1.8.0

This is the version where a phone stops being a second screen and becomes the desk.

System	File
Windows 10 / 11	Valendo-1.8.0-setup.exe
macOS, Apple Silicon	Valendo-1.8.0-arm64.dmg

On Windows, SmartScreen warns about an unrecognised publisher: More info → Run anyway. The installer is per user and does not ask for an administrator password.

On macOS, run this once in Terminal before the first launch — and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

It prints nothing; silence means it worked. Without it macOS says "Valendo is damaged and can't be opened" and offers only Move to Bin. The app is not damaged — that is what macOS tells you about a downloaded app it cannot verify with Apple, because this one is not notarised.

New

• A command desk at …:7777/control. The reading page has always been read-only, so commanding lives behind its own switch, its own address and its own passcode. Open it and you get scripts and chapters on the left, the programme in the middle paragraph by paragraph, and the transport on the right: play, step, restart, loop, pace, chapter and marker jumps, cards and tabs. On a phone it folds into one column with the script as the only thing that scrolls, so the pause key stays under your thumb however long the script is.
• The glass. Above the transport sits a live pane of the reading page — not a drawing of it, the same address the presenter is looking at, with the same typeface, presenter colours, cards and video. It is the difference between fixing a line blind and fixing it while watching.
• Go to, and play from, on every paragraph. Two keys on each line of the script. They travel as the paragraph's identity, not as a screen position, so they land where you meant even if your screen is a couple of seconds behind.
• Editing from the phone, two ways. Tap a paragraph to fix a word — it lights up in the operator's editor while you have it open, so nobody at the desk is surprised by text moving on its own. Or open the whole script at once, which is the only way to create, merge or delete a paragraph remotely. Saving the whole script carries the version it was opened at: if the desk changed the script while you were typing, the save is refused and you are told, with your text still on screen. Nothing is overwritten in silence.
• The network port is no longer fixed. One port serves both pages, and you can change it. If another program on the machine is already holding it, the app walks to the next free port and shows that address in the panel and in the QR — you never meet the error.
• The reading page can be reached at …/monitor, alongside the address it already had. Easier to dictate over a talkback.

Changed

• Turning Control on now turns the reading page on with it, muted. This one is worth knowing before you use it: the glass is the reading page, so without it on the air the pane would be a black rectangle. Audio to the network closes at the same moment, even if it was open — a studio that starts making noise on its own is a problem, not a feature. Turning Control off does not turn the reading page off; someone may be reading from it.
• The Control and Monitor keys in the Editing footer are now named rather than drawn as a wi-fi icon, and they show their state by outline when off and full colour when on. The name of whoever holds the command appears beside them.
• The Editing footer now sheds its controls gracefully as the panel narrows, the way the header already did.

Fixed

• Refreshing the command page no longer costs you the command. The page ended up with two identities — one holding the pen and never releasing it, the other unable to take it — and the only way out was Take back at the desk.
• The copy button in the network panels copies again. It had been silently failing: the app window loads from file://, and browsers refuse clipboard writes from that origin. It now goes through the system clipboard instead.
• Editing a paragraph over the network no longer destroys the presenter cue. The name is joined to the line above it, losing its colour, because blank-line normalisation was collapsing the line break that keeps it on its own line.
• The command page can be scrolled in Safari and Chrome, in both orientations. Page chrome shared with the app window was locking the document height.
• The QR address in the Monitor panel fits on one line again.

Documentation

README, site and wiki are all up to date with this version, with every screenshot retaken against it. The wiki has a new page, Commanding from a Phone, including the list of what the command door deliberately cannot do: no blackout, no appearance, no files, and nothing outside the local network.

Documentation · site · wiki

Licence

GPL-3.0-or-later.

Both installers redistribute ffmpeg 6.1.1 under the LGPL/GPL. The Windows build uses the binary from gyan.dev; the macOS build is compiled by this repository's CI from source, with a guard that fails the build if --enable-nonfree ever appears. Source: ffmpeg.org, tag n6.1.1.

1.7.0

The release that lets you choose what the app looks like. Twenty built-in themes — ten dark, ten light — with background artwork in eighteen of them, an adjustable background, your own image if you prefer one, and a separate control for the paper the script is typed on.

System	File
Windows 10/11	Valendo-1.7.0-setup.exe
macOS, Apple Silicon	Valendo-1.7.0-arm64.dmg

Windows: run the installer. SmartScreen warns about an unrecognised publisher — More info → Run anyway.

macOS: drag to Applications, then run this once, before the first launch and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

Without it macOS says the app is damaged. It is not — that is the message for a downloaded app it cannot verify with Apple, because this one is not notarised.

New

• Twenty themes, behind the palette button in the header. They sit next to the interface-scale control on purpose: those two answer the same question — how the app looks to me — while Settings decides what the presenter sees. Ten dark and ten light, split by a tab, in a two-by-five grid so you compare them side by side instead of scrolling a list. Console and High Contrast hold the first row in both modes: the two you already know before choosing anything.
• Eighteen of the twenty carry their own background artwork, drawn behind the chrome and nowhere else. The script editor, the Broadcast panel and the presenter's screen stay opaque in every theme — a texture behind the text you are typing during a live show is not a feature, and a Broadcast preview that lies about its own background stops being useful for checking anything.
• A background strength slider. At 0 the app is exactly what it was before; the artwork fades and desaturates together as you come down, because a background that only gets darker keeps its colour cast and starts tinting the labels sitting on it.
• Your own image, if none of the eighteen fit. It is copied inside the app, into its own folder — deliberately not the one cards live in, because that folder is swept clean of anything no card points at, and your background would vanish the first time you opened a project.
• Editing paper is a slider, not a switch. It runs from the near-black the editor has always used up to a paper grey, and the middle is where the good answers are — a charcoal at 15, a light grey at 80. The ink flips from white to black partway along, so the swatch beside the slider shows the real paper and the real ink rather than a number that cannot warn you about the turn.
• Themes may change the state colours — green for rolling, red for on air, amber for attention. That was a deliberate choice to make a genuine high-contrast theme possible, and it comes with a guard: a palette in which those three stop being distinguishable does not ship. Separation is measured on lightness, not hue, so the three stay apart for someone who does not separate green from red.

Fixed

• The theme survived closing the app only if you also touched a project. Reported from an ordinary session: change the theme, save the .valendo, close, reopen — and the old theme was back. The cause was not a failed write; it was where the choice lived. It was kept in the workspace file, whose autosave starts locked and only unlocks when you pick a path on the welcome screen or open or create a project. In a session where you only changed the theme, that file was never rewritten. The four appearance fields now live in the machine's own settings file, which is written unconditionally, and that file is what the app believes on startup.
• The window opens already wearing the theme. The appearance is read synchronously before the first frame is painted, alongside the interface scale and for the same reason: the state arrives over an asynchronous channel, which is to say after the window is already on screen. Anyone on a light theme used to watch the app open black and then turn.

Changed

• Light mode peaks at grey, not white. The first attempt was a normal light interface and it was rejected on sight — a teleprompter operator sits in a dim room facing that screen for hours, and a white panel there is a flash in the face. The whole light set is built downward from a grey ceiling, and the artwork for the eight light themes was calibrated by binary search against a brightness band, not picked by eye.
• Theme names are proper nouns — Console, High Contrast, Canyon, Space, Forest, Ocean, Wine, Marble, Neon, Aurora — identical in all six languages, the same treatment OVERLAY and Assets already get.
• The theme is a machine preference, not part of the project. Sending a .valendo to a colleague never changes the app they are looking at, the same rule the editor font and interface scale already follow.

Documentation · site

The README, the site and the wiki have been rewritten against this version. They had been stuck at 1.4.1 and knew nothing about presets, search, marks, the embedded typefaces, the colour work, on-screen shortcut mapping or MIDI; all of it is documented now, with new screenshots throughout.

Licence

GPL-3.0-or-later. Both installers redistribute a GPL build of ffmpeg 6.1.1 — Windows by gyan.dev, macOS compiled by this project's CI (build script). Source at ffmpeg.org, tag n6.1.1.

They also embed ten typefaces, each under the SIL Open Font License 1.1: Inter, Cascadia Mono, JetBrains Mono, iA Writer Quattro, Atkinson Hyperlegible Next, Lexend, IBM Plex Sans, Literata, Newsreader and Alegreya. The OFL permits bundling and selling fonts with software; it forbids selling the fonts on their own. Every licence text ships beside the app, in resources/licencas/.

The background artwork is generated for this project and ships under the same GPL-3.0-or-later as the app; the attribution is in src/renderer/src/temas/licencas/.

1.6.1

A small release on the same subject as the last one: the colour picker. The eight get a name that says what they are, and the full grid gets a second tone.

System	File
Windows 10/11	Valendo-1.6.1-setup.exe
macOS, Apple Silicon	Valendo-1.6.1-arm64.dmg

Windows: run the installer. SmartScreen warns about an unrecognised publisher — More info → Run anyway.

macOS: drag to Applications, then run this once, before the first launch and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

Without it macOS says the app is damaged. It is not — that is the message for a downloaded app it cannot verify with Apple, because this one is not notarised.

New

• A saturated / pastel switch for the grid, SAT | PAS, in the picker footer. Pastel is less saturation and more lightness — for matching a channel's artwork, or for a mark that should not shout. Both instances of the picker share it, and it is remembered per machine, like the contrast filter: it does not travel inside a .valendo, so sending a project to a colleague never changes the grid they see.
• The grey row does not change with the tone, and that is deliberate rather than an oversight. Grey has no saturation to remove, and pure black and pure white have to stay reachable in both modes — they are the two most common answers in this picker. In pastel you get a light grid with the dark row still on top. It is the price of not mutilating both ends of the scale.

Changed

• "More colours" is now Synergy. The old label promised quantity, and those eight are not quantity — they are fewer colours than the grid, picked by a search that maximises how far apart they stay from one another. A name that says "there is more here" sends you looking for a tone you will not find; the grid behind the picker is where more lives. Synergy says what they actually are. It is a proper name, identical in all six languages, the same treatment OVERLAY and Assets already get.
• The tone switch does not apply to the eight, and it dims instead of disappearing when Synergy is on. This was measured before it was decided: desaturated, the worst pair among the eight falls from 27.4 to 11.8 — below the conflict threshold, which is 20. They would start flagging each other, and the palette whose whole claim is "these never get confused" would begin saying they do. Tested from saturation 50 down to 35; at 35 the worst pair is 8.9. It is not a matter of tuning the number — it is what desaturating does to separation. The switch stays visible and dimmed because a control that vanishes teaches you less than one that stays in place saying "not here".

Documentation · site

The README, the site and the wiki still describe 1.4.1 — they know nothing about presets, search, marks, the embedded fonts or any of the colour work, and are being updated separately. If the app has features the documentation does not mention, that is why.

Licence

GPL-3.0-or-later. Both installers redistribute a GPL build of ffmpeg 6.1.1 — Windows by gyan.dev, macOS compiled by this project's CI (build script). Source at ffmpeg.org, tag n6.1.1.

They also embed ten typefaces, each under the SIL Open Font License 1.1: Inter, Cascadia Mono, JetBrains Mono, iA Writer Quattro, Atkinson Hyperlegible Next, Lexend, IBM Plex Sans, Literata, Newsreader and Alegreya. The OFL permits bundling and selling fonts with software; it forbids selling the fonts on their own. Every licence text ships beside the app, in resources/licencas/.

1.6.0

Two things you read on a screen, both now chosen with information instead of in the dark: nine open fonts that travel inside the app, and a colour picker that measures.

System	File
Windows 10/11	Valendo-1.6.0-setup.exe
macOS, Apple Silicon	Valendo-1.6.0-arm64.dmg

Windows: run the installer. SmartScreen warns about an unrecognised publisher — More info → Run anyway.

macOS: drag to Applications, then run this once, before the first launch and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

Without it macOS says the app is damaged. It is not — that is the message for a downloaded app it cannot verify with Apple, because this one is not notarised.

New

• Nine open fonts, embedded. Cascadia Mono, JetBrains Mono, iA Writer Quattro, Atkinson Hyperlegible Next, Lexend, IBM Plex Sans, Literata, Newsreader and Alegreya now ship inside the app, joining Inter. The Editing panel draws the same on Windows and on macOS. Two entries of the old list never existed: "Atkinson Hyperlegible" fell back to Verdana on every machine, because nobody has it installed, and the default monospace was SF Mono on a Mac and Consolas on Windows — not the same letter. The files are the originals as published, not web-optimised subsets: the OFL FAQ treats stripping glyphs as modification, and a modified version may not keep a reserved font name. The practical reason weighs more — a subset has missing glyphs, and a Polish surname would fall through to another font mid-line, moving where the line breaks.
• A font menu that draws each name in its own font, in both panels. The output picker was a system <select>, and Chromium ignores font-family inside an <option> — which is why that menu always came out in one letter. It is now the same control as the Editing footer.
• A live sample under the output font. One label, drawn in the chosen font, reacting to weight, ALL CAPS, letter spacing and alignment as you drag the sliders — and painted in the real output colours, white on black. The Settings panel is grey on grey; the glass is pure white on pure black, and in that contrast the stroke swells. Weight judged in the panel's light is weight judged in the wrong light. Hovering an entry redraws the sample without committing, so you can compare all of them without seven undo steps.
• The colour picker measures contrast. Colours that miss 7:1 against the current background are dimmed — a third of the grid, on the default black. Dimmed, not blocked: matching a channel's artwork is a real reason to pick a weak colour, and a picker that forbids makes you switch the warning off entirely for the rare case. 7:1 and not the web's 4.5:1 because that ruler assumes reading half a metre away in a lit office; here the text crosses a half-mirrored glass and is read three metres out by someone who cannot go back.
• Eight colours that stay apart from each other, behind More colours — eight the grid does not contain. They came from a search, not from taste: one colour per nameable family (yellow, orange, coral, pink, purple, blue, green, plus white) and, inside each family, the tone that makes the set's worst pair as large as possible. Every pair is measured twice, with normal vision and with deuteranopia, and the worse of the two counts. Run without the family constraint, the same search returns two blues, two yellows and no green — far apart on paper, useless at the desk, where you need to say "put HARI on the blue one".
• A warning when a colour clashes with one already on screen. Half-dimmed means it is too close to a presenter's colour, to the text colour or to the direction colour — the ones actually sharing the glass. It matters most in the full grid, where neighbouring cells are almost the same colour and nothing used to say so.
• Press to try a colour, release to keep it, release outside to give up. The picker always committed on click, so comparing three colours meant committing all three. Now pressing a swatch applies it at once, dragging across the palette swaps it live, and letting go outside restores what was there. The palette stays open after you give up: you refused that colour, not the whole choice.
• A font for the editor, in the Editing footer, kept per machine rather than in the project — sending a .valendo to a colleague never changes the font they type in.

Fixed

• The presenter's name line no longer nudges the caret. It was drawn in real bold, the only thing in the editor that changed a glyph's advance width. It never showed while the editor font was monospaced, because Consolas draws its bold at the same width; with the proportional fonts the menu now offers, the invisible textarea and the coloured layer underneath stopped agreeing, and the caret landed beside the letter you were looking at. It is now painted with an outline, like every other emphasis in that panel.
• Ligatures no longer widen the reading band. The fi in "final" is a single glyph in Literata, Newsreader and Alegreya, and a one-character measurement returns the whole cluster's rectangle — so the FOLLOW band and the FIND ALL boxes came out too wide. The editor's two layers now disable ligatures explicitly, instead of relying on the default font being the variant that has none.
• Changing the font with FIND ALL on now re-measures the boxes. They stayed measured against the previous font until the next keystroke in the search field.
• The speed display stops resizing with the number. Going from 99 to 100 widened the whole display and pushed what sat beside it. In a console operated at a glance, the worst moment for something to move is the one where you are looking at it — and it moved because it was being looked at. The cell now reserves three digits, which is what 60…500 needs, and centres the value inside them.
• The pace figure sits in the middle of its display. The box was already centred; the ink was not — digits have no descender, so the bottom fifth of the number's box is always empty, while the label carried spare half-leading below. Both gaps fell on the same side. It also fixes the ELAPSED and REMAINING clocks, which use the same part.

Changed

• The Editing font list is no longer the output's. They answer different questions — what is comfortable to type in for hours, versus what reads three metres away on a mirrored glass. The output keeps its seven entries and its behaviour, unchanged. If you had picked "Serif" or "Condensed" in the editor, it returns to monospace: those left the Editing menu and remain in the output. Without that, the menu would show one name while the editor drew something else.
• The Editing font list is alphabetical. It was grouped by nature — monospaced, proportional, serif — but at ten entries that ordering costs more than it gives: knowing the name of the font you want and having to work out which group it lives in is slower than scanning the whole list.
• The target duration under the speed ruler is larger and sits closer to it. It inherited the body size of a group label, because it inherited that row from the scale's endpoints. But it is a number you read at a glance and click to change the pace — small and set apart, it read as a footnote to the display instead of the ruler's other half.

Documentation · site

The README, the site and the wiki still describe 1.4.1 — they know nothing about presets, search, marks, the embedded fonts or the colour work, and are being updated separately. If the app has features the documentation does not mention, that is why.

Licence

GPL-3.0-or-later. Both installers redistribute a GPL build of ffmpeg 6.1.1 — Windows by gyan.dev, macOS compiled by this project's CI (build script). Source at ffmpeg.org, tag n6.1.1.

They also embed ten typefaces, each under the SIL Open Font License 1.1: Inter, Cascadia Mono, JetBrains Mono, iA Writer Quattro, Atkinson Hyperlegible Next, Lexend, IBM Plex Sans, Literata, Newsreader and Alegreya. The OFL permits bundling and selling fonts with software; it forbids selling the fonts on their own. Every licence text ships beside the app, in resources/licencas/.

1.5.0

The script stops being a block of text and becomes something you can mark up. Colour and emphasis on any stretch, a search bar that replaces and paints in the same click, presets that save a whole look, and chapters that number and colour themselves.

System	File
Windows 10/11	Valendo-1.5.0-setup.exe
macOS, Apple Silicon	Valendo-1.5.0-arm64.dmg

Windows: run the installer. SmartScreen warns about an unrecognised publisher — More info → Run anyway.

macOS: drag to Applications, then run this once, before the first launch and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

Without it macOS says the app is damaged. It is not — that is the message for a downloaded app it cannot verify with Apple, because this one is not notarised.

New

• Marks: colour, bold, italic and underline on any stretch of the script. Select, pick a colour, and the words carry it in the editor, in your preview, on Broadcast and on the network page. The mark is anchored to the block and the word offset inside it, not to a position in the file — so it survives typing above it, renaming a chapter, or reordering tabs. Typing inside a marked word extends the mark; typing right before it stays outside; deleting the word takes the mark with it. In the editor bold is painted, not re-set: a real bold would change the glyph widths, and the editor is a transparent textarea aligned character by character over a coloured layer. On the glass, where nothing has to line up, bold is bold.
• The recent-colour wheel. The four dots beside the picker are the last four colours you used, not four the app chose. Left to right into the next empty slot, then back to the first — a colour you use again costs nothing and moves nothing. Empty slots are drawn white, which is also what "remove colour" leaves behind. The picker now shows the colour of what is currently selected instead of always opening on the same swatch.
• Find and replace, Ctrl+F. The bar is built as a sentence read top to bottom: find this · change these things (replace, paint, or both) · apply. Two checkboxes say what is at stake and one place acts. With both ticked, the replacement lands and the colour falls on the new word — the natural chain (find, replace, paint what went in) was the one thing the first design made impossible, because the colour row painted what the search found, and after replacing, the search found nothing.
• SPEECH. With paint-all, the switch decides whether the sweep goes over stretches already coloured by a presenter. Off by default: a presenter's colour is a system someone on set has learned to read, and a sweep that undoes it in one click without asking is the kind you discover on air.
• The arrow that lifts REPLACE into FIND. It cuts, so the replace field ends empty — leaving the word there would arm a "replace BUZINA with BUZINA" that does nothing and looks like it did.
• CHAPTER gets an ALL. Marks every line whose whole text equals the selection. Deliberately restrictive: a word in the middle of a line never becomes a title by accident. The menu says how many it will take before you press it, and greys out when there are none. One undo step for the whole sweep.
• Presets. Save a whole look — text, reading, output — and put it on another tab. Rename, colour, star and delete them; the starred one is what a new tab opens wearing.

Fixed

• The blank lines you skipped now reach Broadcast. Skipping two or three lines in the editor showed one on the presenter's screen. The gap existed where you write and vanished where it is for — and spacing one subject from another is layout, not leftover typing. The cause sat at the very bottom of the model: the parser split paragraphs on \n{2,} and threw the separator away, so three blank lines and one had been the same data all along. Expect one consequence: every extra blank line now weighs on the ruler, so a widely spaced script estimates slightly longer than it did in 1.4.1.
• A coloured chapter stayed amber on Broadcast. The branch that draws a chapter line ignored marks entirely — the app showed one thing to whoever edits and another to whoever reads. Colouring any part of a title now colours the whole title (a chapter is a label, not a sentence with parts), and the 60% veil steps aside: whoever asked for that colour did not ask for 60% of it.
• Double-clicking the Edition/Broadcast divider now returns to the middle — the real middle. It sent 0.7 hard-coded while the default was 0.46, so the "back to normal" gesture led somewhere that was never normal. Both are now the same constant, and the constant is 0.5.
• When the Edition panel narrows, the dots give way, not the text. "83 words · 0:54" was breaking into two squeezed lines while the colour dots stayed whole — the order of importance inverted. Measuring changed the design: the full header wants 594px and the panel has 553 at the default size. It never fitted, and the wrapping text was the symptom.
• The Abrir Valendo.bat shortcut calls the local electron binary instead of npx, and is written with CRLF, which is what cmd.exe actually reads.

Changed

• Chapters are numbered in the left column, and the ## leaves it. Repeated titles are the rule in a running order — four "COMMERCIAL BREAK" truncated at the same point were the same button four times. The number takes the ##'s place rather than sitting beside it: ## was identical on every line and was eating exactly the width that made titles clip.
• "Remove the mark" is now "Remove colour", in all six languages and in all three places it appears. The button always removed the colour — "the mark" suggested it also cleared bold and underline, which it never touched.
• Quick help for the whole search bar and the colour picker. Seventeen controls had none. The picker's existing entry was describing a design that no longer exists — four fixed colours that the recent wheel replaced.
• The colour dots came out of their sunken well in the header; the thin black ring around each one, which keeps a pale yellow from merging into the header grey, is now visible.
• A failed action no longer takes the app down with it.

Documentation · site

The README, the site and the wiki still describe 1.4.1 — they do not know about presets, search or marks yet, and are being updated separately.

Licence

GPL-3.0-or-later. Both installers redistribute a GPL build of ffmpeg 6.1.1 — Windows by gyan.dev, macOS compiled by this project's CI (build script). Source at ffmpeg.org, tag n6.1.1.

1.4.1

Uma correção de layout sobre a 1.4.0, que saiu ontem com tudo o que há de novo — o cartão de tela, as abas que se duplicam e se arrastam, a ajuda rápida nos seis idiomas.

System	File
Windows 10/11	Valendo-1.4.1-setup.exe
macOS, Apple Silicon	Valendo-1.4.1-arm64.dmg

Windows: run the installer. SmartScreen warns about an unrecognised publisher — More info → Run anyway.

macOS: drag to Applications, then run this once, before the first launch and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

Without it macOS says the app is damaged. It is not — that is the message for a downloaded app it cannot verify with Apple, because this one is not notarised.

Fixed

• The transport strip broke the Focus layout. With the transport in the footer strip (F8), Focus drew the bar across the whole window, underneath the cards drawer — while in Split the same bar sits inside the middle column, above the drawer. The two belong to the same content and have to measure the same.

  The strip lived outside the mode's own column, and the reason was written next to it: "Focus and Desk have no column and no inspector." That was true when it was written. Then Focus got the Assets column, and this week the Settings panel — and the assumption quietly stopped holding, because a full-width bar only looks wrong once there is something beside it. Focus now builds the strip inside its own column, like Split. Only Desk keeps it outside, and Desk really is the one with no column and no inspector: there the window width is the content width.

• The screenshot of Focus in the README and on the site was published showing this defect — the capture campaign photographs Focus with the strip in the footer, so it recorded the bug faithfully. Retaken against this version.

Documentation · site

Licence

GPL-3.0-or-later. Both installers redistribute a GPL build of ffmpeg 6.1.1 — Windows by gyan.dev, macOS compiled by this project's CI (build script). Source at ffmpeg.org, tag n6.1.1.

1.4.0

System	File
Windows 10/11	Valendo-1.4.0-setup.exe
macOS, Apple Silicon	Valendo-1.4.0-arm64.dmg

Windows: run the installer. SmartScreen warns about an unrecognised publisher — More info → Run anyway.

macOS: drag to Applications, then run this once, before the first launch and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

Without it macOS says the app is damaged. It is not — that is the message for a downloaded app it cannot verify with Apple, because this one is not notarised.

New

• A fourth kind of card: the screen. A card the app draws itself — a colour, or two colours with an angle and a fade distance, or one of six slow animated backgrounds: drift, breathe, sweep, waves, bars, dust. Put a message over it if you want one, with its own size, colour, alignment and placement. The point is not the look, it is what it is made of: an image card points at a file, a screen card is a handful of numbers. It weighs nothing inside the .valendo, has no link that can break, needs no lighter copy prepared for the network, and the same numbers draw it at 176 pixels on the drawer tile and at full resolution on the glass. A standby screen without opening an image editor.
• Speed and intensity, for all six effects at once. Speed scales each effect's own pace rather than forcing one duration on all of them — they were not tuned to the same number, and a single figure would leave Drift frantic and Bars crawling. Intensity decides how much the movement shows over the base colour.
• Duplicate a tab, from the right button. Right-click a tab for duplicate, rename and close. The copy carries the appearance and the markers, and opens with its name selected, because naming it is always the next thing you do. It is a fresh script: it has no export path of its own, so Ctrl+S on the copy asks where to write instead of quietly overwriting the file the original came from. Ctrl+D does the same to the active tab.
• Drag tabs to reorder. The gap opens where the tab will land while you are still holding it, so the drop is never a surprise. Reordering never changes which tab is on air.
• Settings works in Focus mode. F7 set the state but the panel was never drawn there, so the key did nothing you could see. Settings is a panel like Assets and Cards, not a writing surface — Focus has no reason to hide it.

Fixed

• The editor jumped to the top when you marked a chapter or a direction. Clicking ## or [ ] in the toolbar sent the view back to the first line, every time; typing the marks by hand did not. Both buttons rewrite the whole text in one step — which is what makes them a single undo — and replacing a textarea's value resets its scroll. The scroll is now put back where it was, in the text and in the highlight layer.
• Tabs were named in Portuguese, in every language. Aba 1, Aba 2 — for a German, Spanish, French, Italian or English operator, on the tab bar, all session. The name was written by hand in the code instead of coming from the dictionary.
• The Go To tooltip was stuck in English. Go To was written straight into the markup and never passed through the dictionary, so it stayed in English in the other five languages while the quick help beside it was already translated.
• The interface scale is checked, not only set at birth. The window took its zoom from a single value at construction and nothing confirmed it afterwards.

Changed

• The quick help speaks all six languages. All 156 entries — the box in the left column and the tooltip of every control, which come from the same entry — were only in English, falling back silently for everyone else.
• Tooltips are the name of the button and its key, nothing more. "Save the whole project — tabs, appearance, markers and pace" is now "Save project · Ctrl+S": the long form already lives in the quick help, where it fits and does not make you wait a second hovering. Every key comes from the key map in force, so remapping is reflected instead of the tooltip promising the factory default forever. Two buttons that had no tooltip at all got one — the save of the PROJECT group, which was indistinguishable from the save of SCRIPT beside it, and Broadcast.
• Arrow shortcuts are drawn as arrows. Step back · ArrowUp was the name the browser gives the key, not what is printed on it.
• A rule between the PROJECT and SCRIPT groups, and the screen card's Frequency is called Speed.
• The drawer leads with what needs no file: Add message, Add screen, Add image, Add video.
• Every screenshot in the README, the site and the wiki was retaken against this version, with invented content — no client material, and no stale interface. Four of them were also lying about what they showed: two captured a single item where the caption described a whole row.

Documentation · site

Licence

GPL-3.0-or-later. Both installers redistribute a GPL build of ffmpeg 6.1.1 — Windows by gyan.dev, macOS compiled by this project's CI (build script). Source at ffmpeg.org, tag n6.1.1.

1.3.0

System	File
Windows 10/11	Valendo-1.3.0-setup.exe
macOS, Apple Silicon	Valendo-1.3.0-arm64.dmg

Windows: run the installer. SmartScreen warns about an unrecognised publisher — More info → Run anyway.

macOS: drag to Applications, then run this once, before the first launch and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

Without it macOS says the app is damaged. It is not — that is the message for a downloaded app it cannot verify with Apple, because this one is not notarised.

New

• Dim the edges is adjustable. The switch was all-or-nothing; now a slider under it decides how much of the screen stays legible — from most of it at the low end down to a band about one line tall at the top. The presenter's eye gets one place to land, and how tight that place is now depends on the script, the type size and the room.

Fixed

• The dimming ignored the reading mark. The clear window was pinned to fixed positions in the middle of the screen, which happened to line up with the default mark at 38% and stopped lining up with anything the moment you moved it. With the mark at 70% the text being read sat in the dark part, dimmer than the text above it. The window now follows the mark wherever it goes, spending the same proportion of the space it has on each side.

Changed

• The welcome screen leads with a question. "Welcome to Valendo" with the brand in its own colour, then What are you presenting today? instead of a paragraph explaining the app — by the time you are looking at this screen you already know what it is. Recent projects come next, then the four ways in, and the language picker moved to the foot, a third smaller, out of the way of the decision you actually came to make.
• A recent project shows its name, not its file name. The chip said Tonight's show.valendo; it says Tonight's show. The extension is how the disk stores it, not what the project is called, and it was eating room in a chip that truncates.
• Every screenshot in the README, the site and the wiki was retaken against this version, with invented content — no client material, and no stale interface.

Documentation · site

Licence

GPL-3.0-or-later. Both installers redistribute a GPL build of ffmpeg 6.1.1 — Windows by gyan.dev, macOS compiled by this project's CI (build script). Source at ffmpeg.org, tag n6.1.1.

1.2.0

System	File
Windows 10/11	Valendo-1.2.0-setup.exe
macOS, Apple Silicon	Valendo-1.2.0-arm64.dmg

Windows: run the installer. SmartScreen warns about an unrecognised publisher — More info → Run anyway.

macOS: drag to Applications, then run this once, before the first launch and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

Without it macOS says the app is damaged. It is not — that is the message for a downloaded app it cannot verify with Apple, because this one is not notarised.

New

• Presenters. Select a name in the editor, press the person key, and everyone below that name reads in their own colour — on the presenter's screen, on the network page and in the editor. Chapters and stage directions keep their own colours and do not break the run. Rename by double-clicking the chip and the script is rewritten with it.
• Hide the names on air. A GLOBAL switch beside the Presenters title, or one per presenter. The names leave the output and leave the ruler with it, so the reading does not crawl through a gap where a name used to be — the colours alone say who speaks.
• FOLLOW. The reading scrolls, the editor's caret follows it, and a mark shows the line being read right now. Go To is the way back: it sends the reading to wherever the cursor is. The two are mutually exclusive, in the Broadcast header.
• Quick help. Point at any key or slider and the box in the left column explains it — what it is for, and its shortcut. The tooltip stays short with just the name, because the long text now has a home. 134 entries, English for now.
• Target duration moved to the foot of the speed ruler, next to the pace it changes. It shows how long the script takes right now; click and type another one, and the pace changes to fit it.

Changed

• The footer is a console. "saved" became a lamp — green while the disk takes the work, amber the moment it stops. Ctrl+K became a key that actually opens the palette. Words and Duration left: the Editing header already shows both, from the same count.
• Previous/next chapter stop at the ends instead of wrapping around to the other one.
• The Editing header is grouped by rules — mark the text · who speaks · how it looks · undo — and the labels are just the tool's name.
• Loop and Restart are amber, and light up amber when on.
• The hint "?" icons are gone; the Quick help explains those controls in full.
• "Phones" left the interface text: the network page opens on any device with a browser, and calling them all phones described one case as if it were the rule.
• The app checks for a newer version when it opens, and only then.

Fixed

• A workspace saved before the presenters feature opened to a white screen. Clicking "Pick up where I left off" brought the tabs back without the presenter list, and the first read of it took the whole window down — no message, with the script intact on disk and no sign of it on screen. It could not heal on its own, because the autosave stays locked until the welcome screen is answered.

Documentation · site

Licence

GPL-3.0-or-later. Both installers redistribute a GPL build of ffmpeg 6.1.1 — Windows by gyan.dev, macOS compiled by this project's CI (build script). Source at ffmpeg.org, tag n6.1.1.

1.1.2

System	File
Windows 10/11	Valendo-1.1.2-setup.exe
macOS, Apple Silicon	Valendo-1.1.2-arm64.dmg

Windows: run the installer. SmartScreen warns about an unrecognised publisher — More info → Run anyway.

macOS: drag to Applications, then run this once, before the first launch and again for every version you download:

xattr -dr com.apple.quarantine /Applications/Valendo.app

Without it macOS says the app is damaged. It is not — that is the message for a downloaded app it cannot verify with Apple, because this one is not notarised.

Fixed

• A project saved while publishing put the script back on the air by itself. Opening that .valendo elsewhere published it on that network, unasked. Opening a project can no longer start the network page.
• With OVERLAY on, the network page had no way to turn sound on — the audio arrived muted with nothing on screen to unmute it.
• Tapping "Turn on sound" could start a clip the operator had paused.

New

• Sound on the network is a switch of its own, next to the network key and beside Publish. It opens or cuts the path; how loud it is stays with each side. Grey while the network is off, purple while audio passes, red when cut.
• Whoever is watching can mute again — the button becomes a speaker toggle in the corner.
• The network panel is about a third of its former height. The video weight measurement stayed; the manual text went to the wiki.
• New icon, and the wordmark follows it: Va in green.

Documentation · site

Licence

GPL-3.0-or-later. Both installers redistribute a GPL build of ffmpeg 6.1.1 — Windows by gyan.dev, macOS compiled by this project's CI (build script). Source at ffmpeg.org, tag n6.1.1.