v2.2

What's New

Capture Quality Profiles

Capture quality is now set before recording from a dedicated Capture Quality section in the source sidebar.

• High records screen sources as HEVC at 60 fps with a 160 Mbps target for crisp text and practical file size.
• Max records screen sources as ProRes 422 HQ at 60 fps for highest editing fidelity.
• Compat records screen sources as H.264 at 30 fps with a 25 Mbps target for broad playback compatibility.
• Advanced exposes codec, frame rate, bitrate, ProRes profile, keyframe, and related detailed controls.
• Capture Quality affects newly recorded raw media; export settings still control post-recording delivery files.

Crisper Screen Recording

Screen recordings now use explicit sRGB / Rec.709 color handling so common players and upload pipelines no longer wash out the image.

• Screen capture requests sRGB from ScreenCaptureKit for screen sources.
• Screen writer settings tag screen tracks as bt709 / bt709 / sRGB.
• Screen pixel-buffer attachments are normalized before writing, including direct writer paths, conversion fallback paths, screen + mic recording, composite recording, and export rendering.
• Default High capture keeps native backing-pixel resolution where available; for example, a 1080p DeskPad display exposed and recorded a 3840 x 2160 backing buffer.
• H.264 / HEVC export writer settings now honor the selected delivery bitrate strictly instead of applying capture-only screen burst overrides.

Composite Recording Improvements

Composite mode now behaves more like Standard mode while recording, with lower preview overhead and better output fidelity.

• Composite recording uses the effective screen capture pixel dimensions for full-display canvases.
• The Metal compositor preserves exact pixels for 1:1 full-screen screen layers and uses area sampling for scaled screen layers.
• The center-stage live preview pauses during countdown, preparation, recording, pause, and stop states, showing the lightweight timer/status view instead.
• Scene Only composite recording writes one rendered composite video stream instead of also preparing separate raw screen and camera encoders.
• Direct composite Scene Only sessions remain exportable from the recording row and Sessions views.
• Native same-codec direct composite exports preserve/remux the recorded composite video track instead of transcoding it.

DaVinci Resolve Timeline Handoff

Lumary can now build FCPXML timelines for DaVinci Resolve without first exporting to a delivery codec.

• Added DaVinci Resolve Timeline actions from single-session export, batch export, and the Sessions window.
• Added a multi-session timeline picker with per-session timelines or one concatenated timeline.
• The FCPXML references captured session media directly.
• Displays, cameras, microphone audio, and system audio stay as separate timeline clips.
• No sidecar media, muxing, or codec conversion is created for the timeline handoff.
• Media probing reads source duration, frame rate, audio channel count, and sample rate for more accurate Resolve import.

Import the generated FCPXML with DaVinci Resolve > File > Import > Timeline.... The original captured session media must remain available at the paths referenced by the FCPXML.

Fixed

• Fixed Composite native HEVC exports downgrading from 10-bit 4:2:2 HEVC Rext to 8-bit 4:2:0 HEVC Main.
• Fixed Composite Scene Only preflight estimating encoder load as if it would encode separate raw screen and camera videos.
• Fixed direct Composite export sheet wording so direct composite recordings are shown as composite files, not legacy packages.
• Fixed hidden raw-cleanup behavior for direct composite recordings.
• Fixed unsupported H.264 / HEVC compression properties that could crash AVFoundation writer creation.
• Fixed profile persistence so default Capture Quality improvements still apply unless the user has explicitly customized advanced settings.

Requirements

• macOS 15.0 (Sequoia) or later
• Stream Deck 6.9+ (for Stream Deck integration)