Take · changelog

Every release, written down.

Everything new in Take, the screen recorder that stages your captures. Buy it once and every version below, and every one after it, is yours free.

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2.5.0

LATEST Aug 7, 2026

Your voice is a track of its own, on a timeline that acts like a pro

Voiceovers play back now, everywhere. A narration you recorded over the timeline was drawn as a clip and heard nowhere: the editor's preview and the exported file both dropped it. The moment any clip sits on an audio track, both now render from the timeline itself, so what you hear while editing is exactly what the file plays.
Detach your voice from a recording. Right-click a clip and choose Detach audio (or use the Clip sound panel): your microphone track moves onto its own audio lane as a clip you can cut, silence, move or replace. Someone talking behind you, a sentence you want to redo, music where narration was, all of it is editable now, while the picture and the system sound stay untouched. One Undo puts it back.
Your voice is properly loud. Recordings and voiceovers were normalized to a whisper-quiet level; they now land at the standard voice level, about five times louder, and a single pop or click near the microphone no longer drags the rest of the take back down to a whisper.
Voiceover timing is honest. Recording now starts the picture rolling before the first sample is timed against it, so your words line up with the frames you watched. The old way could land the whole clip late by the second or two the microphone took to open, and recording several voiceovers back to back risked the next one dying silently. Both are fixed.
Both sounds of a recording survive every edit. A screen recording carries your microphone and the system sound as two separate tracks; timeline edits used to keep only the first. Every track now rides through preview and export, and each clip's volume and fades apply to all of it.
The timeline zooms, visibly. A zoom control now sits above the timeline: fit, minus, a slider, plus. Pinch, Option-scroll and Command plus and minus all still work, anchored under your pointer. The hatched GAP blocks are gone too; empty track space is simply open, the way it is in every professional editor, and it still tells you how long a hole is when you hover it.
Audio clips show their waveform. Voiceovers and songs draw their actual sound inside the clip, so you can see where the words are when you cut.
The timeline follows the work. During playback it pans to keep the playhead in view, and dragging a clip or a trim near the edge of the view pans the timeline with you instead of stopping at the border.
Full screen holds the whole editor. The editor's height is properly budgeted now: the tool row and the timeline can no longer be cut off at the bottom of the screen, and when a project grows more tracks than the window has room for, the tracks scroll inside the timeline instead of pushing everything else off the edge.

2.4.1

Aug 7, 2026

The microphone finally sounds like you

Recent MacBook Pros expose their built-in microphone as a raw three-capsule array that runs far quieter than the processed sound every other app records. Take now folds the array into one clean channel and lifts it to a proper level, in both places the microphone is recorded: your voice inside a screen recording, and voiceovers narrated over the timeline. Takes that recorded silent or whisper-quiet voice record it properly now.

2.4.0

Aug 7, 2026

Voiceovers find their voice, and the editor opens its doors

Voiceovers recorded on recent MacBook Pros came out as pure silence: the built-in microphone speaks three channels and the conversion into the project's sound quietly produced none of them. Narration records properly now, a live level meter shows your voice actually landing while you talk, and a dead or wrongly picked input is named in plain words within seconds instead of costing you the whole read.
Adding media has front doors now. Import another video or a song with File, Import Media, the Add media button beside the timeline, or by dropping files anywhere on the editor; clips land at the playhead, sound files go to a sound lane, and every file that cannot be placed says why by name.
Audio clips have their own volume and fades: select a song or a voiceover on the timeline and set how loud it plays and how it eases in and out.
A zoom you had selected now shows itself the moment you press play. Selecting one still pulls the canvas back so you can aim it while the picture is still, but playing always renders the cut exactly as the export bakes it.
A round of honesty through the whole editor: exporting no longer quietly freezes editing controls that look alive, a failed save names itself instead of pretending it worked, Escape backs out of any mode, and dozens of clicks that used to do nothing in silence now either work or say why not.

2.3.1

Aug 6, 2026

The App Store version files its takes where it said it would

The App Store version's first build kept takes in a folder macOS quietly aliases to your wider Movies folder, which that build's privacy rules refuse to write: recording stopped before it started, the library sat empty, and bringing an existing library over was refused because the two folders were secretly the same place. Takes now live in the app's own private folder, recording works, and the import door brings your existing library across like it promised.

2.3.0

Aug 6, 2026

Take arrives on the Mac App Store

Take is now on the Mac App Store as Take: Screen Recorder & Editor. Same app, same idea of fair: free to download, seven days with everything unlocked, then a single purchase of Take Pro. No subscription. Live Studio and Take Camera included; the version sold on our website continues exactly as before, so buy whichever suits you.
Moving from the website version? The App Store version keeps its takes in its own folder, as Apple's rules require, and offers to bring your whole library across in one step: it surveys what you have, says what it will copy, and a take that is already there is recognised and left alone, so running it twice is safe.
Choosing an export destination on a Mac that reports no Desktop folder no longer crashes; Take falls back to your home folder and says where your file went.

2.2.0

Aug 4, 2026

Aim any zoom, see what you record, and draw the taps

Every zoom can be aimed exactly now. Click a zoom on the timeline and the picture pulls back to the full frame with a bright window showing precisely what that zoom will hold. Drag the window to point it at the thing that matters, drag its corner to set how hard it punches in. The window is computed from the same math that renders the zoom, so what you frame is what you get, to the pixel.
Recording a marked area now shows you the area. A quiet red ring surrounds the recorded region from the countdown until you cut, so you always know which pixels are being kept. The ring floats outside the recording: it never appears in your file, and it never steals a click from the thing you are demonstrating.
Tap markers for iPhone recordings. A phone does not send touch data over the cable, so now you draw the taps yourself: scrub to the moment, press Place taps in the Cursor panel, and click the video where the finger went. Each marker plays your chosen click effect at that moment, in the preview and in the exported file alike.
Go Live presents what you picked. Choose a window or a marked area as your subject and the live stage puts exactly that on the air, and the label under the monitor says what will be presented before you press the button. Recording an iPhone still presents this Mac's screen, and the label says so instead of surprising you.
New live scenes follow your defaults. Settings has a row for what a freshly added scene starts with: camera bubble on or off, and its click zoom. Each scene also has its own look now: right-click a scene tile to give it a different backdrop or padding without touching the others.
Click effects on iPhone takes land on the phone's screen exactly. They were being mapped against the stage instead of the phone picture; no recorded take ever hit it, but tap markers would have found it on day one.

2.1.3

Aug 2, 2026

Check for Updates is where every Mac app keeps it

Check for Updates now sits in the Take menu, right under About Take, where every Mac app keeps it. The check existed in Settings and in the recorder menu up in the menu bar, but the one place people actually look was empty: the item was being added there and then quietly swept away when the menu rebuilt itself. It is anchored for good now, and when an update is already waiting, the menu offers to install it by name. Take also looks on its own every 6 hours, so most of the time the new version finds you first.
Generating captions for a silent take no longer takes the app down. A recording with no microphone and no system audio, an iPhone screen recording most of all, has no audio track at all, and the caption engine crashed on it. Take now checks first and says it plainly: there is nothing to transcribe, record with the microphone or system audio on. It also no longer asks for Speech Recognition permission on behalf of a take it cannot hear anything in.
Signing in right after buying now says so. If you bought Take while your free trial was still running, signing in worked, silently, and the unlock sheet just sat there as if nothing had happened; the app only admitted you were licensed after a restart. The sheet now closes the moment your licence lands, whatever the trial was doing.

2.1.2

Aug 2, 2026

The phone you plug in is the phone you record

Recording a plugged-in iPhone could stop before it started, with a message that the phone did not report its screen size. It genuinely had not: a plugged-in phone only tells its size once the recording rolls, and Take was asking too early. Take now sizes the take from the first frame the phone actually sends. If the phone stays silent, usually because it is locked, Take waits a few seconds and then says exactly what to do: unlock it, tap Trust if it asks, record again. Unlock during the wait and the take simply starts.
The iPhone list held things that are not phone screens: virtual cameras from other apps, the phone's own webcam, and in the worst case Take's own live camera, which meant a take could record a card that says Take isn't running. The list now holds real iPhones and iPads only, and when none is plugged in it tells you the ritual that works: cable in while the phone is unlocked, then trust this Mac.
The iPhone option stays in the recorder even when no phone is connected, so the feature is there to find before the cable is.
The live stage now says what it will present before you press Go Live: this Mac's screen. Picking the iPhone as your recording subject does not change what goes on the air, and the monitor now says so up front instead of leaving you to find out.

2.1.1

Jul 30, 2026

Take goes on the air

There is a Live Studio now (View menu, or press control command L). Present your screen with the same staged look your takes get: backdrop, padding, camera bubble, auto zoom toward your clicks. Scenes switch on control command 1 through 9 with a smooth dissolve, or instantly with option held. A starter deck ships ready: your screen, full screen, a be right back card, a title card and an ending card, and a floating bar keeps the scene buttons over any app, even a fullscreen presentation.
Take Camera puts your staged screen in every video app. Install it once from the studio, approve it in System Settings, and Zoom, Meet, FaceTime and OBS gain a camera named Take Camera that carries exactly what your monitor shows: backdrop, camera bubble, zooms, scene switches and all. Your self view in Meet or FaceTime appears mirrored because those apps mirror every camera; everyone else sees it the right way round. There is a remove button right beside install, because a camera you cannot uninstall is not yours.
Your camera bubble and the click zoom have one-click switches while you are live. Two chips sit on the studio bar and on the floating bar: one shows or hides your face, the other turns the zoom off or back to automatic, and both act on the scene that is on the air the moment you click. No menu, no editor, no digging while people are watching.
You can record a take of what went out. Record in the studio sits beside Go Live, never merged with it, and the take it saves is made of the exact frames the stream carried, on the same clock. It lands in your library like any other take.
Cut a clip and the piece on the right could not be selected, dragged or deleted, while the piece on the left worked fine. The timeline was drawing every clip in one place and listening for your mouse in another, and the two only lined up for the first clip on each track. That one flaw also made clicks near the start of the timeline select the wrong clip, left gaps deaf to clicks, and got worse the further you zoomed in, which is why zooming seemed broken too. Drawing and listening are the same place now, for clips, gaps, zoom blocks, blur blocks and idle chips, at every zoom level, and a new test suite clicks every part of the timeline with real mouse events so this cannot quietly come back.
Take was quietly saving your project to a new file every few minutes and telling you a second editor had been in it. There was no second editor. It was comparing timestamps, and a timestamp moves for reasons that have nothing to do with anybody else, so one project could turn into a folder full of files whose names kept growing. Take now compares what is actually inside the file, so it recognises its own work. A genuine second editor still forks, and both versions still survive.
Reopening a take finds your newest work. If a project had already split into copies, Take opens the most recent one rather than whichever file happens to match the take's name. Nothing is deleted: the older copies stay in your Take Projects folder for you to clear out when you want to.
Short clips can be dragged again. The two trim handles were taking the entire width of a small clip, so there was nothing left in the middle to grab and a drag trimmed an end instead of moving it. The middle comes first now and is always big enough to hit. On a clip too narrow to hold both, the handles wait until you zoom in and the tooltip says so.
A drag with nowhere to go says so instead of doing nothing. If a clip is already in the only spot that fits between its neighbours, Take tells you, and points at Option to push them along or Command to drop on top of what is there.
Every corner in the app now follows your theme. Take carried a frozen radius that belonged to one theme and quietly mis-drew the other two; the timeline, the settings, the library and the editor all round on each theme's own ladder now, and the one decorative drop shadow left in the app is gone in favour of a clean hairline.

2.0.1

Jul 30, 2026

Anything you cut, you can move

Moving a piece you just cut works. Cutting packs the two halves edge to edge, and a drag of either half was being refused without a word, so a freshly cut piece had almost nowhere it was allowed to go. A drag now always lands, and it tells you where it is going before you let go.
Hold Option while dragging to push everything after it along. Hold Command to replace whatever sits underneath. A plain drag settles into the nearest free spot instead of stopping dead.
"Won't fit here" is gone. Every drag answers with what it is about to do, in a sentence, while you are still holding the mouse down.
Every edge lands on a real frame. Cuts, trims, moves and ripples all snap to the frame grid, so two clips that should touch actually touch, and nothing ends up between two frames.
Zoom the timeline. Work on half a second, or pull back and see the whole cut at once.
The quiet text is readable. The faintest labels in the app were drawn at roughly half the contrast they needed, in all three themes, which is the kind of thing you feel as eye strain before you can name it. The whole ink scale was rebuilt against a measured floor.
Corners match. Take was drawing the same kind of surface at three different radii inside one window. There is now one ladder per theme.

2.0.0

Jul 30, 2026

Take is an editor now

This is a free update. If you have bought Take, 2.0 is yours, and every update after it still arrives on its own. Nothing to buy again.
Cutting a clip gives you two clips. That is the whole change, and everything else follows from it. Put the blade down, click, and you have two pieces you can point at, move, trim or remove independently. Take no longer asks you which half you meant to throw away.
Deleting a piece leaves the hole where you made it. Nothing slides left to fill it, so a pause you cut stays a pause, and you can drop something else into it later. The gap plays as your own backdrop rather than black.
Build a cut from more than one recording. Drag a take out of your library onto the timeline, or drag a video straight in from Finder, and it lands as a clip you can place. Audio files land on their own sound track.
Layers. Put a cutaway above your screen recording on a second picture track and it plays over the top, in the preview and in the exported file. Hide a track with the eye to compare two versions of a cut without deleting anything.
Cross dissolves between two clips, which one recording could never do. Set the length, and the two shots mix across the cut instead of butting against each other. Take the clips apart and the dissolve waits, dimmed, until they touch again.
Record a voiceover over your edit. Press record while the picture plays, talk, and what you said lands as a clip at the moment you started talking, timed against the frames you were watching.
Your work saves itself. A cut built from more than one recording is written to your Take Projects folder as you go, and it opens again where you left it. Rename a take afterwards and the clips still find it.
Undo understands gestures. Six clicks are six steps back, and a long drag is one, which is what you meant both times.
Take earns a big screen. The library rail folds away with Command backslash, and the timeline survives going full screen.
Fixed: a take dropped into another take's timeline had its backdrop, padding and shadow applied a second time. Cutting a clip and then trying to move or resize it did nothing at all, silently, because the blade was still in your hand. Going full screen mid edit could take the whole transport away. A track you added could never be removed. Exporting a project with a corrupt edit file could take the app down.
Under all of it, the preview and the exported file are now proven to be the same picture, frame by frame, on every path: multiple clips, layers, dissolves, holes and camera bubbles. That proof is the promise Take rests on, and it is measured rather than assumed.

1.5.0

Jul 29, 2026

A blade instead of a cut lane, transitions on your joins, and an editor that earns a big screen

Cutting works the way editing apps work: pick up the blade, click the clip where you want it divided, then click any piece to remove it. The gap closes on its own. Hovering a piece shows you exactly that before you commit. The old cut row is gone.
Undo, at last. Command Z steps back through everything you have done to a take, cuts, trims, zooms, blurs and the look, and Shift Command Z walks forward again. A whole drag counts as one step, not fifty.
Joins can play instead of just landing. Dip to black, dip to your own backdrop colour, blur through, or a quick punch, each with a length you set. Your take can open and close on a fade too.
The pointer finally tells you what you can grab: a resize arrow on every edge you can drag, a hand on anything you can move, and a blade wherever the blade will cut.
Ten zoom motions instead of five, including Cut, which lands the zoom with no movement at all.
Blurs have their own row now, so a blur covers the seconds you choose instead of smothering the whole take. Draw one and it starts where you are.
No backdrop, and it is the new default. One click strips the colour, the padding, the corners and the shadow together, so you get the recording and nothing else.
Backdrops live in one place instead of two, inside a Stage panel that opens when you want it.
The inspector is seven panels you open, not one long scroll: Stage, Cursor, Zoom, Camera, Privacy, Captions, Audio.
Take is worth a full screen now. The rail and the inspector grow with the window instead of staying phone sized, Command period hides them both, and Control Command F is finally in the menu.
Fixed: the little stage preview never updated after a take opened, and Reset under the Stage heading quietly reset your cursor, clicks, zoom motion and captions too.

1.4.0

Jul 29, 2026

Cut anything, rename everything, and the preview never lies

Trim the fumbling seconds off either end and cut any stretch out of the middle: drag the clip's edges, tap the new cut lane, and the file loses exactly what you removed, audio included.
Playback finally honors the edit while you watch: it starts at your trim, jumps over your cuts, stops where the take now ends, and the canvas says plainly when the playhead sits on removed footage.
Captions and keyboard shortcuts now reach the Reels, Square and Portrait exports, in the style you chose, stacked neatly above your camera bubble. Those exports also bake the look on your canvas, not the look of your last render.
Rename any take from the title bar, the sidebar or the library. Every file that belongs to it follows, and your history keeps its dates.
Mirror your camera, and give the card shape a clean white edge. The preview and the exported file agree on both, exactly.
A real audio waveform row in every theme, so you can scrub to a word instead of hunting for it.
The last native menus in the editor joined the app's own controls, and every grip and block earned its contrast in the light theme.
Five adversarial review rounds hardened the whole release: a fresh recording can no longer lose its camera footage to a cleanup pass, a rename can never collide with another take's files, a damaged edit file costs one field instead of every edit you made, and every refusal in the app carries a sentence that says why.

1.3.0

Jul 28, 2026

The editor grows up: backdrops, camera looks, caption styles, and more ways out

A real backdrop gallery in the left rail: twelve new gradients, eight colours, the classic looks, and your own image with a blur dial. Every swatch previews live on the canvas.
Your camera bubble is finally yours: drag its size from a subtle corner dot to a third of the frame, and wear it as a circle or a rounded card. The staged file matches the canvas exactly.
Captions can dress for the room: the classic pill, a bold social style with no pill at all, or a minimal line, in three sizes, at the top or the bottom.
Save any stage look under a name and reuse it on any take. Your looks live in the rail, one click to apply.
Each zoom can glide its own way. Pick a motion style per zoom, or leave it on the take-wide setting.
Two new exports: Square for feeds and Portrait 4:5, both framed by the same camera that follows the action in Reels.
The music bed now truly plays under every video export, including Reels, and it ducks beneath your voice instead of fighting it. The old copy promised this; now the file delivers it.
The main window's Record, With and Preview rows finally sit on one grid, and the subject picker speaks the same visual language as the input chips beside it.

1.2.5

Jul 28, 2026

Device takes skip the screen question, and your licence answers for itself

Recording an iPhone or iPad no longer waits on the Screen Recording permission it never uses. Camera and microphone are asked for when you press Record, and screen takes keep their own question exactly as before.
The missing-input notice now tells a question macOS has not asked yet apart from a real refusal, and offers the ask right there. Its buttons follow your answer as you grant things, while what it said about a finished take stays said.
The record shortcut can no longer count down into nothing while Take waits for a relaunch to apply a fresh Screen Recording grant. It says exactly that and offers the relaunch, wherever you pressed it.
VoiceOver now reads the subject preview's own sentence, not only the row it sits in.
A cancelled shutdown no longer leaves Take's failure messages muted until the next time you click on it.
Your licence now checks in with the server every few days. A Mac you freed from your account page locks itself here within days, says exactly why, and offers the way back in. Being offline never locks anything: no answer is never treated as a refusal, and a Mac that stays offline keeps working.
A clock that jumped forward and was corrected can no longer end your free trial for good. Take notices the shape, asks the server to arbitrate, and the trial comes back on its own.

1.2.4

Jul 28, 2026

Recording asks first, and every surface tells the truth

Take now asks for the microphone and camera when you press Record, not after the take is over. On a brand-new Mac the Screen Recording question rightly comes first; the microphone follows on your next Record. A take with a blocked microphone now warns you before it starts, not after.
A preview of your display, window or area sits with the recorder, refreshed every second, so you can see what will be captured before you start. On display and window previews the camera bubble's landing spot is marked, and you can move the bubble anywhere in the editor afterwards.
If macOS needs Take relaunched to apply a fresh Screen Recording grant, Take now says exactly that and offers the relaunch, instead of pointing you at a switch that is already on.
Recording from the menu bar or the shortcut with the window closed can no longer fail silently. Failures now surface wherever you are, with the right fix attached.
The Settings switches for microphone, camera and keycaps now ask macOS the moment you flip them, and say plainly when something is blocked, with a button to the exact Settings pane.
Take remembers who you are signed in as across relaunches, and Settings gained a Sign out button. Signing out keeps your licence and your takes; it only unlinks the account.
Smaller honesty everywhere: the Sound chip tells the truth on iPhone recordings, the library says when it cannot read your Takes folder instead of pretending it is empty, and the mic meter says when no microphone is connected instead of drawing a silent bar.

1.2.3

Jul 26, 2026

Sign in with Google or Apple

You can now sign in with Google or Apple instead of an email and a password. Your browser opens, you pick your account, and Take unlocks itself.
Both of them land on the same Crest account, so your licence follows you whichever you use, and the password you already have keeps working.
The buttons are wherever you could already sign in, including the screen you see when a recording is locked.

1.2.2

Jul 26, 2026

A shadow that fits the frame, and a quiet licence check-in

The drop shadow now scales with the size you record at. Below Native it was drawn at a fixed blur, so the same take at two qualities did not look like the same product.
Take refreshes your licence in the background when it happens to be online. You will never see it, and it never interrupts a take.
If it has not been able to check in for a long time, Take keeps working exactly as it does today and simply mentions it once. Nothing locks while you are offline.

1.2.1

Jul 26, 2026

Moving your licence between Macs, handled properly

Deactivating now hands the licence back to the server rather than just naming it, so only the Mac that actually holds it can release it.
If a licence has been moved between more Macs than it can cover, Take says so plainly and points you at support, instead of sending you to deactivate somewhere it would not help.

1.2.0

Jul 26, 2026

Choose what you record in, up to 4K

Settings now has a recording quality: Native, 4K, 1440p, 1080p or 720p. It changes what is actually captured, not just a label, and it tells you the exact size you will get on the display you are on.
Native stays the default, which is bit for bit what Take already recorded. Nothing about your existing takes or your disk changes unless you ask for it.
A tier never upscales past what your display can give, so 4K on a 1440p panel records 1440p and says so instead of pretending.
The cursor is now the right size at every quality. It was drawn a third too large on anything below Native.
A take of a window on a second display is sized by that display, not by the built in one.

1.1.2

Jul 25, 2026

Take is now $24.99

The price came down to $24.99, or $49.99 for Take, Minutes and Crest together. If you already bought Take, nothing changes and nothing is owed.
The price shown inside the app now always comes from the same place the checkout charges from, so the two can no longer disagree.

1.1.1

Jul 25, 2026

The microphone tells you the truth

Turning the mic on now asks macOS for permission, and says so if it is blocked. Before, a blocked microphone recorded silence into every take and nothing anywhere mentioned it.
A take that lost an input says which one and offers the exact setting to fix it, instead of quietly arriving without your narration or your face.
The camera chip no longer claims to be on when nothing is being filmed.
The menu bar says Paused while a take is paused, with a Resume button. It used to say Rolling with a frozen clock.
Retake no longer discards your take when your trial has ended. It tells you first.
Editing a take while it is still being recorded, or exporting it twice at once, can no longer corrupt the result.
Deleting a take also removes it from the notch's Lately, exports included.

1.1.0

Jul 25, 2026

The real price, a readable trial, and Settings you can find things in

Take showed the wrong price. It said $15 when Take is $30, which you only found out at the payment sheet. The price now comes from the server, so the app and the site can never disagree again.
Your trial is legible. How many days are left was 11pt caption text in a corner; it is now the first thing on a card, and it turns red in the last three days.
Settings was one long list of twenty rows that ran off the bottom of the window. It has seven sections now, and everything has room to breathe.
Unlocking Take is signing in. The licence lives on your account, so it follows you to any Mac, and the licence key box is gone: keys still exist behind the scenes, you are just never asked to paste one.
The free 7 day trial starts from your account rather than from this particular Mac.
A Crest or Minutes licence pasted into Take used to fail with nothing useful, after quietly using up one of that licence's two Macs. It now says which app the licence is for, and costs you nothing.
Fixed: opening the unlock sheet during a running trial claimed recording was locked when it was not.
Fixed: signing in with nothing bought yet showed no confirmation at all, so a correct password looked like it had failed.

1.0.2

Jul 25, 2026

Take keeps itself up to date

Take now updates itself. It looks for a new version a few times a day, tells you when one is ready, and installs it once you say go. Buy once, and every update after this one arrives on its own.
Updates never interrupt a take. While you are recording, Take holds the check back, so an update window can never turn up in the middle of your video.
You can also look whenever you want. Check for Updates sits in the menu bar and in Settings, next to the version you are running.
When a check cannot go through, Take says why in plain words: no connection, the site did not answer, or this copy is running from the disk image instead of your Applications folder. It never just goes quiet.
New What's New screen: the notes for every release Take has shipped. It appears once after an update lands, and it is in Settings whenever you want to read it again.
1.0.0 and 1.0.1 had no way of updating themselves, so this one was a manual download. It is the last time that happens.

1.0.1

Jul 25, 2026

Your trial, said out loud, and a licence that applies itself

Take now shows where your free trial stands in the main window, instead of going quiet for a week and then asking for money.
Signing in is all it takes. Buy Take and you get one activation link: choose a password there, sign in here, and your licence applies itself. No key to copy.
Buy on a Mac that is already signed in and Take unlocks itself the next time you open it, with nothing else to do.
Signing in before you have bought anything now works properly: it links this Mac to your account and says so, rather than looking like it failed.

1.0.0

Jul 24, 2026

Take 1.0: screen recordings that land already edited

The first public release. Take is part of the Crest Suite, a one time purchase with a free 7 day trial and no subscription.
Every capture arrives staged: backdrop, padding, rounded corners, a smoothed cursor and automatic zooms. Edit live, and the preview is exactly the file you export.
Record the whole screen, one window, an area you draw, or an iPhone over a cable. Your voice, the Mac's own sound, and a camera bubble all ride along if you want them.
Sign in with the email you bought with, or paste your license key, and Take activates on up to 2 Macs, then runs fully offline.
Plain .mov files in an open folder, no watermark, no library lock in. Universal, for Apple Silicon and Intel Macs on macOS 14 and later.

Other apps: Crest · Minutes