full while on. Every colour is dark enough for white text.

Shadows and Highlights now work like a photo editor's. Lifting shadows no longer turns black grey or washes out colour, and pulling them down no longer crushes the darkest part of the picture to black; Highlights reaches further. Black and white stay where they are while the tones between them move. Inputs you have already adjusted will look different, so check their Shadows and Highlights.

Stream Deck key colours are exact. A colour picked for a key came out slightly different on the deck.

Every hotkey in Show Settings looks the same. Some rows in the Controls list were drawn larger and brighter than the rest for no reason.

Dip no longer takes the sound away. The picture still goes through black, but the sound of the sources that follow Program now crossfades straight across, as it does in a Fade, instead of falling silent halfway.

Input meters move with what you hear. The meters on input cards and mixer strips were a moment ahead of the sound and of Master's meter; they now move together.

Deleting the selected replay clip asks about the selected clip. Its confirmation used to ask about the last clip captured, which may be a different one.

An input whose audio source is set to None is always silent. Before, one that had Follow Program switched off could still be heard, with no mixer strip to turn it down.