The Auto QC encoder on the Render Page now offers enhanced visual QC by detecting black borders, black frames, and repeated frames. In addition to the existing framing detection track, two new marker tracks are generated when the BLACK FRM and REPEAT FRM settings are enabled in the Configuration Pane for the Auto QC encoder, helping users pinpoint black or repeated frames directly in the timeline.

A new Edit > Markers menu item introduces expanded support for creating and managing custom markers. Users can now add dedicated marker tracks, set in/out points for range markers, place position markers, and import or export marker files. Range markers span two frames, defined using I and O, while position markers are added at the playhead using the Set Mark menu option or the Ctrl+M shortcut.

The new Marker Navigator window simplifies navigation across marker tracks in the timeline. Users can switch between tracks, browse markers and bounding boxes, and view timecodes. It includes status icons to accept or reject detections and a thumbnail panel for previewing issues. Sliders for minimum severity, brightness, and contrast allow fine-tuning of detection visibility, making QC review more efficient and precise.

Transkoder now supports importing and exporting marker tracks using the EDL format. Markers exported from DaVinci Resolve can be imported via a Timeline menu option, creating a new EDL track in the timeline. Conversely, any marker track in Transkoder can be exported as an EDL file, enabling smooth interoperability with other tools.

Based on Colorfront’s Perceptual Engine, the Broadcast TV tool offers fast, professional conversion between various display color spaces, such as converting between SDR and HDR, supporting full broadcast ranges. The operator simply has to choose the source and target display color space—the tool does the rest. For fine-tuning the conversion and the color correction, various trim controls are available, such as ambient light compensation, scene exposure as well as color correction tools (CDL).

The Broadcast Live tool extends the capabilities of Broadcast TV with support for scene-referred camera inputs and advanced tone mapping. For camera inputs, the tool features cinematic and broadcast look processing. It supports formats such as S-Log3, LogC, and C-Log.

A new playhead context menu gives quick access to timeline functions directly from the playhead indicator. Right-clicking the yellow line lets you copy the source or record timecode for pasting into external apps for reference or logging. You can also toggle loop modes, with options to loop either the entire timeline or just the current clip, enabling more flexible playback control.

The Media Report PDF menu option provides an in-depth overview of the timeline’s content. The report includes basic metadata, a visual timeline overview, HDR analysis with Max FALL/CLL values and tolerance data, and dedicated QC summaries. It covers framing, audio errors, loudness, and other marker-based checks, offering a complete snapshot of media content and quality status.

Transkoder now offers a dedicated DPX 8-bit Mono encoder in the Image encoder presets on the Render Page, enabling export of black-and-white footage as single-channel DPX files. This is especially useful for workflows that scan black-and-white film using a single color channel, optimizing storage while maintaining image quality. The encoder ensures smooth integration with existing DPX processing pipelines.

Transkoder introduces a new Generic HEVC MP4/MOV encoder preset on the Render Page, enabling the creation of high-quality HEVC (H.265) files in either MP4 or MOV format without switching presets. This simplifies final delivery workflows and ensures proper metadata handling, including the colr atom for MOV files. The container format can be selected via the CONTAINER setting in the Configuration Pane.

On-Set Dailies now allows seamless switching between embedded and synced audio sources, improving playback and rendering flexibility. A new Current Audio Source option under the Audio menu lets users toggle between Synced and Embedded audio for the active Camroll or Labroll. The selection resets to the default Project setting upon exit, making it easy to manage audio without editing individual clips.

A new option enables streaming the Second Head Analyzer image as a secondary stream, enabling remote viewing of scopes and analysis tools without requiring a second physical monitor. This is ideal for remote QC workflows and virtual scope monitoring. The feature is available via the new Stream setting for the Analyzer2nd Head Mode parameter in the GUI Settings, and is supported on M1/M2 Macs, Windows, and Linux.

On-Set Dailies now supports exporting dailies metadata in CSV format alongside ALE, directly from the ALE encoder in the Metadata presets, eliminating the need for manual conversions. A new ALE FORMAT option in the Configuration Pane lets users choose between ALE or CSV, with the file extension updating accordingly.

Transkoder introduces HLG Harmony, a new node in the Colorspace toolset, designed for intuitive cleanup of excessive Hybrid Log-Gamma levels and color. It features dedicated Brightness and Color sliders, enabling precise adjustments without the complexity of traditional grading tools—ideal for quickly refining HLG content in broadcast and delivery workflows.

Transkoder now supports exporting dailies metadata in CSV format alongside ALE, directly from the ALE encoder in the Metadata presets, eliminating the need for manual conversions. A new ALE FORMAT option in the Configuration Pane lets users choose between ALE or CSV, with the file extension updating accordingly.

The Settings Page now includes a search feature under the FIND tab, letting users quickly locate options by entering setting names or description keywords. This enhancement streamlines navigation across the growing list of configurable parameters within the various tabs of the Settings interface.

On-Set Dailies now supports real-time, zero-latency streaming via the Streaming Player using a new pre-caching feature that locally stores frames for smooth playback. This provides QC operators with an experience comparable to on-premises viewing. The cache size is adjustable via the Stream Cache Size setting in the Streaming Player’s Advanced Settings. Cached frame ranges are shown in the navigation bar, enabling instant backward and forward playback within the buffer.