- Long renders finish, and they keep their sound — A render with audio could climb to 99% and stop with “Array buffer allocation failed”, stall partway through a long timeline, or finish silently with a long clip mute. All three came from the same habit of loading whole files into memory: a clip’s soundtrack was read by downloading the entire video, mixed only once it had all arrived, and handed to the file writer last — so nothing reached disk until the very end, and the final step tried to write the whole film in one allocation. Audio is now read from the soundtrack alone, mixed a fraction of a second at a time, and written before the picture, so frames stream out to disk as they are encoded. A forty-minute 2K project finishes instead of failing, and uses less memory throughout rather than only at the end.
- Very large clips render at full resolution — A clip past a few gigabytes was too big for the browser’s fast decoder, so the render quietly fell back to the same 1280-wide preview copy the timeline uses. The output was the right size, but that clip carried no more detail than a preview for as long as it was on screen. An oversized clip is now prepared the way a heavy one already was — a full-resolution copy sized to stay within what the decoder can take, built once and reused by later renders. On a 5.2 GB, 43-minute clip rendered at 2560×1440 the prepared copy is visually indistinguishable from the master. A clip too long for that, beyond about an hour at 2K, still uses the preview and now says so in the render log instead of leaving it to be noticed.
- Pick an easing by looking at it — Easing was a list of forty-three names — Circ Out, Power3 Smooth, Impulse — with nothing to say what any of them did, so finding the right one meant applying it, playing it back, and trying the next. It is now a panel that draws every curve the way it actually plays, overshoot and all, grouped so the ones you reach for come first. Search understands families and shapes as well as names, so “spring”, “bounce” or “out” all find their curves; there are filters for In, Out, Smooth and Overshoot, and a grid view for browsing. Point at any easing and it plays along the bottom of the panel before you commit to it, and the curve you land on now shows on the field itself instead of only its name.
- A new easing: Smooth Overshoot — Overshoot and Elastic both leave at full speed, which makes a move read as thrown. Smooth Overshoot starts from rest, eases in, sails a little past its mark and settles back once — the same springy character without the snap at the start or the wobble at the end. It sits under Springs & overshoot, next to Elastic.
- SVG artwork stays sharp at any size — An SVG dropped on the timeline used to be turned into a picture once, at whatever size the file happened to declare, and then stretched to fill the frame — so a logo or an icon arrived soft and got softer the closer the camera came. It is now a vector layer: it comes in at its own size and is redrawn from the artwork itself whenever it grows on screen, the same way text and shapes already were. Scale it up, push the camera into it, render it at 4K — the edges stay clean. Its selection box hugs the artwork too, instead of the whole frame.
- Scale reaches 2000%, and frames stay behind their contents — Transform’s Scale stopped at 300% while keyframed scale already went to 2000%, so a punch-in on a small logo hit a ceiling that animation did not; the slider, the canvas corner handles and the Distributor’s scale ramp now all reach 2000%. Separately, a frame drawn around pictures you already had could end up sitting on top of its own contents — it looked right, but every click landed on the frame. A frame now always sits behind what it holds, and bringing it to the front takes its contents along in their existing order.
v9.5.0 — Long renders that finish, full-resolution big clips, and an easing picker you can see
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