Rename a preset, and start a new oneIn the Engine and the Builder, each preset now has a ✎ to rename it right there (Enter confirms, Esc cancels): the preset keeps its place in the lineup, its on-air time and its lock. It won't let you rename the one that is on air or use another preset's name. And there is a New button next to Save that leaves the scene blank so you can build another preset, without deleting any of the saved ones.
After “New version”, the app opens with the right interfaceUpdating with the app's own button could leave the new app opening with the previous version's interface (the installer reopened it inheriting leftovers from the old app). It now opens clean, and if it still catches an interface that isn't from its version it reopens once by itself. All four apps and the suite installer carry the fix.
One piece that stays: the lockA logo, the event's brand or a timer can stay on air for the whole show, while the other presets come and go underneath. A lock button on each preset, in the panel and in the operator — before, firing the next one swept the on-screen bug away.
The show fetches itselfWhoever builds the graphics delivers it to Things On; whoever is at the event's server presses Fetch deliveries and brings it in. It doesn't have to be the same person. Several designers can deliver to the same event, and each delivery says whose it is.
A whole event in a single fileIt is called a show: several named presets, plus the media, in one package. It is what was missing so that someone outside can deliver an event without sending ten loose files and explaining over the phone what they are called. It is imported all at once, and never overwrites a preset that already exists.
Build graphics in the browser, with nothing to installThere is now a builder that opens in a browser: whoever produces the graphics builds the presets, sees them with the same render engine that will put the picture on air, and delivers the show directly — with nothing to install and without joining the event's network. The address is given on request.
Logos with a transparent background come out cleanAn image with transparency placed on a plate or a 3D cube showed up on air with a black square around it — and in the composition window it looked fine, which made it hard to understand. The key followed the object's shape instead of the image's transparency; now both follow the same silhouette.
A preset doesn't travel without its mediaThe builder stops before sending if a file is missing on its machine, and the server refuses at the door a preset that arrives incomplete — saying which piece and which file. Before, it was accepted silently and only failed right at the event.
A missing media file no longer takes the graphics off airA new preset that is missing a file no longer darkens the render machine. It keeps drawing what it has, fetches what is missing in the background, and only switches when everything is there — and if it isn't, it keeps what it has and tries again by itself. The panel now says which media are missing, not just how many.
The update notice shows signs of lifePressing Update now shows the percentage while it downloads, says when the installer has opened — and that the app has to be closed so it can replace it — and, if it goes wrong, shows the error and lets you try again. Before, it downloaded everything silently and the notice stayed the same, as if the button were dead.
Four apps, one per jobThe engine is no longer everything on one machine. The Engine is the server; the Render takes the fill and key outputs to the machine that feeds the switcher; the Builder builds graphics elsewhere and sends them; the Operator fires live. They find each other on the network and ask for a code, so nothing connects by mistake.
NDI outputThe render machine also outputs over NDI: fill and key together in a single signal with alpha, ready for vMix or whatever is on the other end. For when the server goes live — a forgotten signal never stays on air.
Operator panel, on the tablet tooThe order of the presets is dragged to build the lineup, you see the clock and the on-air time, and STOP is always at hand. The same panel opens in the browser of a tablet on the network, with nothing to install.
Smooth change between presetsWhen switching, what is the same from one preset to the next stays on air and only what is different changes — a bar that carries on, a name that swaps. Pieces are matched by name, which is what you control.
Duplicate piecesYou copy a piece (or a whole selection) instead of typing the same values again. The copy always lands inside the stage.
Face resolutionPlates and cubes state the resolution of each face, and there is a “fit to media”: you inject an image or a video without it coming out distorted.
Type on the canvas itselfDouble-click a text and you type right there, at the size and colour it will have on air. And there is a proofing background (colour, image or checkerboard) to see transparencies and shadows over something that isn't black — only on the canvas, never on the outputs.
Speed belongs to the operatorThe overall speed used to live inside each preset, so each firing overrode the one that was set. It is now the machine's; each preset's intent stays in each piece's timings.
Each app with its own iconAll four used the same one and, on a machine with two open, the taskbar couldn't tell them apart. Each one now has its own colour and its own letter.
Updates, with judgementEach app warns when there is a new version and only updates on request. A render machine reloads by itself when the server changes version, but never with graphics on air.