Every release, and what it changes for the person using it. Newest first.
The app checks this list on its own and offers you the update when one is out.
0.68.0
RushTag now installs into DaVinci Resolve from Kinelux, with the "Greffon Resolve" button of the home window: the Workspace > Scripts > RushTag menu, which sends the Media Pool clips to analysis, writes the tags back and builds the synced timelines, and, with Resolve Studio, the Workflow Integrations panel to search your footage. What was installed, and what was not, is said at the end.
0.67.0
With Claude, the cut by speaker can be retouched shot by shot: "at 2:13, the wide shot", "stay on camera B until the end of the answer". Every requested shot is checked before the sequence is written: a camera that is not filming at that moment, two overlapping shots or a shot outside the sequence are refused and named, never silently corrected.
0.66.0
Cut by speaker: after syncing, Synchromatic cuts a sequence where the camera follows whoever speaks, measured on each microphone's sound. You say who is on which camera and pick the wide shot for silences and overlapping voices; the sequence is added to the XML next to the synced sequence, with the sound running whole underneath.
The same cut can be requested from the Synchromatic tab of the Premiere panel, right after syncing, without syncing again.
0.65.0
The XML for Premiere and Resolve can now be shaped: link each clip's picture and sound, keep, mute or remove camera sound where a recorder was synced, one track per camera or packed tracks, and trim a recorder's sound outside the picture. The same settings are in the Synchromatic tab of the Premiere panel. Left untouched, the XML is exactly what it was before.
0.64.0
Synchromatic now has its tab in the Premiere panel: select a shoot's clips, in the bin or on the timeline, click "Caler la sélection", and the sequence synced on sound comes back into the project. Kinelux must be open, it does the syncing.
The panel names every clip that didn't sync and every unreadable file, instead of silently leaving them out, and reports the measured clock drift, which the imported sequence does not correct.
0.63.0
RushTag and LumaSync now install into Premiere Pro from Kinelux in one click: the "Greffon Premiere" button opens the installation in Creative Cloud, with no developer tool. One panel, two tabs, in Premiere's Window menu (25.6 or later).
In Premiere, applying LumaSync's LUTs now takes one action per camera: apply the LUT by hand to one clip, and the panel copies it to every clip waiting for it, reading each one back. It never overwrites a clip that already carries a LUT.
Harmonisation in Premiere recognises the Levels effect in every Premiere language, and only counts a clip as harmonised when every value read back matches what was written.
0.62.1
Harmonisation now follows every change of light inside a single take, however many there are: the measurement tightens itself around each cloud and pins down its edges to within half a second, without reading one more image where the light does not move. On a ten minute interview where the sun leaves and comes back five times, the correction no longer lags behind the cloud, and the jumps in light from one second to the next are halved.
0.62.0
LumaSync can now harmonise an edit: when the sun comes and goes during an interview, or a setting was touched mid-take, it makes the light steadier from one shot to the next. Export the timeline as XML, open Harmonise an edit in LumaSync, measure, then set the strength, the width of the trend and, if you like, an anchor shot that stays as it is. You choose to correct the light alone, or light and white balance. A cloudy shot does not become a sunny one: it gets closer to it. Nothing is re-encoded.
In Premiere, the LumaSync panel has a Harmonise the sequence button, which puts a Levels effect on each shot with one keyframe per measured instant: the correction also follows a cloud in the middle of a take. In DaVinci Resolve, the Workspace > Scripts > LumaSync 4 entry applies one LUT per shot, without covering the ones already there.
0.61.0
LumaSync's scopes now have a vectorscope, to the right of the three channels. It shows what the channels barely show and what most often separates two cameras: saturation. The reference and the camera before and after correction are overlaid as in the channels, with the skin tone line, and a figure underneath says how many times more strongly the corrected camera carries its colours than the reference, before then after.
The Resolve script that applies the LUTs refuses to apply them in a colour managed project (DaVinci YRGB Color Managed or ACES), and says where to change the setting: LumaSync's LUTs are computed on the files as the camera wrote them, and in those projects they would land wrong on every shot. LumaSync also says so when you save a correction, for Resolve as for Premiere.
0.60.0
Kinelux connects to the Claude application, Cowork included: the Connect to Claude button on the home window sets it up, then you restart Claude. While RushTag is open on a project, you can then ask Claude to search your footage, read its sheets, import footage, start the analysis, write a sequence of chosen shots or the organised project for Premiere Pro or DaVinci Resolve, and send two shots to LumaSync. An analysis Claude asks for shows in the RushTag window as if you had clicked. The names given by face recognition are never passed to it.
0.59.0
The application is now called Kinelux and replaces Synchromatic in your Applications folder: drag Kinelux in, then delete the old Synchromatic app. Your settings and projects are kept. It opens on a window that presents RushTag, Synchromatic and LumaSync, and each one opens from there. RushTag is therefore now in the download. It needs macOS 13.5 Ventura or later, because its analysis models run on the chip; on an older Mac its card says so, and the other two tools work as before.
The Synchromatic trial still opens without buying anything, from the new window. A Synchromatic project double-clicked in the Finder opens straight in Synchromatic.
RushTag's face recognition is included in the application: nothing to install or download, and it runs on your Mac. It moves to a model that may be distributed with paid software. In a project where faces are already turned on, they are recalculated automatically when you open it, and your names, groupings and corrections are kept.
0.58.1
In RushTag, a keyword is no longer cut in the middle of a word: a tag shows whole or not at all, and "+N" counts the rest. The keyword column is also wider.
RushTag's search no longer mistakes a question such as "make sure the mic is in frame" for a request to explain the last answer. Excerpts quoted in an answer now end on a whole word or sentence, and your question shows in full.
0.58.0
A RushTag panel inside Premiere Pro. Send the project's rushes for analysis, put a marker on every shot of your clips (shot size, tags, action), import the project organised by camera and by tag, and search your rushes without leaving Premiere: a result opens in the source monitor, and a search becomes a sequence of the shots found.
0.57.1
On Mac, RushTag's messages say again what they are about: their title was dropped, leaving only the detail.
A timeline re-exported by RushTag keeps the shot names and markers of a rush stored behind a symbolic link. They used to vanish without notice.
0.57.0
Synchromatic and RushTag XML exports now organize the project the same way: 0_SEQUENCES for sequences, 1_RUSHES with one bin per camera (CAM_A, CAM_B…), 2_EXT_SOUNDS with one bin per recorder (SOURCE_A, SOURCE_B…). Cameras get their letter in the order they enter the shoot.
RushTag puts its rushes by tag in 3_TAGS, right after.
0.56.0
On Kinelux's welcome window, each tool shows its mark next to its name: RushTag's R, Synchromatic's ring, LumaSync's S.
0.55.0
Kinelux's welcome window now shows its logo next to its name.
0.54.0
When the face recognition model changes, people's names and your corrections are kept: each face is recomputed where it was seen, without re-running the analysis.
0.53.0
At startup, RushTag checks whether a newer version of the app or of its models exists, and offers it in a single window. Nothing downloads without your consent, and offline it says nothing. The same check can be run from the Help menu.
On first launch, a single window says what needs downloading and how much it weighs. The details are one click away for those who want them.
When a model changes, you keep working with the old one until the download completes. The old one is then deleted to free the space, and if the search model changed, your projects' search is recomputed without re-running the analysis: tags, shot notes and transcripts stay as they are.
0.52.0
A new Shots view lists every shot in the project like a breakdown: by location, then by shot size from widest to tightest, then by person. Each location is written once at the head of its group, so you see where the church ends and the forecourt begins. Other orders can be picked at the top of the view, and a double-click opens the clip's card on that very shot.
Shot size is now a tag in its own right, in the green of the shot band: each line of a card reads location, size, person. A clip shows the sizes of all its shots, from wide to tight, instead of a single one.
0.51.0
RushTag now describes a long shot all the way through. Beyond thirty seconds the shot is described in slices, each with its own frames, description and tags: a ten-minute interview with no cut gets twenty timestamped descriptions instead of one, and the clip's story runs to its last minute.
Tags are now grouped by category, each with its own colour: people in orange, places in teal, objects in mustard, moments in pink. A clip's card lists them line by line, and the shot table colours them too. Framing, light and sound follow in the ordinary ink.
The model now names up to eight subjects per shot instead of three, and sorts them: who is there, where we are, what can be seen. The Subjects window, formerly Objects, shows all three together, each in its colour.
0.50.0
DaVinci Resolve now sends its shots to LumaSync. Park the playhead on the shot whose colours you are keeping, then Workspace > Scripts > LumaSync 1; do the same on the shot to correct with LumaSync 2. Both are waiting for you in LumaSync.
Every LUT applied in Resolve is now read back before it counts. An application that Resolve accepts without keeping is no longer reported as done: it is named, with its reason, so you can apply it by hand instead of exporting without the correction.
The Resolve menu entries now arrive with your first export, including when you export a single LUT. Until now they only came with the per-range export.
0.49.0
RushTag now contributes what it knows to the shared project: where each shot falls inside a rush, its framing and what happens in it. The other two tools can finally read what RushTag understood.
An edit imported into RushTag tells LumaSync which rushes need correcting. You come back from Premiere or Resolve, and only the footage that made the cut goes on to be measured.
“Save as” takes the shared project along with the copy, so the bridges follow your project instead of staying behind.
People recognised in your rushes never leave RushTag. What travels between the tools are the shots, never the faces.
0.48.0
One project shared by the three tools, sitting next to your own. What each of them learns about the rushes stays there: line up in Synchromatic, find your shots in RushTag, match the colours in LumaSync, without ever handing over the same files again.
Your edit comes back from Premiere or Resolve and says what is actually used. On a documentary, half the rushes never make the cut: you now only measure what is on screen.
Two tools open at once no longer overwrite each other: each writes only what it knows, and reads the project back at the moment of saving.
0.47.0
A LumaSync panel inside Premiere Pro. Point at the shot whose colours you want to keep, then at the one to correct: both are sent to LumaSync. Once the correction is measured, the panel applies the LUTs to the shots concerned.
It never claims to have applied a LUT that it did not: every application is read back, and the ones that did not take are named one by one with their reason, with the LUT folder opened so you can finish by hand.
Saving a single LUT now also writes the note saying which rushes it belongs to. Without it, neither the Premiere panel nor the Resolve script knew what to apply where, although this is the most common case: two shots, one measurement, one LUT.
0.46.0
An editing program can SEND its shots to LumaSync. You point at the shot to correct, then at the one that serves as reference, and they appear in LumaSync with their role, without you having to find them on disk again.
The role you pointed at now opens both lists of the comparison directly. The second shot is received even when LumaSync is already open: the two gestures need not follow one another.
0.45.0
LumaSync opens ON ITS OWN. Drop the rushes from two or more cameras: it lines them up on their sound, finds what they filmed at the same instant, and opens the comparison. Until now it needed an already synchronised timeline.
It says what is wrong before making you wait: rushes that were not filmed at the same time, a single camera, an unreadable file. Each one is named, rather than vanishing from the list without a word.
0.44.2
Tooltips are legible in both themes. They kept a dark plate and white text, which put a black rectangle in the middle of a light window.
Secondary text and hairlines were reworked one by one so that each keeps the same contrast on a card as on the window's ground.
0.44.1
The name of a rush is finally legible on its clip. It was written in white whatever the clip's colour, which made it unreadable on most of them; the ink is now chosen by measuring the ground it sits on.
The moment colours were redone so that two neighbouring groups really do look different. The previous ones were measured with a formula that overstates the gap between two greens.
The LumaSync button now has a clear edge on the dark theme, where it used to float on the window's ground.
0.44.0
A new coat, in green. The whole interface now comes from a single colour, in the dark theme as in the light one, and every contrast was measured rather than eyeballed.
The clip colours were chosen so that two neighbouring moments on the timeline never look alike. That is what makes a glance enough to see where one moment ends and the next begins.
0.43.0
LumaSync now tells you where you are. The name of the rush appears at the top of each half of the picture, and the timeline names and colours its two tracks. Two shots from one camera look alike enough that you lose track of which one you are judging.
The timeline now freezes while measuring. It used to answer clicks when the pictures could not follow: you moved the playhead and the screen stayed on the previous moment.
0.42.0
Exports now sort your footage. One folder for the picture, one for the sound, and inside each a sub-folder per camera and per recorder. Until now everything landed in a single bin and the sorting was yours to do.
The sorting follows what the sync already worked out: the cameras are the ones that decide the tracks, so the folders come in the order you see the tracks. Final Cut has no bins, so it gets keywords, which do the same job there.
0.41.0
The LumaSync button carries its whole mark, ring included, on a single-colour plate. Its former background was a sliding gradient: the word changed contrast as it slid, and the ring could not appear on it at all.
It has also moved. Check, Report and the two exports now form one block, and LumaSync stands apart on the far right, behind a hairline. It does not finish the synchronisation, it starts something else.
0.40.0
The button that opens LumaSync now carries its logo, instead of “Match the colours”. It does not open one more feature, it opens a tool, and a tool is recognised by its mark before it is read.
0.39.0
LumaSync now has a timeline, and it is there to choose the moment you look at. Both cameras have their own lane, gaps included; click anywhere and both pictures are read again at that instant. Until now the preview took the middle of the shared passage and never moved, so you judged a correction on a moment you had not chosen.
The stretches and the measured moments are drawn on that same timeline: you can see at a glance which stretch rests on sixteen measurements and which on eight.
The progress bar no longer sits at a hundred per cent while the app is still working: it says what it is doing to the end, and announces the finishing step.
Waiting no longer spins the LumaSync ring like a beacon: a highlight sweeps up across it.
0.38.1
Applying the LUTs in DaVinci Resolve now takes one click: Workspace > Scripts > LumaSync. It used to mean opening Resolve's console and pasting a line, which is a programmer's gesture where a menu is expected.
0.38.0
Per-stretch LUTs now carry the name of the RUSH they belong to, instead of a time range. An editor has clips in a bin, not seconds.
And they apply themselves in DaVinci Resolve. LumaSync drops a small script alongside them: run it from Resolve's Python console and it puts each LUT on the edit's clips that come from the matching rush. Ten shots can be done by hand, two hundred cannot. Nothing is re-encoded, and a shot whose rush was never measured is left untouched and named.
0.37.0
LumaSync now splits the shoot at its RUSHES, not only where it sees the colour change. That is the natural split: a camera's setting moves when you stop and restart it, not in the middle of a take. It tries both ways and keeps whichever measures better.
Each rush is now measured FOR ITSELF. The moments were spread over the whole shoot, leaving only two or three per rush, far below what it takes to draw a correction that belongs to that rush.
A time strip under the picture shows the stretches, with the moments measured in each. Click one: the preview, the readout and the figure become its own, and it is its correction that you save.
0.36.1
A long shoot is now measured as finely as a short one. LumaSync took the same number of moments whatever the length: over forty minutes that was one moment every ninety-five seconds, where three minutes gave one every seven. Yet the long shoot is the one most likely to have drifted.
When LumaSync offers one LUT per stretch, each stretch now rests on enough moments to be worth something. Some were cut so short that they could harm the passage they were meant to correct.
0.36.0
LumaSync now reads twice as many moments of the shoot as before, and refuses to export a correction measured on too few of them. Below the threshold, one time in eight it harmed rather than corrected, and nothing told that time apart from the others. The window still shows the correction so you can judge it; it no longer lets it leave for an edit.
The verdict now says how many moments were used and what that number allows you to conclude: safe, usable, or too thin to be delivered.
0.35.1
The loading screen now gives way to the app instead of sitting on top of it. Both appeared at once, which took away its whole point: it announces an app on its way, not one that is already there.
The scope legend and the channel names came out black on a dark background, so unreadable. They now take the theme's ink.
LumaSync now shows that it is working while it reads both cameras: its ring turns over the window, as in the listening room. That read takes about ten seconds, and nothing used to say so.
0.35.0
LumaSync compares much faster. Dragging the seam between the two images no longer recomputes anything, and zoom and panning follow the mouse instead of trailing behind it. On a 4K rush the picture is ready seven times sooner than before.
A new side-by-side view, alongside the wipe. The wipe is still the best way to catch a small shift in hue; side by side shows both cameras whole, which reads at a glance while you adjust. Zoom and framing are shared by both views.
The scopes now say which curve is which: a legend names the reference camera, the corrected one before, and the same one after. Without it, three traces on one grid lead nowhere.
“Fit” now brings the seam back to the middle too. Stuck against an edge, it left a view where one of the two cameras had vanished, and the button looked like it did nothing.
A loading screen when the app opens, showing where the start-up has got to. Its steps are real: nothing moves there until something has actually happened.
LumaSync now carries its own brand: its wordmark in the window header, its ring as the window icon. The wordmark follows the theme, light or dark.
0.34.0
Double-click a clip on the timeline to open its file details, picture or sound: where it comes from, what it holds, what the app has against it, and a way to remove it. It is the same card as from the media pool. A single click still grabs the clip to nudge it, and hovering reminds you of both gestures.
The gesture works on the listening room timeline too. A gesture that works in one place and not the other is worse than no gesture at all.
0.33.1
LumaSync frames now appear where they stayed black. They were read at a single instant, the middle of the common passage: a camera swapping cards right there left the window empty, while the measurement itself found ten moments out of twelve. The preview now tries every instant, from the centre outwards.
A project saved by an older version reads its rushes back without their resolution. LumaSync now asks the files themselves instead of opening an empty window, and when something is genuinely missing, it says which of the three obstacles it hit.
0.33.0
Three ways to step back in LumaSync, and they should not be confused. Undo and Redo take back one adjustment at a time, with the usual shortcuts. "Back to the computed one" returns every slider to zero and keeps the measurement. "Start over" drops the measurement too and gives back the untouched rush, after confirming: twenty seconds of measuring should not be lost to a misplaced click.
0.32.0
LumaSync scopes. The three channels drawn across every sampled instant, with the reference as a filled area, the before as a dotted line and the after as a bright one. This is not decoration: the figure shown is the distance between these curves, so the picture and the number are the same thing. When the bright line settles onto the area, the match is made.
One correction is not always enough for a whole passage. The app measures it and says so: it splits the shoot into stretches, states where to cut and by how much the gap drops, then can save one LUT per stretch, each named after the passage it covers. It only offers this when splitting genuinely measures better, and it does not claim the cause: a setting that changed, light that moved or two very different scenes look too much alike to tell apart.
None of this exists without synchronising first. That is what gives both cameras a shared time axis, and therefore a meaning to "here, something changed".
0.31.0
LumaSync becomes a real comparison bench. Both cameras show at FULL RESOLUTION, split by a divider you drag from edge to edge: that is how a two percent tint difference becomes visible, when it vanishes between two thumbnails sitting side by side. Scroll to zoom, double-click to toggle between the whole image and 1:1, drag to pan.
What the preview shows is the LUT you are about to save, not a more flattering approximation: what you see here is what your editing software will show.
The frames appear as soon as the window opens, before any measurement. You can see at once whether you picked the right cameras.
Fine adjustment: exposure, white balance, tint, contrast, saturation, blacks and whites. These are distances from the computed correction, not absolute values, and the app re-measures on every move to say what your touch costs the match. It lets you do it and tells you, rather than deciding for you.
0.30.0
LumaSync: match the colours of two cameras. Pick the one you keep, the one to bring onto it, and the app compares the two at the same instants of the shoot, a dozen times across the whole passage where they ran together. This is what synchronising makes possible and what no tool can do without it: what is left between the two images is the camera, not two different moments. The correction saves as a .cube LUT or an ASC CDL, read by Resolve, Premiere and Final Cut.
The figure shown is measured on the moments the correction was not computed on. A correction fitted on a single moment easily flatters itself by a factor of five while degrading the rest of the shoot: it learned that moment and not the camera. When it does not hold, the app says so and suggests matching a shorter passage, which is the right move when a setting changed partway through.
The correction is also stated in grading terms: exposure, white balance, tint, contrast, saturation. Enough to judge what it does before applying it, rather than being handed a file and nothing to think about it.
0.29.3
The frame rate of a rush the analysis had failed to read is now recovered when the project is reopened. Some files, drone MP4s among them, do not state their average rate: the whole shoot then went into the XML at the sequence's rate, and DaVinci Resolve kept rejecting every video clip. Reopening the project and re-exporting is now enough.
The XML export now states the timecode each file starts at. Cameras burn a timecode into their rushes, and DaVinci Resolve checks it against the file's description: without it, it assumed a start at zero and refused to conform every video clip, while keeping the sound.
0.29.2
The XML export now comes into DaVinci Resolve whole, pictures included. On a shoot mixing frame rates (one camera at 50p, another at 30p), every file was described at the sequence's rate: Resolve concluded it was not the right file, rejected every video clip as missing, and linked only the sound. Every file is now described at its own rate, in both export formats.
In Premiere Pro, clips came in distorted until you set them to fit the frame: the XML did not say the files have square pixels, and Premiere sometimes guessed anamorphic. It is now stated, clip by clip.
0.29.1
The bottom bar tidied itself up: Preview and Report are now real buttons you can spot, and Open and Save, already in the File menu with their shortcuts, no longer crowd it.
The sound and picture buttons on the tracks now state their condition in colour: light blue when the track plays, red when it is cut, greyed when there is nothing to cut. They used to blend into the panel, and you could not tell whether a track was on.
The preview says when it is computing: the logo ring spins over a veil while a window is being built, and the status line then says the pre-render is done and playback ready. Moving the cursor used to freeze the window without a word.
Picking a track in the preview now outlines it on the timeline, a camera's picture and sound together: you finally see which clips the name stands for, and that they belong together. And the timeline now tells its three families apart: pictures keep their group colour, a camera's sound repeats it darker, and external recorders are violet.
The track panel folds into two families, cameras then recorders, and its width adjusts by dragging its handle. Long names now trim in the middle instead of pushing the content out of frame: two of the four fine-adjustment buttons were left unreachable.
0.29.0
Fine adjustment now fits its panel. It offered four steps per row and the last was clipped outside the window, so -10 and +5 could never be clicked. What remains is -3, -1, +1 and +3, which covers what the eye can judge.
The preview renders at a higher resolution: two angles now make a 2560-pixel-wide grid instead of 1920. On a Retina display the old one was scaled up almost twofold, and looked soft.
The app no longer offers an update to a version whose package does not exist yet. It announced one as soon as the repository changed its number, and the download then reinstalled the version already in place, over and over.
0.28.0
The group is now picked inside the preview. A menu lists them all, with their time and media count, and playback jumps to the first moment where all their tracks have started. Until now you had to drag the playhead along the timeline and watch the panel.
Mute cameras is now a mode that holds from one group to the next: you hear only the external recorders while it is armed, and judging an offset no longer means re-arming it at every moment you examine.
The track panel now scrolls as a whole. In a short window, the fine adjustment was drawn on top of the track list, which shrank to a single row.
0.27.0
The update check at startup can be switched off, under Help. It is the only request the application makes, and the privacy policy promises it can be turned off.
Release notes now arrive in the language of the application, instead of English for everyone.
0.26.0
The preview sticks to the group it is watching. The panel, the grid and the mix only carry that moment's tracks, the panel names which group with its colour, and the other groups fade out on the timeline.
Frame-by-frame nudging, inside the preview. Click a track, then eight buttons move it by 1, 3, 5 or 10 frames either way, and one button hands it back to the computed position. You correct where you judge.
Zoom on the preview timeline, the same as in the main window. Without it, one frame of offset is a fiftieth of a pixel on an hour-long timeline.
The preview picture is sharper: cells have doubled and the bitrate is computed from pixels per second instead of being hard-coded.
New project in the File menu, which returns the app to its starting state and asks before throwing away work in progress. The Clear button asks too, now.
Confidence is shown as a percentage everywhere, threshold included. You can compare 87% at a glance; 0.87 you cannot.
A reopened project gets its thumbnails back, and its button reads Synchronise again instead of suggesting no sync has ever run.
A media's details open on a single click, group cards are no longer clipped, and hovering the pool highlights the row again.
0.25.0
The preview becomes a monitor you can read: names sit on the picture, every track carries its own sound and picture buttons, clicking a cell fills the monitor with that angle, and the real timeline appears underneath with the playhead.
Muting a track is now instant: the picture is no longer re-rendered when only the sound changes.
Hiding a camera makes the others larger, instead of leaving a black hole in the grid.
0.24.3
Video preview works in the packaged app. One exclusion line was dropping the playback module from the bundle: the preview said video playback was unavailable while it worked fine from source.
0.24.0
The media pool can be filtered and sorted, and several files removed at once. A group can be named, and the name carries through to the export.
Project and export names are timestamped: two exports of the same project no longer overwrite each other, nor land as two indistinguishable sequences in the editing software.
0.23.0
Full legal notices inside the app, help, opening a project by double-clicking it in the Finder, and an update check.
0.22.0
Menu bar, the usual keyboard shortcuts, and undo with Cmd+Z.
0.21.0
Nothing is lost on quit: the app asks before closing on unsaved work, and a project can be reopened at any time.
0.20.0
A media's details card: path, duration, timecode, date, what its badges mean, and a way to remove it knowing whether the sync suffers.
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