OnMic — what's new

- Apply is faster on long episodes, three ways that stack:
  1. Per-track cutting. Each camera track is now sliced ONLY where its own shot
     changes (back to the proven approach) instead of slicing every track at
     every switch point. That's roughly a third fewer physical cuts. It also
     means the slice can't touch your mic/audio tracks at all — the v0.54
     audio-lock step is gone, so there's no risk of a mic track being left
     locked.
  2. Calmer edit, fewer cuts at the source. A new hysteresis pass holds the
     current speaker through brief backchannel interjections (a half-second
     "yeah" / "right") instead of whipping to that person and straight back.
     Fewer pointless A-to-B-to-A flickers = a more natural edit AND less work
     to apply. (Tunable; default holds through interjections under ~1s.)
  3. Wave-based progress. The cut now repaints in ~8 visible waves across the
     whole episode instead of stalling every couple hundred cuts. You still
     watch it cut, with far fewer repaint pauses.
- Net effect on a busy 90-minute, 3-camera episode: meaningfully fewer cuts to
  place and noticeably faster Apply, with the edit itself a touch calmer.
- Note: "Fast flatten" (a destructive one-clip-per-segment mode) was considered
  and intentionally skipped for now — switching stays fully non-destructive so
  every camera angle remains on the timeline for manual tweaks.

- New "Overlap only" option in Wide-shot frequency (between Off and Low). It
  goes wide ONLY when people who are NOT in the same shot talk over each other
  — the editorially "right" reason to go wide — and never inserts a timed
  variety wide. Off = no wide ever; Overlap only = wide just on cross-shot
  cross-talk; Low = that plus a very light variety wide on long holds; Medium
  and High add progressively more.
- Note: when speakers who overlap ARE both in one camera (e.g. a 2-shot), OnMic
  already cuts to that 2-shot, not the full wide — the wide is reserved for
  simultaneous speakers split across cameras.

- Apply now cuts with a single "add edit across all camera tracks" per switch
  point instead of a separate razor per track — fewer Premiere operations, so
  it's faster. Your mic audio (and any non-camera video like graphics) is
  locked during the cut so only the camera tracks get sliced, then unlocked
  again. The cuts are applied in waves with a progress bar, so you can watch it
  work without it looking frozen.  [EXPERIMENTAL — please sanity-check that your
  audio tracks are untouched after applying.]
- Wide-shot frequency recalibrated. "Low" was over-corrected and could produce
  ZERO wides; now Low gives occasional wide (a few-second overlap or a ~24s+
  single-camera hold), Medium more, High the most, Off none.

- Apply now shows a live progress bar and stays responsive. It applies in
  small batches instead of one long blocking operation, so Premiere no longer
  looks frozen on long episodes — you can watch it advance to 100%.
- The "Wide-shot frequency" setting actually works now. Before, it was ignored
  and OnMic cut to the wide camera on almost every bit of cross-talk. Now Low
  keeps the wide only for sustained 3s+ overlaps, Medium for 2s+, and Off never
  cuts to the wide on cross-talk (cross-talk shows the loudest speaker instead).
  This also reduces the total number of cuts, so Apply finishes faster.
- Quieter analysis log: the "short read … possible disk glitch" warning no
  longer fires when a media file is just slightly shorter than its declared
  length (a normal rounding/trim), and repeats are de-duplicated.

- Loading a saved profile no longer pops up a "Load this profile?" confirmation
  dialog. Clicking Load is confirmation enough — it just loads.

- BIG FIX: "Apply to timeline" no longer freezes Premiere or eats all your
  memory on long, cut-heavy podcasts. It used to razor every camera track at
  every cut and then do millions of timeline lookups (which froze on an
  ~1,700-cut episode). It now razors each camera track only where its own
  shot actually changes and sets visibility in a single pass — the same edit,
  dramatically less work (tens of millions of operations down to a few
  thousand) and far fewer clips created.
- "Hours saved" is now realistic: it's based on the program length (a manual
  multicam pass is roughly 1.3x real time) instead of assuming 30 seconds of
  work per cut, which hugely overcounted fast-paced episodes. An 86-minute
  podcast now reads as a couple of hours saved, not 10–20.

- "Check my sequence" no longer shows the "X isolated mic channels but Y
  speakers" warning or the "Track order: …" note. They could appear even on a
  perfectly correct setup and were more confusing than helpful.
- Removed the "Setup help" link/button — it pointed to a page that doesn't
  exist yet.

- Removed the "+0.2dB" gain text next to each mic channel — it was confusing
  and served no purpose on screen. OnMic still reads and uses Premiere clip
  gain during analysis; it just no longer clutters the label.