ENHANCED Consistent metadata values across exports
ALE, SCRATCH XML, Final Cut Pro XML and Silverstack now present aperture, shutter, color temperature, dates, manufacturer and camera letter in the same form as the DaVinci Resolve CSV introduced in 7.2.
If your bins or searches rely on the previous values, you may see different strings after updating.
TSV continues to report values as the camera writes them.
ENHANCED Eight more camera fields in every export
Actual Focal Length, Image Stabilizer, Extender Magnification, AF Sensing Area, Data Level, Camera Rating, Camera Highlight and Recording Device reached only the DaVinci Resolve CSV in 7.2. They now also reach ALE, SCRATCH XML, Final Cut Pro XML and TSV.
In Final Cut Pro they appear in the evrExpanse metadata view, which updates itself on the next launch or export. The view is also regrouped, so the lens fields read as one block and Actual Focal Length follows the 35 mm equivalent.
ENHANCED Readable column names in ALE and SCRATCH XML
The custom columns written by evrExpanse now carry readable names prefixed with evr: Media Composer shows “evr · Camera Model” where it showed “e_Camera.Type”.
In a project that already holds the previous columns, the renamed ones arrive alongside them, and views or filters built on the old names need rebuilding once.
ENHANCED Cleaner values in Final Cut Pro XML
Values no longer repeat units already stated by the field name: “24.000 FPS” becomes “24.000”. Incomplete values such as “Auto K” are omitted.
ENHANCED More useful Silverstack metadata
The export now includes the shooting date in a readable format, GPS coordinates where the camera records them, and ISO and aperture as numbers.
ENHANCED Clearer activation messages
Activation now gives a clearer message when the network does not respond.
FIXED File names with special characters
A file whose name contains square brackets, an asterisk or a question mark could take the directory, name and metadata of another matching file. All formats were affected.
NEW Camera metadata as custom fields in DaVinci Resolve
The DaVinci Resolve CSV gains eight columns: Actual Focal Length, Image Stabilizer, Extender Magnification, AF Sensing Area, Data Level, Camera Rating, Camera Highlight and Recording Device. Until now these values reached Resolve only inside Camera Notes, packed into a single string reading DL=(Video), IS=(Enabled), AFL=(51.00mm) and so on, where nothing could read them one at a time. Each is now a column of its own.
Resolve 20.3 and later can create custom metadata fields while importing a CSV, from the option in the import panel. Earlier versions ignore columns they do not recognise, so the file still imports as it always did. Camera Notes is unchanged and still carries the whole string.
Actual focal length is not the number already exported as Focal Point, which is the 35 mm equivalent: a clip shot at 51 mm on an ILCE-1 reports 53.50 mm equivalent. Both are now available side by side.
Commas survive. Camera Notes has to replace them with a lookalike character so they do not break the CSV; the new columns carry the value as the camera wrote it, so a stabiliser mode reading "On (mode 1, continuous)" arrives in Resolve intact.
NEW evrExpanse JSON export format
A seventh export format joins the EXPORT FORMATS row. Unlike the other six, which produce a document for a specific application, the JSON carries the full metadata of every clip in one file meant to be read by other software: your own scripts, a plugin, or a tool built around your pipeline. Values that a program needs to compute with are carried alongside the readable form, so nothing has to be parsed back out of a formatted string.
The output is deterministic: two exports of the same folder produce identical files, clip by clip and byte for byte, apart from the generation timestamp. No other export format in the application offers this, and it is what makes the JSON usable as an input to an automated step. Everywhere else it behaves like the other six — saved and restored by session presets, counted towards the check that at least one format is selected, listed in the Session Report — and presets saved before this release open normally, with the JSON off.
For developers. The JSON is the exchange format for integrations with other systems. Every field the new Resolve columns carry is in the document, along with the actual focal length, the extender magnification and the AF sensing area; each value appears both as the camera wrote it and in its normalised form. A key that has no value is absent rather than empty, so a missing reading never arrives as a zero or a blank string.
ENHANCED One consistent form for camera values in DaVinci Resolve
Fourteen columns of the DaVinci Resolve CSV now read the same way whatever camera wrote the clip: f/4 instead of 4.0 or 4.000338, 1/25 instead of 1 / 25.0, 180° instead of 180.0 or 180 degree, 50mm instead of 50.0 mm, and the same for focus distance, white balance, sensor area and bitrate. A column now sorts and filters as one set instead of splintering by camera brand.
Date Recorded is now a date. The column carried the form written inside the file, 2019:09:25 13:06:00, with colons in the date as well as the time — which no spreadsheet and no database would read as a date. It now reads 2019-09-25T13:06:00. This affects nearly every clip that carries a recording date.
Camera Manufacturer and Camera # are tidied the same way: CANON, samsung and NIKON CORPORATION arrive as Canon, Samsung and Nikon, and the camera letter arrives as A rather than A_.
Placeholder values are no longer passed through. Stray spaces are trimmed, and values that stand for absence rather than for a measurement are left empty instead of being written out: N/A, an aperture or a focal length of zero, an unknown colour temperature, a frame rate of 0.000. A lens that cannot report focus distance makes some cameras write 65535, which reached Resolve as a distance of 65 kilometres; the cell is now left empty. An empty cell in Resolve now means the camera did not record the value, which is what an empty cell should mean.
Resolve is the first export to adopt this. ALE, FCPXML, Silverstack and Scratch will follow over the coming releases, and the evrExpanse TSV keeps the raw reading by design.
FIXED Canon Cinema MXF exported without its recording data
MXF clips from Canon Cinema cameras could export without the data held inside the file — ISO, aperture, shutter, white balance, lens and sensor — and with gamma and colour space shown as a raw identifier instead of CLogV2 or CinemaGamut. Clips offloaded with their XML sidecar, or with a Canon XF Utility still, were unaffected.
Present since 7.0.3. Timecode, clip name, reel and date were never affected. If you have exported Canon XF material since then, check one clip before deciding whether to regenerate.
FIXED Sony XDCAM MXF showing an identifier in place of the gamma name
On XDCAM MXF clips carrying no per-frame metadata, Gamma Notes showed a sixteen-character identifier rather than S-Log3, S-Log2 or S-Cinetone. Colour space for these clips now comes from the recording gamut, so an S-Log3 clip reads S-Gamut3 rather than BT.709.
FIXED Colour Space Notes filled or emptied by another track
Canon RAW stills and some drone footage carry extra video tracks beside the main one, and Colour Space Notes could fill with codec, bitrate and frame rate belonging to them. The field now reports the main track only. The opposite could also happen: a clip offloaded alongside MXF files sharing its name — the separate audio essences Avid and DaVinci Resolve write next to the video — could have its Colour Space Notes cleared by one of the audio files. The field is now left alone unless the file actually carries a video track.
FIXED Exposures of a second or longer reported as a shutter angle
A still exposed for 1.3 seconds arrived as a shutter angle of 1.3 degrees. Exposure times now stay in Shutter Speed. Video is unaffected, since exposure there is bounded by the frame.
FIXED Camera Notes entries without a label
Two cameras appended their value to Camera Notes with no label, so the string presented itself as a list of labelled entries while sometimes not being one: the recorder name on Atomos clips, and the highlight value on Kinefinity clips recorded without a slate file. Both now carry a label, RD and Highlight. If you read Camera Notes with a script of your own, those entries are now where the others are.
FIXED Folder Sealing status on export-only sessions
With sealing enabled, a session that only exported metadata reported Folder Sealing as "N/A — not run", which reads as though the sealing had been planned and had failed. Nothing had failed: sealing covers the folders a session writes, and a metadata export writes none. The summary, the report, the exported HTML and PDF, and the shield tooltip now state that scope instead. Reports created before this release show the corrected text when reopened.
ENHANCED Drag a folder onto the SCRATCH watch folder
You can now drop a folder straight onto the SCRATCH watch folder row in Metadata Export preferences, as you already could on the metadata destination. Aliases and symlinks are followed to the real folder.
NEW Save a preset from the Presets menu
The Presets menu now offers Save current settings, so you can store a configuration the moment you have it right, without opening Preferences and looking for the Presets tab. Press Shift-Command-S, give the preset a name, and you are back to work. The menu still lists your saved presets for one-click recall, and the new preset joins them straight away.
Save current settings is available whenever there is something worth saving — at least one workflow enabled, or a valid Tags source loaded — and it stays available while a job is running, so a configuration you have just tuned is never lost to timing.
Manage Presets, in the same menu, takes you straight to the Presets tab in Preferences for renaming, duplicating and deleting.
NEW Update a preset in place
Select a preset, adjust your settings, press Update: the preset takes on the new configuration and keeps its name, its last-used time and its place in the list. Until now the only way to refresh a preset was to delete it and save it again.
ENHANCED The presets list
Drag a preset up or down to reorder the list; the order is kept and mirrored in the Presets menu. Arrow keys move the selection and the Delete key removes the selected preset, after the usual confirmation.
The last-used time next to each preset now keeps counting while Preferences stays open, instead of freezing at the moment the window was opened.
FIXED Applying a Tags preset now opens the Tags tab
Applying a preset made only of Tags settings left the window on the Workflow tab, so nothing appeared to happen even though the preset had been applied correctly. The window now follows the preset: Tags presets open the Tags tab, workflow presets open the Workflow tab. A preset that carries both leaves you where you are, since moving would hide half of what it just configured.
FIXED Presets no longer change your sealing setting when they cannot seal
Sealing applies to folders written by Offload and Transcode. Presets made only of Tags or Metadata Export settings were still storing your sealing choice and writing it back when applied, so a Tags preset saved while sealing was off could quietly turn sealing off again later, on a session where you wanted it on. Those presets now leave sealing untouched, and no longer show the Sealing badge that promised something they could not deliver. Presets saved with earlier versions are corrected too, and nothing you saved is lost.
FIXED Presets cannot be applied while a job is running
The Presets menu allowed applying a preset in the middle of an offload or transcode. That could change what happens at the end of the running session — whether it gets sealed, with which hash, on which folders. Preset entries in the menu are now unavailable while a job runs, matching the Presets tab; saving a new preset remains possible at any time.
ENHANCED Presets from other versions are applied safely
If a future version renames or removes a codec, scaling, audio or format option, a preset saved today will no longer be able to leave that menu blank when applied: the setting falls back to its default instead, and everything else in the preset applies as saved.
FIXED Five-digit frame field in Start/End timecode on variable-frame-rate clips
MP4 clips recorded by smartphone camera apps such as Blackmagic Camera for Android could show a timecode like 00:00:00:00055 in Metadata Export. The container reports its internal timebase where the frame rate should be, and evrExpanse took it at face value. The rate is now validated before use, and when the container's value is not a plausible frame rate the clip's declared frame rate is used instead. Affected clips now report a correct timecode, for example 00:00:02:07. Clips with a valid frame rate are unaffected, including high-frame-rate and drop-frame material.
FIXED Empty Finder Flag column in the Avid ALE
When Metadata Export was run with FCP XML and SCRATCH Integration both disabled, the e_Finder.Flag column of the Media Composer ALE came out empty on every clip, even for clips that carry a Finder color tag. The Finder colors were only being collected on the way to those two exports. They are now collected for every clip regardless of which formats are selected, and the ALE shows them as intended. Exports with FCP XML or SCRATCH enabled were never affected.
NEW Storage-level verification
Checksum verification now reads the copied file back from the storage device rather than from the system cache, and every transfer is flushed to the drive before it is reported as complete. Extended attributes are covered by the same flush. It matters most on a card offload, where the copy becomes the only copy the moment the card is reformatted. See How verification works for what this covers and what it does not.
NEW Export and share session reports
Any session report can now be exported as a self-contained HTML file or as a PDF, ready to send to a client or to archive alongside the footage. The document carries the whole session — destinations, counts, status, folder sealing — and needs nothing else to open it. The PDF is produced at the document's own scale, so it reads on paper the way it reads on screen.
NEW Per-file manifest in exported reports
The exported report now lists every file that was offloaded, with its outcome on each destination side by side. Where a file reached some destinations but not others, the difference is there at a glance instead of having to compare transfer reports by hand. The report viewer inside the app still shows the original transfer report as it was written.
NEW Transfer reports kept in one place
Offload transfer reports are now also stored in the app's own reports folder, so they stay available once the destination disk has been disconnected and handed on.
NEW Transfer failures that explain themselves
When a copy fails, the Event Log and the transfer report now state the reason and which side caused it — the source or the destination — with the system's own error message. This includes files that fail while being read back for verification, and the rare stops that previously left no trace at all: every failure now names the file and the cause. You know immediately whether to look at the card and reader or at the destination drive.
NEW Automatic retry on copy errors
A file copy that fails is retried once after a short pause before the offload stops. Brief hiccups on network shares, card readers and USB connections no longer end an entire session, while a real fault still stops the offload and is reported with its reason.
ENHANCED Transfer report names that tell destinations apart
Reports are now named after the source folder and the destination, with the destination folder included because several destinations often share the same disk. Four destinations of the same session used to differ only by the second at which they started, which is the least useful thing to know about them. Destination volumes are also resolved through the system rather than read off the path, so a card or a disk selected at its root is named correctly.
FIXED Export badge no longer stays green on a session with issues
In the session report list, the export badge could stay green on a session whose export had been stopped halfway and its partial output discarded. The list said the step had gone well while the section below it said otherwise, and the reassuring one was the one seen first. Badge and section now read the same outcome and can no longer disagree about the same session. Sessions already on disk show their correct colour as soon as the list is opened again.
FIXED Reports & Logs stays responsive on heavy days
At the end of a session, or when moving between logs, the app could freeze for many seconds if a day's log had grown large — and the freeze could strike even with the Reports & Logs window closed. Log browsing now opens on the most recent lines and stays instant regardless of how intense the day has been, with earlier lines one click away.
FIXED The tag report always belongs to the run you just made
When a tagging run produced no report of its own — because it failed early, or was cancelled before the report was written — the report from an earlier run on the same source could be picked up and presented as the current one. The contents were genuine, but they belonged to another session, and nothing said so. Only the report written by the run in progress is accepted now.
FIXED Timecodes line up across consecutive clips
Above 100 frames per second the frame number needs three digits, and the start timecode was written with however many the camera had used while the end timecode always used three. The two agreed on the instant but disagreed on the notation, so the end of one clip and the start of the next looked like different values even when the recording was continuous — enough to make a continuity check fail on material that was perfectly in order. Both are now written the same way, matching what Sony Catalyst Browse and Final Cut display, and the value itself is untouched. This applies to every export format and to the timecode written into transcoded files. Footage below 100 frames per second is unaffected.
FIXED Recording date now correct on more cameras
Version 7.0.2 began reading the local shooting time where the file records it alongside the UTC one. Several cameras store that local time in a different place, and Canon bodies in particular were still reported an hour or more behind. Those files are now read correctly too, so the recording date and the time-of-day timecode match the clock on the wall on a considerably wider range of cameras.
FIXED No more invented recording dates
When a file carried no shooting date at all — typically footage that has been re-encoded or passed through another application, which discards the original — evrExpanse fell back on the date the file was last written. That is the date of the processing, not of the shoot, and it could be months or years later while looking entirely plausible in a delivery. In time-of-day mode it became the starting timecode. The recording date is now left empty for these files and the timecode starts at zero, so an unknown date is visible as unknown instead of quietly becoming a wrong one. The export log names each file this applies to. Files with a genuine shooting date are unchanged.
FIXED Avid ALE columns land under the right headings
When no bin name was set, every value in the ALE file was written one column to the left of where its heading said it should be: the start timecode arrived under the recording date, the clip directory under the end timecode, and so on down the row. Media Composer imported the file without complaint and the metadata was simply wrong. The columns now align whether or not a bin name is set. ALE files exported with earlier versions and no bin name are affected and should be exported again.
NOTE Drop-frame on some Sony clips
Recent versions of one of the media libraries evrExpanse relies on no longer report the drop-frame flag on Sony Alpha clips that carry the camera's real-time metadata track. Those clips are read as non-drop, which shifts the end timecode slightly on long takes and makes it differ from what Sony Catalyst Browse shows. The library version in this release is otherwise a clear improvement, so reverting it would cost more than it recovers. The issue has been reported upstream and will be picked up as soon as a corrected version is available. Every other camera and format is unaffected.
NEW Timecode now travels to Final Cut Pro
evrExpanse now writes the selected timecode — embedded, time of day, or zeroed — as the native clip timecode in Final Cut Pro, the same way it already does for DaVinci Resolve. Final Cut uses it for display, for synchronisation, and for multicam: choose time of day before exporting, and cameras that were never jam-synced line up on the clock. Drop-frame sources display the correct semicolon notation. The timecode persists across library close and media relink. This applies to video only — Final Cut does not accept a timecode on still images, so photos import as before with their capture time in the Inspector.
FIXED Metadata export no longer stops partway through a folder
A single clip whose frame information could not be read was enough to interrupt the entire export, leaving every remaining file unprocessed — on a large card the run could end after a couple of hundred clips with no clear indication of why. ARRIRAW MXF was the most common trigger. Those clips are now exported with whatever information is available and the run continues to the end. Where duration and end timecode genuinely cannot be determined, the fields are left empty rather than filled with a placeholder that would look perfectly valid once imported into an NLE.
FIXED Session outcome now reflects the export result
A session could be announced as completed successfully while the export had in fact produced nothing, with the problem visible only by opening the export log. The session status now takes into account how many files were actually exported, so a session reports success only when the export succeeded. An export that stops before the end reports how far it reached and states plainly that incomplete deliverables were discarded, rather than reporting a bare zero.
ENHANCED Clearer reporting when an export runs into trouble
Session Summary and Session Report now show the same finding for the export, so a problem visible in one is visible in the other without having to hunt through the log to reconcile them. Status messages describe what happened in plain language instead of returning a numeric code.
FIXED One Preferences window, wherever you open it from
Opening Preferences from the menu bar and from the gear button in the top bar could leave you with two separate Preferences windows side by side, each showing a different tab and each remembering its own settings independently. Both routes now lead to the same window: if it is already open, it simply comes back to the front on the tab you left it on. The Done button closes it as expected, and reopening returns you to where you were.
FIXED Camera FPS is exported again
The Camera FPS field was left empty for cameras that don't write a dedicated frame rate tag, Panasonic and Olympus among them, so the value was missing from every metadata format. It is now read correctly, and the variable frame rate correction for Panasonic clips works again as a result.
FIXED Frame rate read from the source itself
Some cameras report a rounded frame rate — 30 for a 29.97 clip, 15 for a 14.985 one — which produced an incorrect end timecode and clip duration, off by a few percent and growing with the length of the shot. The frame rate is now taken from the source itself, so NTSC and integer rates are told apart correctly. Recordings whose frame rate is missing from the file header, as happens with some phone apps, are also handled: the rate is recovered from the timecode track instead of being guessed.
FIXED Recording date shows the time you were shooting
Files that store their creation date in UTC — the QuickTime and MP4 standard — were reported an hour or more behind the actual shooting time, depending on your time zone. Where the file also records the local time, that is now used, so the recording date and the time-of-day timecode match the clock on the wall. Cameras that already write local time are unaffected.
NEW External volume chips under the source card
Your connected drives and cards now appear right under the source folder when Offload is selected. Drag one in to set your source, without opening the file browser.
FIXED 3D LUT is now applied in Manual Transcode
None of the three 3D LUT options were reaching the transcode engine, so transcoded files were produced without the look applied. This affected Apply Sidecar LUT, Select LUT Folder and Apply LUT File alike, and it happened silently: the job completed normally and reported no error. If you have delivered proxies or dailies with a LUT enabled, they were rendered without it and should be checked. In the Transcode log you can recognise an affected session by the summary line reporting that a LUT was applied to zero files.
Automatic LUT discovery from camera metadata now works again as well. LUTs embedded by mcpro24fps, Kinefinity slate files and ARRI cameras are extracted and applied when you select Apply Sidecar LUT or Select LUT Folder.
ENHANCED Choosing a 3D LUT folder or file
You can now drop a folder or a .cube file straight onto the button, as the label has always suggested. Aliases and symlinks are followed to the real item, so a LUT you reach through an alias works exactly like the original.
The picker now opens where your current choice lives: inside the LUT folder you already selected, or next to the LUT file you are using, instead of wherever macOS last left it. Switching between the folder and the file option keeps you in the same place.
ENHANCED Clearer feedback on rejected drops
Dropping something that cannot be accepted — a file where a folder is expected, a folder where a LUT file is expected, or an alias whose target is no longer available — now flashes a yellow border for a couple of seconds instead of doing nothing at all.
The warning shown by source and destination cards now lasts its full duration every time, including when you retry a drop straight away, and the card border turns yellow along with the message.
Complete Rewrite — Native Swift Application
evrExpanse 7 is a complete rewrite from the ground up as a native Swift application, delivering a faster, more responsive experience with improved stability across every operation. The proven processing engine is unchanged — what's new is everything around it.
⚠️ Please note: evrExpanse 7 is a paid upgrade. Your v6 license will not work with v7, but exclusive upgrade discounts are available for current users! Please check your email or visit our website for details.
NEW Progress lives on the workflow itself
Each workflow block displays real-time progress directly on its own animated border, sweeping around the perimeter as the work advances. No modal windows, no progress dialogs. During offload, progress tracks data processed rather than file count, so the bar keeps moving even through a single large camera master.
NEW Combined Pipeline
For the first time, Offload, Transcode and Export Metadata can run together in a single session — any combination, in that order, fully automated. Set it up once, walk away.
NEW Independent Tagging
Apply Finder Tags is now fully independent: run a Transcode + Export on one tab while tagging a completely different project on the other. No waiting, no blocking.
NEW An interface that adapts to your session
The window morphs around the work you are actually doing: cards resize as you choose your mode and codec, options that don't apply step aside, and the Tags tab shows only the section matching your source. Nothing you configured is ever silently changed.
NEW Problems surface where they happen
Validation messages appear on the folder they refer to, and the control blocking the start is outlined in orange. Renamed or moved folders are caught before the session begins, so a transfer never starts against a folder that is no longer there.
NEW Faster offloads
Offloads are significantly faster: up to ~2x on slow media such as SD and CFexpress. Verification is unchanged — every file is still independently re-hashed and compared against the source before being committed.
NEW Three clear outcomes, reported per destination
Sealing now reports completed, completed with exceptions, and failed — instead of a single generic warning. A manifest with minor history notes is no longer flagged as a failure, and every failure shows a readable cause.
Each workflow block and each destination reports its own result, so a failure on one target never masks a success on another. Folder sealing also has its own log now, kept centrally and opened directly from a session report.
ENHANCED Sealing where it belongs
Sealing applies to the folders that actually hold your media: offload destinations and transcode output. Metadata-only exports are no longer sealed — a manifest over a handful of sidecar files adds nothing to what matters.
NEW Session Reports
Every session is saved as its own report: source, workflow composition, and the outcome of every step, marked completed, completed with exceptions, or completed with errors. Click any destination, transcode, export or sealing entry to open its log.
A summary is also shown at the end of each session, with per-operation results and direct access to your output destinations.
NEW Log & Report Viewer
A dedicated window to inspect every log evrExpanse generates, with color-coded lines, full-text search and quick filters for errors, warnings and successes.
ENHANCED Centralised, durable logs
Transcode, export and sealing logs are kept centrally, so they stay readable even after the delivery disk is disconnected — all grouped under a single Logs & Reports folder.
NEW Save your setup, bring it back in one click
Save your current setup as a named preset and restore it instantly — active workflows and their options, sealing and metadata preferences, Tags selections. Source and destination folders are left untouched, so a preset never points you at the wrong card or volume.
Manage your presets from a dedicated tab in Preferences, or apply any of them straight from the menu bar.
NEW Performance Level, per workflow
Performance Level now adapts to what each workflow actually does, with a new Auto default. For Offload, Auto reads your source and destination storage — card, SSD, NVMe, HDD or RAID — and matches the workload to the drives and the connection between them. Low, Medium, High and Maximum remain available as manual settings.
NEW Canon Cinema ProRes metadata recovery
Canon Cinema cameras recording ProRes write no Gamma or Color Space in the clip itself. evrExpanse now recovers this information from the companion files on the card — Gamma and Color Space from the matching MXF proxy, camera and lens details from the clip XML and reference JPG — and embeds it in every transcoded file, in the burn-in overlay, and in your CSV, ALE and FCPXML deliverables.
Canon Log 3, Canon Log 2, Canon Log and DCI are reported with their proper names, with the correct Cinema Gamut or DCI-P3 color space.
NEW Choose where your metadata goes
Send all exported metadata — CSV, TSV, ALE, FCPXML, LUTs and Sony RTMD — to a folder of your choice instead of writing into your source media. Each card keeps its own subfolder, so multiple sources can share the same destination without ever mixing their files.
NEW Camera RAW stills
Export metadata from camera RAW stills: Sony (ARW), Canon (CR2, CR3), Nikon (NEF), Fujifilm (RAF) and Panasonic Lumix (RW2).
NEW DaVinci Resolve 21 support
Support for the new Tag metadata field in Resolve 21 exports, applying GoodTake and Rejected Finder tags. Existing CSV files from Resolve 20 and earlier continue to work with the Good Take option.
ENHANCED SCRATCH timeline name
An empty Timeline field no longer creates a timeline with a blank name: the name of the folder being exported is used automatically. The field shows you the exact name that will be used, and any name you type is always respected.
NEW Timecode Override
Choose whether to use the media's embedded timecode or override it with a custom value — including for photo formats that don't natively carry one. Particularly useful when mixing stills with video, and it affects both Metadata Export and Transcode.
ENHANCED Drop-frame timecode accuracy
Drop-frame clips (29.97 / 59.94 fps) now match DaVinci Resolve exactly, including end timecode and clip duration, and display in standard notation (HH:MM:SS;FF).