How to use ScriptCut

This guide is the fastest path through ScriptCut. It covers the five stages every project moves through, in order. Each stage has its own chapter later in this manual with the full detail; this is the map.

Before you begin

ScriptCut runs entirely in your web browser at app.scriptcut.io. There is nothing to install. You will need a transcript of your recording with word-level timecodes (most editing software can export one), and, if you want to hear your picks inside ScriptCut, the matching audio file.

Step 1 · Create your account

Go to app.scriptcut.io and choose Create one on the sign-in screen, or sign in with Google. Your dashboard opens empty, ready for your first project. A short guided tour offers to walk you through each page; you can follow it or skip it at any time. A new email account confirms its address first: click the link in the verification email. If the verification link has expired, sign in with the same email and password and a fresh link is sent for you; the Resend Verification Email button is always on that screen too. Creating an account again with the same email and password simply signs you in to the account you already made.

Step 2 · Start a project and import

Click New Project, give it a name, and pick the workflow that matches your editing software. ScriptCut then walks you through a short import wizard: optionally attach your video or audio, upload your transcript (or use Transcribe for me), optionally attach the timeline XML, and tag your speakers. When you press Start, your transcript opens in the editor.

Step 3 · Clean up, then select

On the Cleanup page you fix any transcription typos and split run-on lines so the script reads clean. On the Select page you mark the moments worth keeping: click a line once for Must have, twice for Maybe. You can even drag across just the words you want.

Moving between steps: the steps sit at the top of the editor as icons with their names, and the one you are on is highlighted. The page icon on the left opens the Transcript side (Import and Cleanup), and the film slate icon opens the Story side (Select, Arrange and Review). On a phone they sit in a bar at the bottom of the screen: tap a step, or swipe left or right on the bar to move between Select, Arrange and Review. Your account photo sits at the right end of that bar.

Step 4 · Arrange the story

On the Arrange page you drag your selected lines into the order that tells the best story, and optionally group them into acts or chapters. The runtime at the top tells you exactly how long your cut will be.

A line that sits slightly indented has been dragged out of its original order. The indent disappears when you drag it back, and Reset arrange clears every indent. A group looks different: it is a titled header bar above its lines, with a collapse arrow, a strip count and a Play group button.

Reading a row on Arrange: the thin bar on the left keeps its Select colour (green is Must have, yellow is Maybe). A gold star just outside the row on the left means it is a favorite. A small grey notes icon just outside the row on the right means the line has a note; hover it to read the note, and a small purple dot on it means a note you have not read yet. The three-line grip on the left is the drag handle. The grey X on the right unselects the line and sends it back to Select.

Red rows after AI Arrange: if you switched on Allow AI to remove sentences, lines the AI suggests dropping show with a red bar on the left, a red tint and faded text. Press Keep on a line to restore it, or Confirm removal to unselect every line still red. Nothing is deleted from the transcript, and Undo reverses the whole run.

Step 5 · Review, share, and export

The Review page shows your finished selection as a clean read. Share a link so your client can approve it, then export: a formatted PDF, a timeline (XML) that rebuilds your cut in your editor, subtitles, or the spliced audio.

The dashboard is the first thing you see after signing in. Every project you create lives here, and the left sidebar gives you one-click access to everything else in ScriptCut.

The top bar

Three buttons sit at the top right of the dashboard:

New Folder

Create a folder (called a “group” in the interface) to organize related projects.

Transcribe

Upload audio or video and let ScriptCut generate a word-level transcript for you, with speaker detection.

New Project

Start a new project. This opens the workflow picker covered in the next chapter.

View, sort, and search

Below the title you can switch between grid and list view, change how projects are sorted, and search by name. ScriptCut remembers your choice. The same search also looks inside every transcript: under In transcripts it lists the lines closest to your words, best match first, with the project, speaker and time, and clicking one opens that project in Select at that line. You do not need the exact wording: close word forms and small typos still match. It also finds lines that say the same thing in other words, marked Similar meaning, so searching “money problems” can find “we ran out of budget”. Put words in quotes to find an exact phrase. A line from a copy, a Social clip set or a merged project shows once, in the original project. If the original is in the Trash, it shows in the copy. A project you have not opened since this was added is searched once you open it.

Project cards

Each project shows as a card. Small icons tell you what it contains at a glance: a transcript icon, a timeline (XML) icon, and an audio icon when one is attached. The version chip (for example V1) shows which saved version you are looking at.

Click a card to open the project. Click the ⋯ menu on any card for per-project actions:

Create Review Link

Make a share link for this project without opening it.

Open

Open the project.

Rename

Change the project name.

Duplicate

Make an independent copy.

Edit Transcript

Jump straight into Cleanup.

Change Image

Swap the cover photo.

Move to Folder

File it under a group.

Turn Off / Turn On Notifications

Turn alerts for this one project off or back on.

Delete

Move it to the Archive (recoverable for 30 days).

Turning a finished cut into social clips

An edit you have already finished can become social clips without starting again. On the Review page of any project that has a video, press Create Social Clips. Nothing reaches Social before you press it: until then the project is an ordinary ScriptCut project and none of this touches it.

It makes a separate copy (a set) in Social and never changes the edit you came from. The set holds only the lines you picked as Must Have or Maybe, and none of them arrive picked. It is made from the version that is open (from a project's menu on the dashboard it asks which version, with the latest already chosen), and it points at the same recording so nothing is uploaded again and no transcription minutes are charged. A project has one set: pressing the button again opens the same set and adds any lines you picked since, so it never makes a second set and never touches clips you already made.

Then you choose a door, and clips are made one clip at a time. Use AI opens the same AI Clips window the Social Clips workflow uses. Choose manually opens Select with nothing picked. Every line of the set is there, also the ones other clips already use, because a line can sit in several clips. A click puts a line in the clip or takes it out (a clip has no Maybe, only green), picking just some words of a line works and is kept for that clip, and the timer shows the clip's length and turns red past 2:00. On Arrange the lines sit in the clip's group in the order they were said: drag them into your order and name the clip in the group header (Name This Clip). New Clip on Arrange adds a second group, so you can drag lines into it and make two clips at once. Save Clip checks every clip is under 2:00, asks for a name for any clip that has none, and turns each group into its own clip. Lines you add to a clip you already saved wait below it (Not in a Clip Yet) until you drag them in.

Leaving halfway loses nothing: the clip waits on the project's clip page as Unfinished, titled (No Title) until you name it, with one orange Finish Edit button that opens it where you left off. Unfinished clips are left out of sharing, the Kit Page, the Calendar and posting. The clip page of a set has no Upload Video and no Edit Transcript: New Clip (the button, or the grey tile with the + after the last clip) opens the AI or manual window again. Each card has an orange Edit, which opens that one clip on Select, and an indigo Prepare (it reads Open once the clip has been prepared). Running AI again adds clips and never changes the ones you have: it shows only the new ones, it reads the clips already made and will not retell one of their stories, and it may reuse a line inside a different story. New Social Clips projects and videos uploaded in Social work the same way, with the whole transcript as the list.

The set does not follow the film by itself: cutting the original further does not change clips you already made, and each set says which version it came from. A social project is indigo throughout, so it can never be mistaken for your original, which stays orange. From Social you cannot open the original project: the two are separate from the moment you press the button. On Free and Starter the button is there with a padlock, because the Social suite is a ProAI feature.

Social Clips projects, right here too

A project that lives in Social shows on this main dashboard as well, so you always have one place that shows everything. It carries a small indigo Social chip on its thumbnail; click it exactly like any other project to open straight into the Social suite. The chip means the project's home is Social, never that it happens to contain selected lines, so an ordinary editing project never wears one however much work is in it. A filter above the grid (All / Hide Social) hides Social projects when set to Hide Social and remembers your last setting; whenever it is hiding anything, the grid says so, with a Show all beside it.

Folders (groups)

Folders keep related projects together, for example all the episodes of one series. Create one with New Folder, then drag projects into it or use a project’s Move to folder action. Open a folder to see only its projects; a Dashboard icon in the sidebar takes you back to the top level.

Deleting and the Archive

Deleting a project does not destroy it. ScriptCut moves it to the Archive, where it stays recoverable for 30 days before it is permanently removed. You will find the Archive in Settings. Empty folders are removed immediately.

The left sidebar

The sidebar follows you everywhere. From top to bottom:

Dashboard

Return to your projects.

Social

Open the Social Clips suite (ProAI): AI-generated vertical clips, captions, covers, and download links. See the Social Clips chapter.

Activity

A live feed of client actions: approvals, notes, and messages.

Shared Links

See and manage every share link across every project in one place.

Tutorials

Short how-to articles and videos, filtered to the page you are on.

What’s new

The latest ScriptCut updates, under the megaphone. A red number on the megaphone shows how many new articles you have not read yet. Open What’s new and it clears, on every device you use.

Feature requests

Tell the team what you would like to see.

Account

Your initials, at the very bottom. Opens a menu with Settings, the dark/light mode toggle, and sign out.

When you click New Project, ScriptCut asks one question first: how are you working? Your answer tailors the whole experience, the import steps, the export options, and the tutorial tips, to your editing software.

The workflows

Blank Project

Start from scratch and import any supported transcript later. The most flexible option.

Transcribe

Upload audio or video and ScriptCut generates the transcript for you, word by word, with speaker detection.

DaVinci Resolve

Optimized for Resolve’s subtitle export and XML roundtrip. The import tips name the exact Resolve menus.

Adobe Premiere Pro

Optimized for Premiere’s transcript JSON and XML roundtrip.

Final Cut Pro & Avid Media Composer

ScriptCut works with both. What is coming soon is only their own start-here tile in this picker, with its guided roundtrip. Today you start from Transcribe or Blank and export the Timeline (XML), which opens in Avid and Final Cut like any other editor.

Social Clips (ProAI)

Skip the transcript workflow and go straight into the Social Clips suite: upload a video and start building short, vertical, AI-reframed clips. See the Social Clips chapter.

Several recordings in one project

Some accounts can hold several recordings in one project (it is being switched on account by account). Where it is on, the Import tab is where the files live: its Video / Audio step lists every video or audio file in the project, in order, each with its full file name, in a list under the drop zone, which stays on screen and reads Upload more files. You can drop several files at once, and nothing moves on until you press Next. The Recordings item in the ⋯ page menu jumps there.

After you add a file, Get Your Transcripts lists every file with a checkbox: ticked means ScriptCut transcribes it (minutes are charged per file, shown on its row), and Select all at the top ticks every one. Any file can instead get its own transcript with Add transcript on its row, or drop several transcripts on the zone at the top and each goes to the file it matches. Files that already have a transcript say Transcript ready. A file still uploading is transcribed as soon as its upload finishes, and its lines are added to the project when it is done. Every screen shows a header above each file’s lines with its full name and which file it is (for example File 2 of 3), and Cleanup always lists each file’s lines together, in file order. Hover a line’s timecode to see which file it comes from. In the list, use the arrows to change the order, or Remove to remove a file (its lines stay but can no longer be played); click a file’s name above its lines to open the Recordings window and rename it. A file with no transcript shows Needs a transcript in red with a Transcribe button. You can also bring your own transcript for each file: add it on that file's row in Get Your Transcripts, or with the upload button beside Needs a transcript in the Recordings window, and ScriptCut checks it against the file's length and timecode. Anything it is not sure about waits on a matching board, where you can play a few seconds of each file to decide. When a new file is transcribed, ScriptCut compares the voices with the rest of the project and suggests who each new speaker is. A Who is in this file? window always offers to match each new speaker to someone already in the project (or keep them as a new person) before Roles, whether the transcript came from ScriptCut or from a file you brought; a voice match is only pre-selected, and nothing merges without your choice. Closing it keeps the speakers separate, and Match speakers in the file's header row or in Cleanup > Tools opens it again.

The timeline XML, the Edited Video download and the Edited Audio, High Res download all cut across every file, each file at its own frame rate and timecode. A timeline XML for each file works too: the XML step lists every file with its own Add XML, or drop several at once and each goes to the file whose media it cuts. Each file's lines are cut from its own timeline and the exported XML joins them into one, each file at its own frame rate (the timeline runs at the first file's rate). Social clips can mix lines from every file as well: in Chrome and Edge the preview plays straight through a change of file (it gets the next file ready a few seconds early); in other browsers, or for a line under about a second long, it can pause for a moment there (the downloaded clip never does), and a line from a file whose picture is a different shape is left out of that clip, with a note saying so. Only the quick Edited Audio MP3 still uses the first file, and says so when an edit uses another one.

Recording Tags. When one host asks the questions in two places, their lines merge into one speaker, so in Arrange you could not tell which question belongs to which answer. Open the page menu (three dots) on Cleanup, Select or Arrange and set Recording Tags to Show (it starts on Hide; the choice is remembered in your browser). Every file then gets a letter, A for the first file and B, C in the order files were added, and a color. The letter sits on the file's header, beside the speaker names on Cleanup and Select, and on every line in Arrange; hover it to see the file's name. A letter never changes when files are moved or another is removed. Click the letter on a file's header to give the file a short name (for example Studio or Rooftop) and pick its color. In Arrange, when a question from one file sits right before an answer from another, a short amber note between them says Question from A, answer from B; its X hides it for that pair. Two interviewees from two files back to back never warn. Keepers stay green and maybes yellow; the tags never change them. The Review page never shows tags.

The AI tools and several files. AI Select, AI Story, AI Arrange and AI Clips are told which file every line comes from. When the same answer is in two files (two takes, or two cameras on one moment), the AI keeps only the strongest telling, never both, and a short stretch or a Trim ends only clip stays inside one file. While a file's speakers are not matched yet, every AI window shows a notice with a Match Speakers button: an interviewer tagged in one file is a stranger in the next until the two are matched. The AI never picks a Crew line in any module, so tag slate and crew talk as Crew in Roles.

Several uploads in AI Story: Keep separate or Mix. When a project holds more than one upload, the AI Story window shows a Several uploads choice. Keep separate builds each upload as its own part of the story and never cuts a line from one upload next to a line from another. Mix lets moments from different uploads meet on a theme. ScriptCut picks the default from who is in each upload (different people = Keep separate, the same people in every upload = Mix) and you can flip it before running; the choice is remembered with the project. In both modes a reply never follows a line from a different upload: the real answer from the same upload is placed after a question, or a dangling question is dropped so the answer stands alone.

Read a brief. Every AI window has an Upload a Brief row under the Prompt box. Click it and an upload field opens: drag the brief in or click to pick it (PDF up to 5 MB, Word, text, Markdown or images such as a photo of a page; up to 3 files). The AI reads it once, fills the options the brief states (Type, Goal, Target length, Hard max, Don't include Interviewer, Cutting style; in AI Clips the number of clips and the clip length) and writes a full Prompt: audience, message, must-include moments, structure as numbered sections, tone, what to avoid, the ending. Every filled option carries a FROM BRIEF mark and stays editable; nothing runs until you click. A field the brief does not state is left alone. The read brief is saved with the project so the other AI windows see it too; Forget brief clears it. The files themselves are never stored: they are read in your browser, sent to the AI once and gone. Its price in credits shows on the (i) next to Upload a Brief.

Two or more existing projects can be combined. You can also drag one project onto another on the dashboard; a yellow window asks you to confirm, and the dragged project stays as it is. Or: on the dashboard, open the menu (three dots) of the project that should receive the others and choose Merge with other project. Pick one or several projects in the window, choose whether the other project is kept or deleted after merging, and press Merge. The newest version of each project is used, and the merged lines land in a new version of the receiving project, so every earlier version stays exactly as it was. Each merged project’s files become files of this project and share the same stored video and audio, so nothing is uploaded or transcribed again. Picks, trims, notes and groups come along; a speaker with the same name in both projects is one person, and the Who is in this file? window offers to match the rest. A deleted project goes to the Trash, and its audio and video stay because the merged project uses them.

Reuse one transcript across projects (master transcripts)

Working on a series? You never need to import or transcribe the same recording twice. Put the project that has the transcript inside a folder: it becomes the master. Then create a New Project inside that same folder and choose Source from master transcript instead of starting fresh. The new project opens linked to that transcript and goes straight to Select, so it makes its own picks, arrangement, and versions from the same words.

Fix a word or rename a speaker in the master and every linked project updates automatically. A linked project shows a small note that its transcript lives in another project; clicking it opens the master. To hand ownership to another project, use Move master transcript in the owner card’s ⋯ menu.

Naming and the cover image

Type a project title, then click Create Project. You can also drop in a cover image (PNG, JPG, or WEBP, any size, ScriptCut auto-compresses it); it shows on the project card and on the page your client sees, a nice touch that makes a share link feel finished.

Transcribe a recording

If you do not yet have a transcript, the Transcribe shortcut on the dashboard (and the Transcribe workflow) does it for you. Upload your audio or video, and ScriptCut returns a word-level transcript with speakers detected, ready to clean up and select. Transcription minutes are part of your plan; see Settings > Transcription. ScriptCut transcribes in 54 languages: Afrikaans, Albanian, Arabic, Azerbaijani, Bosnian, Bulgarian, Catalan, Chinese, Croatian, Czech, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Galician, German, Greek, Hebrew, Hindi, Hungarian, Icelandic, Indonesian, Italian, Japanese, Javanese, Kazakh, Korean, Latvian, Lithuanian, Macedonian, Malay, Maltese, Norwegian, Persian, Polish, Portuguese, Romanian, Russian, Slovak, Slovenian, Spanish, Sundanese, Swahili, Swedish, Tamil, Turkish, Ukrainian, Urdu, Uzbek, Vietnamese and Welsh. Pick the spoken language in the Language dropdown, or leave it on Auto select. Every one of them comes back word by word with timecodes, and speakers are detected in nearly all of them, so the transcript edits, selects and exports the same way in every language. AI Translate then turns any of them into 48 languages. The dropdown auto-fills from a quick background check of your recording; override it if it guesses wrong. Once transcription finishes, a Who Is Who? step lets you name each detected speaker, with a short sample of their voice you can play to tell them apart. Custom dictionary: add the names, brands and terms your recordings use and transcription spells them correctly, and Check Spelling never flags them. Set one dictionary for every project in Settings > Transcription, and add more for a folder or a single project from the dashboard menu (Word list). A folder's list is used by every project inside it, including its sub-folders. All the lists that apply are combined, up to 200 words, for new transcriptions.

After you create a project, ScriptCut opens the import wizard. The steps you see depend on the workflow you chose; the DaVinci Resolve workflow shown here walks through video or audio, the transcript, the timeline XML, and roles. Every step but the transcript is optional, and you can move forward and back at any point.

Step 1 · Video or audio for playback (optional)

Attach your recording’s video or audio (MP4, MOV, MP3, WAV, or M4A) and ScriptCut lines it up with your transcript so you can watch or listen to every line and every selection, while you work and on the share link. On the Free plan, media uploads happen through the Transcribe flow; attaching video or audio to other projects is a paid-plan feature. A video file gives you picture, not just sound: it plays throughout the editor on Starter and ProAI. Free keeps audio only: you can upload a video on Free, ScriptCut keeps the audio and never the video. Free hears its audio in Cleanup, Select, Arrange and Review, but cannot download audio files. Video playback and downloads start on Starter. When an account moves down to Free, its videos are removed the same day. ScriptCut keeps the audio of projects transcribed in ScriptCut, the audio of other projects is removed too, and transcripts always stay. ScriptCut automatically compresses whatever you upload to a small, efficient size.

Importing from Frame.io, Dropbox, Google Drive, Box, OneDrive, Zoom or Vimeo

Instead of dragging a file from your computer, you can pull it straight from a connected cloud account. Connect Frame.io, Dropbox, Google Drive, Box, OneDrive, Zoom or Vimeo once in Settings > App Integrations; after that, a matching icon appears on the Video/Audio step so you can browse your folders, search by name, and import directly, no download-then-upload round trip.

Zoom lists your cloud recordings by month and then by meeting, so you pick the video or the audio-only file of a finished recording. Vimeo lists your own videos; Vimeo only allows downloads of your own videos on a paid Vimeo plan. YouTube import is not supported.

Auto Import: new files in a folder, transcribed by themselves

Auto Import (Starter and ProAI) brings new files in by themselves. Open a Dropbox, Frame.io or Google Drive folder in the picker and press the quiet Auto Import This Folder button at the bottom, or use Auto Import a Folder in that cloud's section of Settings > App Integrations. Choose the dashboard group for the new projects, the language, Keep video or Audio only, whether subfolders count, and whether the files already in the folder should be imported too (off by default). From then on, every new video or audio file in that folder becomes its own project, named after the file, and is transcribed within a few minutes, ready to open on Cleanup.

Auto Import never imports the same file twice, takes at most 50 files a day per folder, and only reads the folder: it never moves, renames or deletes anything in your cloud. If the account runs out of transcription minutes it pauses, the files wait, and it carries on by itself once there are minutes again. Turn Off in Settings > App Integrations stops it; the projects it already made stay.

Social Autopilot: clips from a folder, by themselves

Social Autopilot (Social, ProAI and Team) turns a folder into finished clips. In the Auto Import This Folder window choose Send To > Social Clips and pick the Client; the window turns indigo. Every new video in the folder becomes a Social project in that client's folder, is transcribed, and Autopilot makes its clips with the settings in the client's kit (Social, the client's kit, Autopilot): Clips Per Video (AI Decides, or 3, 5, 8, 10 or 15), Minimum Score (Any, 60+, 70+, 80+ or 90+), Clip Length (up to 30 s, 60 s, 90 s or 2 min) and Music (By Mood or No Music). A new kit starts on AI Decides, 70+, up to 60 s and music by mood.

Each clip gets the kit's shape, subtitles and logo, the picture follows the faces (it moves, it never zooms in), and a track from your own music that fits its mood: AI listens to each track once and tags it. A clip under the minimum score is skipped and kept in a list, never edited or posted. The clips are rendered and wait in the client's Social project, and one notification says how many are ready and how many were skipped. Nothing is posted. AI credits are charged as for any AI Clips run, rendering is free, and a kit makes at most 30 clips a week. The kit's Autopilot section lists the Folders That Feed This Kit with their latest video, and has its own Auto Import a Folder button.

Social Autopilot posting: Next Week's Posts

In the client's kit, Autopilot, the Posting Schedule says where and when the clips go out. Networks lists only the client's connected accounts, each switched off until you turn it on (Instagram, TikTok, YouTube and Facebook say Waiting for approval until their platform approval lands). Pick Posts Per Week, Days, Times and the Time Zone; the line under them says it in words. Per network, Descriptions takes a goal (Grow, Educate, Entertain or Convert) and Include hashtags; AI writes each description in the client's voice for 2 AI credits. Thumbnails is Frame From The Clip or AI Picture.

Every Friday at 9:00 AM in the kit's time zone the next week is booked: the best scores first, one clip per time slot. Nothing posts until you give your OK: the cards say Waits for your OK, and one notification and one email open Next Week's Posts, with each clip's thumbnail, time, description and your client's answer. Approve All schedules them in one tap, Edit opens a clip on its description, Skip takes a clip out and the next best one takes its place. Your client's approval still counts (a post waits and says Waiting for approval), and a rejected clip never posts. Switch on Post Without Asking to let them go out by themselves.

Step 2 · The transcript

Drag your transcript file onto the upload area, or click to browse. ScriptCut accepts .srtx, .srt, and .vtt subtitle files, as well as Premiere’s transcript JSON. The on-screen instructions name the exact export settings for your editing software.

As soon as the file is read, ScriptCut confirms it and tells you whether it detected word-level timecodes and speakers. A clean file needs no further action: the step turns into a green check and the wizard moves you straight on.

Step 3 · The timeline XML (optional)

If you exported a timeline XML from the same sequence, add it here. ScriptCut reads the sequence’s frame rate and start timecode from it so your exported cut lines up perfectly with your original footage. You can skip this and still export a timeline; the XML simply makes the match exact.

Step 4 · Roles

ScriptCut lists the speakers it found and asks you to tag each one: Interviewer, Interviewee, or Crew. Tagging the interviewer (or crew) lets you keep their lines out of the way later with a single click, and it styles questions and answers correctly in your exports.

These labels work for any non-scripted format, not just interviews: for a podcast or panel, tag the host as Interviewer to get the same one-click filtering and formatting.

When everything is tagged, press Start. Your transcript opens on the Cleanup page, and you are ready to work.

Cleanup is the first editing page. It reads like a document: every line is editable text. Here you fix transcription typos, split run-on lines, and remove filler sounds, so that when you move to Select, the script is clean and easy to skim.

Editing a line

Click into any line to fix a typo. Press Enter in the middle of a line to split it into two rows at the cursor, useful when the transcriber ran two sentences together. Typing a full stop at the end of a sentence splits the row there on its own, and pressing Backspace at the very start of a row joins it back to the row above. The runtime and word state stay aligned automatically.

Deleted rows are never gone for good: they land in the Trash drawer (in the page ⋯ menu), where Put back restores a strip and Put all back restores everything. This works on every editing page.

Remove fillers

Open the Tools menu (the grid icon), then click Remove fillers to find the hesitation sounds, um, uh, hmm, and the like, across the whole transcript. ScriptCut shows you exactly what it found and asks you to confirm before anything changes. Numbers and measurements such as “35mm” are never touched. The same Tools menu also holds Manage speakers and Check spelling.

Once confirmed, those words are dimmed and struck through. A small amber dot marks any row that has filler cuts, and they read clean everywhere downstream: on Select, in Review, in the PDF, and in your timeline export. A Reset fillers option in the row menu restores them.

Check spelling

Open the Tools menu and choose Check spelling. ScriptCut scans the whole transcript against a dictionary built into the app, so it is free and never uses AI credits. A review window lists each suspect word once, with up to three suggested corrections and the sentence it appears in; picking a correction fixes every occurrence at once, and nothing changes until you press Fix. It deliberately skips names, brands, ALL-CAPS words, and anything with a digit, so the list stays short. Add to dictionary teaches it a word for good on your account, and a Your dictionary section lets you edit the saved words. A correction always swaps one word for one word, so your timecodes never shift.

Spelling underlines are on by default: misspelled words get a red wavy line right in the transcript, exactly like a word processor. Hover one (tap it on a phone) to see its corrections and fix it on the spot. The transcript stays fully typable while underlines are on. Turn them off with the Underline mistakes toggle inside the Check spelling window; your choice is remembered.

Check spelling works in 40 languages: Arabic, Bengali, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, French, German, Greek, Hebrew, Hindi, Hungarian, Icelandic, Indonesian, Italian, Korean, Latvian, Lithuanian, Norwegian, Persian, Polish, Portuguese (Portugal and Brazil), Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tamil, Telugu, Turkish, Ukrainian and Vietnamese. It checks the transcript in the language it is written in, worked out from the transcript itself; the Language dropdown at the top of the Check spelling window picks another, remembered for that project. Japanese, Chinese, Finnish, Filipino, Malay, Thai and Urdu have no spelling dictionary yet, so those transcripts are not checked and ScriptCut tells you spell check is currently unavailable in that language. Suggestions are ordered by how common each word is in spoken language and whether it fits the words around it, in every language except Hindi, Tamil, Telugu and Swahili. Every language has its own dictionary: in Settings > Transcription, the Language dropdown at the top of Dictionary shows and edits that language's words, and Add to dictionary in the Check spelling window adds a word to the language being checked (every team member can do this). The English list's names and brands count for every language.

Find and replace

Click the magnifier (or press Cmd/Ctrl + F) to find any word, with Match case and Whole word options and next/previous arrows. Replace swaps the current match and Replace all fixes every one in a single move. On a phone, Find and replace is the first item in the Tools menu.

AI cleanup

On a ProAI plan, AI cleanup reads the transcript and proposes tidier wording, fixing obvious transcription errors and smoothing awkward breaks, while always keeping your words and timecodes in sync. It is optional and fully reviewable.

The Cleanup menu

The ⋯ menu in the header holds the rest of the controls:

Text size

Choose Small, Default, or Large for the transcript text.

Timecodes

Show or hide the per-row timecode.

Strip number

Show or hide the row numbers (#1, #2, …).

Select is where you build your edit by reading. You mark the lines worth keeping, trim them to the exact words you want, and watch a running total tell you how long your cut will be. Nothing here changes your transcript; you are choosing, not cutting.

One click, two clicks, three

Click a line to choose how it carries forward:

1. One click marks it Must have (green): the moments that are definitely in.
2. Two clicks marks it Maybe (yellow): a moment worth keeping in reserve.
3. Three clicks clears it.

Keep only the words you want

Do not love the whole line? Click and drag across just the words you want, and only those carry forward, trimmed to the exact frame. It is the fastest way to whittle a rambling answer down to the gold.

The running total

The timer at the top is your live runtime: the exact length of everything currently selected, accounting for any word-level trims. Click it to see three timers: All Selects (the default), Must Have (green) and Maybe (yellow), each with its sentence count. Click one to pin it: the toolbar timer then shows that total in its colour, and a small arrow marks the pinned one. On Arrange and Review the timer menu is also the filter: pick Must Have or Maybe and the page lists only those lines. On Select it filters only while Selected only (the eye) is on. The Export menu opens with an Include choice (All Selects, Must Have, Maybe) that is the same filter, so what you see is what you export.

The Selection button (the checklist icon in the toolbar) holds the bulk actions.

Select all / Deselect all

Mark or clear every line at once.

Select Speaker / Deselect Speaker

Point at it to see every speaker, then click a name to mark all of their lines Must have, or to clear all of them.

Deselect interviewer

Instantly clear every line spoken by whoever you tagged as the interviewer, handy for keeping just the answers.

Select a whole run at once

To grab many lines together, drag a box across them, let go, and a quick menu lets you play them, mark them all Must have or Maybe, favorite them, change their speaker, or unselect them, in one move.

Remove pauses

Removing pauses changes your edit, so it lives on Select: open the Tools menu (the grid icon in the Select toolbar) and click Remove pauses. It is ScriptCut’s version of a silence remover. It looks only at the lines you picked (Must have and Maybe) and finds every gap between words longer than a threshold you choose, 1, 1.5, 2, or 3 seconds. Each one shows as a chip: red Cut 2.4s, or click it to make it grey Keep 2.4s, and ScriptCut remembers the ones you keep. The video plays inside the window and each line has its own play button, so you can hear it before deciding. ScriptCut never cuts back to back; half a second of natural breathing room always stays. The cuts flow into Select, Arrange, Review, your exports and runtime. Cleanup always shows the recording as it is, so a transcript or subtitle file from Cleanup still lines up with your original video. A removed pause is gone from the list: run the tool again and it only shows pauses still there. To bring them back, use Reset Pauses in the line’s menu on Select, Reset All Pauses in Select’s page menu, or undo.

Notes and bookmarks

Every line has a note icon. Leave a note for yourself or your client, a direction, a question, a reminder, and it travels with that moment, even into your editor as a timeline marker. A bookmark marks your place so you can jump back to it later.

Favorite a line

Click the star icon on a row to mark it a Favorite, a hard must-keep. (Social clips have no stars and no notes; they are for the editing project.) A small yellow star badges the row, and every AI tool, Select, Story, and Clips, always keeps a Favorited line, even when trimming down to a tight target runtime. Favorites export as their own yellow marker in your timeline XML, and you can favorite several lines at once from the marquee or multi-select menu.

Who did what

Hover a Must have, Maybe, or Favorite marker to see who made that pick, you or a client on a share link, and when. This attribution travels with the project, so nothing gets lost when more than one person is reviewing.

Find and full screen

Use Find (the magnifier, or Cmd/Ctrl+F) to jump to any word in the transcript. The full-screen button gives you a distraction-free reading surface, ideal for a long first pass. Full screen is available on every editing page: Cleanup, Select, Arrange, and Review.

Playback options

If audio is attached, the page menu lets you choose whether playback plays all lines or highlighted only, so you can listen back to just your selection. The same menu holds View order, which reads the transcript either As arranged or Chronological. It also holds Pauses. Keep, the default, plays lines that sit next to each other in the recording as one stretch with every pause heard, exactly like your XML export, and the runtime timer counts those pauses too. Cut skips straight from one line to the next. A line that is out of order or not next to the previous one always jumps.

Hide everything you have not picked

An eye icon in the Select toolbar (desktop) toggles Hide unselected: turn it on and every line you have not marked Must have or Maybe disappears from view, so a long transcript reads back as just your cut. It only changes what you see; nothing is edited, moved, or exported differently. It never remembers your last choice, either: every time you open Select it starts showing everything, so a transcript can never appear to have gone missing because this was left on.

Arrange shows only the lines you selected, and lets you reorder them into the sequence that flows best. This is where a pile of good moments becomes a story with a beginning, a middle, and an end.

Drag to reorder

Grab any line by its handle (the ≡ on the left) and slide it up or down until the story lands right. The runtime at the top always reflects the current order and length.

Group into acts and chapters

Select a run of lines (drag a box across them), right-click, and choose Group selected to gather them into a named group, an act, a beat, or a chapter. Rename the group to whatever the section is about. Groups carry into your editor as named timeline markers, and into your PDF and Review as chapter headings.

The right-click menu

Right-clicking in Arrange opens a menu to play the selection, group it, or deselect it. Right-clicking a single line selects just that line first.

Resetting

The page menu offers Reset arrange, which clears all groups and returns your lines to their original order while keeping your selections intact. Use it to start the arrangement over without losing your picks.

Review presents your selection as a clean, readable script, exactly what your client will see on a share link. From here you share for approval and export to your editor.

Filters and runtime

The total runtime sits at the top. Click the timer to read All Selects, Must Have or Maybe, the same filter that decides what each export contains (the Export menu's Include choice). Each group shows its own runtime beside its heading.

Notes on a sentence

A sentence with a note carries a small grey notes icon to its right. Hover it to open a short thread beside the line, with a reply box, so a back-and-forth with your client or editor stays right where the note was left.

Editor notes

Below the script is an Editor Notes section you can expand. Anything you write here travels with the project: it appears in the editor download and the PDF, a single place to leave overall direction for whoever finishes the edit.

Beside Share sits Social, which carries this project straight into the Social Clips suite so you can cut short vertical versions of the same material. See the Social Clips chapter.

Sharing for approval

Click Share to open the shared-link settings. Copy the link and send it to your client; they can review and approve without an account. The Sharing chapter covers permissions and the client experience in full.

Exporting

The Export menu is how your work leaves ScriptCut. The filter (All / Must have / Maybe) decides what is included. Audio and video downloads are grouped into two rows, each opening a small panel of choices, your edit first and the whole file second. Publish kit, the first row of the menu, writes a summary, show notes, YouTube chapters, title ideas and a description from the edit as Review plays it; chapter times are where each line starts in your cut. Every part can be edited and copied, it is saved with the project version, and a run costs AI credits like the other AI tools. The kit is written in the transcript's language. Once the project has a translation, a Language dropdown sits under the filter; it is the same switch as the language button, and the kit is written in the language you pick there.

Formatted PDF

A polished, branded script document, ideal for clients and producers.

Editor download

A plain-text rundown of every selected line with timecodes, for your editor.

Timeline (XML)

The big one: a real timeline that rebuilds your entire selection, in order, trimmed to the frame, with your groups as markers, ready to open in your NLE. It brings every sound channel of the recording: a stereo mix or two microphones on the left and right channel arrive as their own tracks, left and right as the file plays.

Subtitles

An SRT or WebVTT file of your selection, in the original language or any translation you have made. For a recording ScriptCut transcribed, ScriptCut checks the timing against the sound: each subtitle appears when its word is said, stays up until the word is finished, and long sentences are split at full stops and commas.

Send to your NLE

DaVinci Resolve or Premiere Pro, if you have paired that editor's panel (Settings > App Integrations): sends this timeline straight into your project with its footage already linked. On Starter and ProAI; Free and the Social plan do not include it.

Edited Video

An MP4 that renders your cut exactly as Review plays it, your selection, order, and word trims, as a real video file. It renders the moment you click it, so it is always current. Switch on Burn in subtitles in its window to put subtitles into the picture, in any of the Social caption styles (Clean by default) and in the original or a translated language. Not yet available for an edit made from several files. Switch on Clean up audio to remove low rumble, hum and background noise, even out quiet and loud passages so every spoken word lands at about the same level, gently balance the voice, and set the whole edit to one even loudness. It never cuts a word or a breath, and music in the recording is left as recorded. Loudness: Podcast (the Apple and Spotify standard), YouTube and social, or Broadcast TV. A long edit is made on a bigger machine and takes a while, with its percentage moving the whole time. An edit too long to make into one file (several hours at high quality) is refused before it starts and says so: split it into parts with groups, or export the timeline XML. If a render ever stops part way, ScriptCut says so within minutes.

Edited Audio, High Res

The same cut as a lossless audio file, taken from your original uploaded audio master rather than the everyday compressed copy, for podcast-quality delivery. Clean up audio works here too, and the file stays lossless.

Audio

A single MP3 of just your selected moments, spliced together. With Clean up audio switched on (Starter and ProAI) it is made on our servers and comes back cleaned and levelled.

Subtitle options

Choosing Subtitles opens a dialog with the format (SRT or WebVTT) and a broadcast standard (Netflix, YouTube, EBU, and more). ScriptCut can automatically split long lines to fit the standard you pick, and tells you how many cues already fit.

Every cue is timed word by word. The subtitle file from the Download menu is timed to the recording you uploaded, so it lines up with your video in any player. The file from Review > Export is timed to your edit, the same timeline the XML export builds. A project with several recordings gets one file per recording, in a ZIP.

Audio options

Choosing Audio lets you keep the natural pauses between sentences (one continuous clip, exactly as spoken) or remove the gaps for a tight, back-to-back cut. ScriptCut uses your word timecodes to splice only the spoken parts.

Download the whole transcript

Separate from the selection exports, the blue Download button on the Cleanup page exports the entire transcript: Text (.txt), PDF, Word (.docx), Subtitles (.srt/.vtt), or a word-timed transcript (.json). Every download is your transcript exactly as it reads in Cleanup, with every edit applied: spelling fixes, splits and merges, removed filler words, removed pauses, AI Cleanup and word trims. Once the project has a translation, a language dropdown at the top of the menu picks the language for Text, PDF, Word and Subtitles (it starts on the language on screen); the word-timed transcript stays in the recording's language, because a translated word has no timecode of its own. To choose which filler words come out, use Cleanup > Tools > Remove fillers, which gives you per-word control; the download follows whatever you left behind there. Every format is free. The one exception: on an account that was downgraded to Free, a read-only project that was not transcribed in ScriptCut exports as .txt only.

Versions

The version chip (V1) in the header and on the project card holds a dropdown: switch versions, create a new version to explore a different cut without losing this one, delete a version, or lock one. Compare versions shows a redline of two versions: what was added, removed, re-prioritized, or reordered. When a client approves, the approved version locks; you can unlock it to keep editing.

Downloading the files we store

The Export menu also hands back the media itself, exactly as we hold it. Compressed Video appears when a video is attached, Compressed Audio when audio is attached, and High Res Audio when we still hold your original audio file. A line only appears when that file actually exists, so nothing here can lead to a dead end.

When you attach audio during import, ScriptCut lines it up with your transcript so you can listen to exactly what you are reading, frame-accurate and trim-aware. It is the fastest way to judge tone and pacing without leaving the page.

Play a single line

Every line on Cleanup, Select, and Arrange has a small play button. Click it to hear just that line. While it plays, the button becomes a stop control and the line is highlighted.

The media player

Playing anything opens a floating media player capsule: a scrubber, elapsed and total time, a live equalizer, volume, and a speed control (1x, 2x, 4x). On Cleanup, Select, Arrange and Review the small player sits in the bottom left corner, always open, so you can play from the top: Cleanup and Select play the whole transcript, Arrange and Review play the cut you kept. The video opens when you press play, folds on Stop or when you click away, and stays on Pause. If a video was attached, a separate floating, draggable, resizable video window docks alongside it on Starter/ProAI (Select, Arrange, and Review); Free keeps audio only: you can upload a video on Free, ScriptCut keeps the audio and never the video. Free hears its audio in Cleanup, Select, Arrange and Review, but cannot download audio files. Video playback and downloads start on Starter.

Play your selection or a group

Beyond single lines, you can play an entire selection or a whole group back to back, so you can hear how a sequence flows before you commit. On Review, the player plays the full edit, and clicking any line plays from that point. Word-level trims are respected: playback skips the words you trimmed, exactly as your export will. On a computer, highlighting one or more lines (drag a box across them) opens a floating selection bar at the bottom of Cleanup, Select, and Arrange with the actions side by side: play the selection, mark it Must Have or Maybe, unselect it, favorite it, change the speaker, group it, merge it, or delete it, depending on the page. Press F to favorite or unfavorite the selected lines on Select and Arrange.

On the ProAI plan, ScriptCut’s AI tools read your entire transcript and propose a finished selection or story, which you are always free to refine. They are a starting point that can save hours, not a replacement for your judgment.

The shared brief

Each AI tool opens with a short brief: the platform you are cutting for, your goal (convert, educate, or entertain), a target runtime, and an optional prompt where you can say exactly what you want. ScriptCut remembers the brief across the project.

AI Select

AI Select reads the transcript and marks the strongest moments for you, on topic and never over your target runtime. It selects in place, so you can adjust every pick afterward on the Select page.

AI Story

AI Story goes further: in one pass it designs the finished edit, which lines to keep, the order they should play in, sentence-level trims, and even an optional cold-open hook. When it finishes, it drops you on the Arrange page with the story laid out. For a long-form piece, the story arrives broken into chapter groups you can see and reorder, and each chapter carries its own Rebuild with AI button, so you can regenerate just one part without starting the whole story over.

AI Clips

AI Clips lives in Social, not on the Select page of an editing project. On Review, press Create Social Clips to make a copy of that version (your original is never touched), then choose Use AI. AI Clips turns a long recording into several short, social-ready clips. You choose how many; ScriptCut first assesses how many genuinely strong clips the material can support and recommends a number, then builds each one as its own story. Each finished clip carries its own score, so you can see at a glance which are the strongest before you build them out further in the Social Clips suite. A Social clip can be up to 2 minutes long: a longer one is marked Too long and cannot be made, downloaded or posted until it is shorter. AI Clips makes clips from 10 seconds up to 2 minutes: type the length (it starts at 60 seconds), then pick Max runtime (never longer than that, and a clip can come in shorter when that makes it better) or Exact runtime (each clip lands on that length, within 5 seconds either way). Each clip is scored 0 to 100 in four parts of 25 (hook, makes sense alone, story, ending); the length never counts, and a clip a top social editor would post unchanged scores 92 to 100. Pressing Cancel in the AI window makes nothing.

AI Arrange

On the Arrange page, AI Arrange takes the lines you have already selected and orders them into a coherent story, optionally grouping them into titled acts. It works from your picks rather than choosing for you.

Cutting style: natural, balanced, or tight

AI Story, AI Select, and AI Clips share one setting for how many small internal edits they make inside a line you keep: Natural flow makes the fewest cuts for the smoothest-sounding result, Tight makes the most for the shortest and punchiest one, and Balanced sits in between. It lives in each window's Advanced options, remembers your last choice, and is hidden on AI Clips when you pick “Trim ends only,” since that mode makes one continuous take with no interior cuts to style.

Keeping the interviewer out

“Don't include Interviewer” now works the same way on AI Story and AI Clips as it always has on AI Select: with it on, the AI still reads the interviewer's questions to understand the conversation, it just never uses their lines in the finished result. It is off by default, since a short setup question is sometimes the only way to make an answer make sense on its own.

AI credits

Each AI run shows its price in credits on its button before you click, computed from the length of the transcript (and, for AI Clips, the number of clips). The price shown is the price charged, never more, and a run the AI fails to finish is refunded in full. Covers are priced per image by model, captions per caption. Your ProAI plan includes a monthly allowance (1,500 credits by default), and you can see your balance and top up in Settings > AI Credits. Pricing for top-ups is current at the time of writing and is subject to change.

Undo an AI run

The moment Story, Select, Arrange, Clips, or AI cleanup finishes, a small box offers a one-click Undo back to how the project looked right before that run (on a phone, it is the top item in the ⋯ menu instead). It disappears as soon as you make your own edit. For an older rollback, use Settings > History.

AI Personalisation: the AI learns how you edit

The AI tools get better at working the way you work. Every time you run one, ScriptCut notices what it suggested and what you then changed about it, lines you kept, dropped, added, reordered, trimmed further or trimmed less. Once several finished edits agree on something, it starts taking that into account on later runs. Typical things it picks up: whether you put the interviewer's questions back in, whether you end up shorter than the length you asked for, whether you loosen the AI's word trims, and where in a recording you like a piece to start.

It waits before it concludes anything. Nothing is learned from fewer than five finished AI runs, one conclusion needs at least three of those runs to agree, and a run you undid never counts as a preference, so one unusual project never becomes a rule. A brand new account gets exactly the same AI it always did. Whatever you type in the prompt, and the goal and length you set, always outrank anything that was learned.

You can read it and change it. Open Settings > AI (below your credits): every line ScriptCut has learned about you is listed in plain English, with how many runs it rests on. Delete any line you disagree with using the round x beside it, restore it later from Removed by you, or turn the whole thing off with one switch, after which every AI tool behaves exactly as it does for a new account. Nothing is lost while it is off.

Shared defaults. Separately from what it learns about you, ScriptCut looks at whether many other ScriptCut accounts changed the same thing about the AI's work. When enough of them agree, that becomes a better default for everyone, and it appears under From other editors on the same page. Anything ScriptCut has learned about you always beats it, and you can delete it the same way. It is still counts only: no model is trained on anybody's material, and nothing from one account is used in another account's edits.

AI Clips learns from your posts. Every clip you post is filed by the kind of opening it has (a number, a question, a reversal of what people expect, a bold claim, a personal story, a tip) and the shape of its story, next to its real results from the platform. Once five posted clips have a week of results, AI Clips compares them against each other, per client (one client never learns from another), and steers your next run toward the openings and story shapes that held that audience, with your best-held openings as examples to beat. The score learns too: when past scores did not match how clips really did, scoring leans on what your audience rewards. The more you post, the more it knows. A brand new account starts from what worked across many ScriptCut accounts (averages only, no words). It is listed under From your posts on the same page, and every line can be deleted or restored.

What is stored. For how you edit: counts and seconds only, how many lines the AI picked, how many you kept, how many you added, how long the result ran. For AI Clips: the opening words of your own posted clips, kept with their results. They steer only your own AI Clips, are never shown to or used for another account, are never used to train anything, and are deleted with your account.

AI Translate

Open AI Tools > AI Translate from the Cleanup page to translate the whole transcript into one or more other languages, so you (or a client) can read and select in a different language even though the recording was spoken in another. Pick one or more languages from a searchable list; each one runs with an automatic proofread pass. Once done, a small language button (a globe, top right) appears in the Select, Arrange, and Review headers (clients see it on a share link too) to switch between Original Language and any translation. Playback, timecodes, and the exported timeline always stay in the language that was actually spoken; the Text, PDF, and Word downloads follow whichever language the language button is set to. Translated subtitles work too: the Subtitles export has a Language choice that starts on the language on screen, and every line keeps its own timing. In Social Clips, the Subtitles step has a Caption language choice for the burned-in captions and the clip's subtitle file. A line you edit after translating stays in the original language until you translate again: when you pick that language, or open AI Translate, Export Subtitles or the download menu, ScriptCut tells you how many lines changed, and a Re-Translate button re-translates only the changed lines, priced on those lines alone. AI Translate never drops a spoken word: numbers, capitalised terms such as API and names always stay in the line. Hover a language in the language menu to reveal a trash icon and remove it; you cannot delete Original Language or the language you are currently viewing. Pricing is shown before you run it and is charged in AI credits, based on the transcript's length.

Social Clips is ScriptCut’s clip suite: it turns a long recording into short vertical videos for Instagram, TikTok, and YouTube Shorts, auto-reframed, captioned, and covered, ready to share or schedule. It is a ProAI feature (also open to trial and beta accounts); Free and Starter see the Social icon dimmed with a padlock. Clicking it opens the plan picker. This is also true for an account that made Social clips on ProAI and then downgraded: its clips stay safe and come back when the account upgrades again.

Opening Social

Click the Social icon in the main sidebar, or start a new project with the Social Clips workflow. Inside, the left menu has Home, Notifications, Calendar, Performance, Media Gallery, Posting, Kits and Links. Home shows the same folders as your main dashboard, and each project is the same picture card as on the main dashboard, says how many clips it holds (for example 8 clips) and opens into its clips; folders keep the folder shape. Nothing is loose: a clip always lives inside a project. A video you upload in Social lands in the folder you are standing in, so it picks up that folder's kit.

Social Notifications

Notifications sits right under Home in the Social menu, with an indigo count of what you have not read yet. It opens a drawer that works exactly like the main Activity drawer, but holds only Social news, one line for each thing that happened: a client commented on a clip on their Kit Page or Approval Page (with their words; a comment is how a client asks for a change), approved or rejected a clip, its cover or one platform's post, approved everything waiting, answered everything, suggested or edited a description, downloaded a clip, opened their Kit Page, Approval Page or download link (at most once a day), sent you files or their brand brief, or connected or removed a social account. It also tells you when a video was posted and to which network, when a post failed or only partly posted, when a posting account needs reconnecting soon, when a Kit Page reminder went out, and the news about your Social projects themselves: a finished or failed transcription, a video that could not be processed, a clip that could not be made, or someone tagging you.

Click a line to go to the project it is about, or to Posting, Kits or Links when it is about an account, a Kit Page or a link. Mark all as read, the X on a line (swipe left on a phone) and the gear to your notification settings work as in Activity. Social news appears only here, not in the main Activity drawer, and its count shows only on the Notifications row. Your emails do not change: several client answers still arrive as one email, and a post going live is never an email.

Uploading your video

Drop your video on the first screen (or import it from Frame.io, Google Drive, or Dropbox) and everything else runs on its own. You are not asked whether to transcribe: the screen simply shows you where it is up to, first Uploading video, then Processing video, then Transcribing, and moves you on when the transcript is ready.

You do not have to watch it happen. Social projects send their own emails: Your video is ready for Social Clips when the upload is processed, and Your Social Clips are ready when AI Clips has built your clips. While AI Clips is working, its button shows a spinner.

Building clips

Use AI Clips (see the AI Tools chapter) to generate several short clips from your transcript in one pass, each with its own strength score, or hand-pick a span yourself. Every clip opens in its own editor for framing, captions, and cover.

On the results grid, click any card to watch that clip before you decide about it. The badge in the top-left corner is its strength score out of 100, green for strong, amber for middling, red for weak; hover it to see what the AI made of that clip. Keep locks a clip, so running AI Clips again leaves it exactly as it is, and that lock is saved with your project. The bin discards a clip.

Auto reframe and split screen

Every clip is automatically reframed from your source’s original aspect ratio into a vertical 9:16 frame (1:1, 4:5, and 16:9 are also offered), following whoever is speaking, shot by shot. The person in focus wins: when a shot shows a sharp person and a blurred one (a presenter in front of a soft background), the frame stays on the sharp one, even while the blurred one talks. A blurred person is only followed when nobody sharper is in the shot. It also finds people who are small in a wide shot or looking down. When nobody in a scene is in focus (a phone screen in front of a blurred person), the frame holds one still place on the sharp part of the picture instead. It only does this when one part is clearly the sharpest, a person in focus always wins, and your own framing always wins. A clip made before this change is prepared once more the next time you open it. Text on screen: when a shot has a title card or a motion graphic whose words the frame would cut off, auto reframe shows the whole picture with Fit + blur while those words are on screen; if they fit once the frame slides over, it slides there and holds still instead. Lower thirds and name tags count too. Subtitles, signs and buildings in the background, posters behind someone and corner credit labels are left alone. Each shape is judged on its own, and 16:9 never needs it. Turn Fit + blur off on that shot and it stays off, and anything you set by hand on a shot wins. A clip a client already approved, or one that is scheduled or posted, keeps its look. The first time a video is opened in Social it is checked for text once, as part of Preparing your video. Per shot you can adjust Camera movement (Calm, Normal, or Active). When two people are talking and do not fit in one frame, Auto split screen (on by default, in the Framing section) gives each of them their own panel, centred on their face; two people close enough to fit are framed together. A panel only splits off when it can show one person on their own: on 4:5 and 1:1 a panel would hold both people, so those shapes follow whoever is talking instead, and a person who walks is followed closely. Turn it off and the frame stays on whoever is talking, cutting cleanly between speakers rather than panning back and forth. A shot you frame by hand (a drag, keyframes, or picking who to follow) always keeps your framing and is never auto split. You can also force a 2-way, 3-way, or 4-way split screen on any shot, even a single-person one, and drag each panel into place. The Layout menu has three columns: Standard, whose panels are plain rectangles, Creative, whose panels are not, and Effects. Creative offers a diagonal split (2-way) and slanted bands (3-way). Each panel still drags, zooms and re-times exactly like a rectangular one, and the finished video is cut to the same shapes you see in the preview. Effects holds Fit + blur: the whole wide picture shrunk so its edges sit about 40 pixels in from the sides of the frame, over a blurred, darkened copy of the same video, so a 16:9 recording shows in full in a vertical post without a split screen. The Scale control runs from 0% to 160%: above 100% punches in, below 100% shrinks the picture inside the frame instead of cropping it, and 0% hides it. Several shapes from one clip: the first time you open a clip, pick every shape you need (the first one ticked is the main shape), for example 1:1 and 16:9 next to a 9:16 main. The shape tabs above the player stay on screen on every step: pick a tab to edit that shape, + adds a shape and its x removes one, and each one can be framed, split, zoomed and keyframed on its own. Decisions flow down, like breakpoints in a website builder: a change you make in one shape also applies to the shapes after it unless they set their own, and never back up. A dot on a tab means that shape has its own changes. Burned-in captions can be switched on or off per shape in the Subtitles step. Downloads include every switched-on shape, one file each, and on the Post & Download step you pick which shape goes to each network. Text on video: add a hook title and any number of text boxes to a Social clip (three looks: Bold, Box and Highlight; emoji work too). Drag a text on the picture to place it, set its size, and drag its bar on the timeline to set when it shows. Each shape can place its texts on its own, and the place follows the shape line like every other shape choice. Texts are burned into the finished video.

Timing: show a different moment of your video

A Position / Timing switch sits beside each shot's other controls. Position is ordinary framing of the current moment, everything above. Switch to Timing and dragging the picture left or right instead shows an earlier or later moment from anywhere in your original video, so a split-screen panel can pair the interview with a piece of footage from elsewhere in the same recording. A small badge marks a shifted panel so it is never a surprise later, and the sound always keeps playing normally: only the picture moves.

Three ways to bring a file in, and a gallery that remembers

THE MEDIA GALLERY. Every media section of the Social editor's Inspector (B-roll, Music, the Logo bug and the opening and closing videos) shows the files this project has as thumbnails, with two buttons under them: Upload and Add from Gallery. Upload opens a window with From your Computer, a drop zone you can also click to choose files, and From Cloud, which lets you import it from your own Google Drive, Dropbox or Frame.io: the file goes straight from your storage to ours and never passes through your browser, so a large master imports fine on a slow connection. A service you have not connected yet says Connect and takes you to Settings > App Integrations. Add from Gallery opens the Media Gallery showing only that kind of file, so the Logo bug section only offers logos: tick the files you want and press Add to Project. The Media Gallery is every file your account has ever uploaded, so you can reuse the same file across projects instead of uploading it again and filling your storage with copies of one video. It is also a page of its own in the Social sidebar, with B-roll, Music, Logos and Opening / Closing toggles. A music track shows its own waveform; hover it and press play, and a player opens at the bottom of the gallery with play and pause, previous and next track, a seek bar, volume and speed. In it you can make folders with Add Folder, drag files onto a folder or right click and choose Move to folder, sweep a lasso across several, tick everything with the select box, switch between grid and list, sort and search. Hovering a file plays it, and every video and track shows its length in the corner of its thumbnail. A video also has a small full-screen button in its top right corner that plays it full screen with a proper player; press Escape or the X to close it. Files on a kit show up in every project under that kit straight away. The small X on a thumbnail takes a file off this project only; it stays in your Media Gallery. Deleting happens only in the gallery: a deleted video or track is removed from every clip that uses it and deleted from your storage, and a deleted logo is removed everywhere, from every kit, project and clip, and the file is deleted. Deleting a folder never deletes a file; what was in it moves up one level. You can also drop files anywhere on the Media Gallery page and it sorts them itself: a picture goes to Logos and a sound file to Music wherever you drop it, and a video goes to the tab you are on (B-roll, unless you are on Opening / Closing). A file on its way up shows as a tile straight away, with its upload percentage filling in the middle. Each kind keeps its own shelf: music never shows up under B-roll. A newly imported file appears as a tile marked Processing and becomes usable on its own. Every thumbnail also has a three-dot menu next to its name with the same options as a right click: Rename, Move to folder, Add to kit and Delete. Add to kit puts the file on a kit's own shelf, so it shows up in every project under that kit; pick the kit again to take it off.

A file you upload from your computer can be used straight away, while it is still being compressed: drop it on the timeline, play it, hear a track and see its waveform, all from the copy on your own machine. It swaps to the compressed one by itself the moment that is ready, and nothing you set is lost. A file imported from cloud, or uploaded from a different computer, stays marked Processing until it is finished, because this browser does not have it. Downloading the finished clip still waits for the compressed copy: ask for it while one of its ingredients is still processing and ScriptCut tells you which one rather than handing you a video with the B-roll missing.

B-roll: cut your own footage into a clip

You can upload your own B-roll and cut it into a clip. The gallery sits at the bottom of the Video step, under the framing settings: drop a file on the square upload box, or click it to choose one. Then drag a clip from the gallery onto the timeline. It lands as a cover of your default length: the picture comes from your footage while the interview keeps talking. The Default length field at the top of the B-roll section starts at 3 seconds; change it once and ScriptCut remembers it on your account (footage shorter than it uses its own length). Drag the band to move it, drag either end to change how long it covers, and press Delete to take it off. A cover can run straight across a cut, which is how you hide a jump cut. You can also drop a clip onto one panel of a split-screen shot, so your footage fills that panel while the speaker stays on screen beside it. On a phone there is no dragging, so each clip has an Add at playhead button instead. The sound never changes. B-roll is picture only, always, and its own audio is never used. Your footage is processed exactly like a main video, it counts towards your storage, and removing a clip deletes the file from our servers straight away. The library belongs to the kit the project sits under (the nearest kit on a folder above it), so a shot uploaded once is available to every clip under that kit; a project with no kit above it keeps its own. The same gallery is in the kit's Look and Shapes if you would rather load a client's footage in ahead of time.

Music: a bed under the clip

Music is in the Audio step, the second step of the Inspector right after Video (the panel of steps on the right). Upload your tracks into the same kind of gallery B-roll uses, then press Use on one, or drag it onto the timeline. The music bed starts at the top of the clip, runs its whole length, repeats if the track is shorter, and fades out at the end. The level is measured from the track itself and set to sit under ordinary speech, and there is a slider to move it up or down; the voice is never turned down to make room for it. The track appears as a green audio track under the video on the timeline, drawn from the file's own waveform. It shows exactly the stretch of music that plays under this clip, lined up with the picture second for second, so a 20-second clip shows 20 seconds of the track and not the whole song. It starts and ends exactly where the clips above it do. When you drag a track in, a green row opens under the clips, which is where it lands. Click it to select it, then press Delete or right-click it and choose Remove music to take it off. The timeline stays on screen while you work on it, which is where that track is. You hear it while you edit: the bed plays in the preview alongside the picture, at the level, loop and fade-out it will have in the finished file, so nothing about the music has to be judged by rendering first. The bed can also start on a different part of the track (new): switch the toolbar above the timeline to Timing and drag the green music track, or nudge it with the arrow keys, and the bed begins on that moment of the music instead of at the top of the file. The waveform slides with it so you can see which part of the music you are choosing, and a purple chip counts the frames as you move it, exactly as it does when you re-time a shot. The picture never moves. A track shorter than what is left wraps to its own beginning rather than falling silent, and the Music section says where it starts with one click to put it back to the top. Adding music never re-encodes the picture, so it costs nothing in quality. It plays under the clip only, not under a client's opening or closing video. ScriptCut does not supply the music: you bring your own, and you are responsible for having the right to use it.

Clean up audio on a clip

Under Music in the Audio step (the second step, right after Video), switch on Clean up audio to remove low rumble, hum and background noise, even out the voice so every word is heard, and set the whole clip, music and opening and closing videos included, to one even loudness. The music bed and any music in the clip itself are never denoised or reshaped, only levelled with the voice. Clips start on YouTube and social; Podcast and Broadcast TV are there too. It applies to the downloaded and posted file, every shape of the clip, and the files your client downloads from a link. The preview plays the sound as recorded. To hear it before downloading, press Make a sample under Loudness: about 15 seconds from the middle of your edit are cleaned the same way and play right there, with As recorded beside it to compare.

Shave or add a few frames at a cut

ScriptCut cuts on words, and a transcript's timing is not always frame perfect, so a cut can land a few frames into the next word. If the video you uploaded was already edited, a cut can also leave a few frames of the next shot hanging on the end of a line. Click any edit point on the timeline and a bracket appears on each side of it: drag them, or use the left and right arrow keys, to shave frames off or add them one frame at a time, while the preview shows you the exact frame you are choosing. The seam between the two brackets still rolls the edit point without changing the clip's length. And when the picture in your source changes a few frames away from a cut, a small amber marker appears above it: one click snaps the cut onto the picture.

Fine-tune on the timeline

The Video step has a real timeline. Add a cut at the playhead with C, set a keyframe with K, zoom the timeline with + and −, and drag any cut or edit point a frame at a time. In a split screen, drag each panel into place and zoom panels individually. Every change has undo and redo, and what you see in the preview is exactly what renders.

Subtitles

On a phone or tablet the orange line on the Social timeline sits at the left edge and the clips move under it; near the end of the clip the line itself moves on to the last frame, so the timeline never scrolls into empty space. Swipe to scrub, pinch with two fingers to zoom, tap a clip (or press and hold) to select it, then use the bar under the timeline (Split, Timing, Reset, Delete, Done). Delete takes that part out of the clip and everything after it moves up; the transcript is not changed. Tap a cut or a B-roll band first to drag it.

ScriptCut can burn your captions directly into the clip, styled and timed word by word to your transcript, so it is ready to post and understood with the sound off. A word the transcript got wrong for this clip can be fixed under Fix a word in the Subtitles step: click it and retype it. Only that clip's captions change, never the transcript or any other clip, and the finished video and its .srt carry the fix. Choose from ready-made styles (None, Clean, Karaoke, Boxed, Bounce, Word by word, Blend, Bold pop, Neon, TikTok, Beasty, Gradient, Typewriter), then pick your own font color and highlight color; drag the captions anywhere on the preview to place them. The Blend style shows one big bold word at a time, in lowercase, and flips the colours of the video under the letters, so a light jacket behind a letter turns dark and green trees turn lavender. It starts in the middle of the frame, can be dragged like any style, has no colour pickers because its colours come from the video, and works with your own fonts too. This step needs a word-level transcript, so transcribe the project first if it does not have one.

Cover

The Cover step has four modes: Pick a frame (use a video frame as-is), Frame + AI (restyle a frame you picked), Generate (AI builds a cover from a prompt, already aware of the clip's topic and words), and Upload (bring your own image). In Generate mode, three Creativity levels trade restraint for attention: Conservative is polished and tasteful with one subtle accent, Moderate is bold and freely designed, and Creative is the loudest, most eye-catching option, built for maximum click-through. The Real Host toggle keeps the actual person's face while placing them inside a brand-new AI-generated scene: scrub to a clear shot of their face, tap Use this frame, then Generate. Anything you type in the prompt always outranks the automatic choices, and your chosen color filter is remembered per cover image.

Description

The Caption step (labeled Description in the clip workspace) writes a platform-native post description, for Instagram, TikTok, YouTube, LinkedIn, or Facebook, with an option to include hashtags, for about 1 AI credit each. You can just type your own instead. Description language: a description is written in the language the clip is spoken in by default, and the Language button (a globe) in the Description step picks any of the 47 AI Translate languages instead. The hashtags follow it, and the choice is saved with the project. The AI also writes clip titles and chapter names in the language of the transcript.

Kits: a preset on a folder

A kit is a preset on a folder. It holds the look (logo bug, fonts, colours, caption style, cover style, opening and closing videos, and the shapes and where each network posts), the social accounts its clips post to, and a link page for the person who signs off, the Kit Page. Every project under that folder starts from it. A kit can sit on any folder at any depth, and the nearest kit above a project wins: a folder called Google can have no kit of its own while its subfolders Pixel and Nest each have their own. To make one in Social, press New Folder (at the top level or inside any folder) and choose Create With Kit, or open a folder and press Set Up Kit; a folder card's menu has Set Up Kit too. Kits live in Social only: the main dashboard shows no kit marks, because a kit only changes Social clips. From the main dashboard, the Create Social Clips window says which kit applies, or offers Set Up Kit for the project's folder. Setting up a kit runs two steps: Accounts (connect them now, or let your client connect them through the Kit Page link) and Look (press Set Up Look). Inside a folder with a kit, the toolbar shows a Kit button (it reads Kit: and the kit's name when the kit comes from a folder above). Its menu has Look and Shapes, Accounts, Kit Page, and, when the kit comes from above, Own Kit For This Folder. A folder card's menu shows Kit: Look and Shapes and Kit Page once it has a kit. Inside a project, the Share button has Approval Page (watch, approve, ask for changes, comments, and downloads when allowed) and Download Link, and the red Edit Transcript button opens the transcript editor. On a phone, inside a project the bottom bar's Links tab becomes Share, and the tab that leaves Social is called Dashboard. The Kits page in the Social left menu (on a phone, Kits in the account menu) lists every kit in one place, wherever its folder sits, with its logo, the folder it is in, whether its Kit Page exists and which accounts it posts to, and the buttons Look and Shapes, Accounts, Kit Page and Open Folder. New Kit at the top makes a top-level folder with a kit. Older names, in case you are looking for them: the Clients page is now the Kits page and New Client is now New Kit, the Client kit is now simply the kit (Look and Shapes), the Client link is now the Kit Page, and Client approval is the Approval Page. The word client now only means the person who signs off. Not everyone needs a kit: without one, projects and folders work exactly as before.

Hide From Client. A clip you are not ready to show can be hidden: open the clip's menu and choose Hide From Client, or tick several clips in Select and press Hide From Client. The card shows a grey Hidden from client mark, and the clip disappears from the Kit Page and the Approval Page, so your client cannot see, answer or download it. Show To Client brings it back.

After an approval. When your client approves a version on Review, a green notice asks Make social clips from this version? once, with a Make Social Clips action. Close it and it does not come back for that version.

Accounts and the calendar

Connect every social profile you post to on the Social left menu's Posting page, several per platform if you need them; a folder's kit can be tied to specific accounts (Kit > Accounts) so its projects always post to the right place. The kit's Look and Shapes holds the creative rules for one client, set once. Clip shape, caption look and highlight colour, how adventurous their covers are and the headline font, the words the AI must always and never use, and their logos as a logo bug burned into every clip for that client: drop in a PNG, and keep as many of their logos as you like as a gallery of thumbnails, with one in use at a time (that is the one burned in). Open one and drag it to exactly where you want it on a live preview of every clip shape you export in (9:16, 16:9, 1:1 and 4:5), each with its own scale and opacity, or set one shape and press Use everywhere, then Save. Every clip you make in that shape carries that logo in that exact spot. Three things are NOT fixed for ever. You can send one clip without the logo: the Video step of that clip carries a Logo bug switch, and turning it off for that one clip changes nothing about the kit's own setup. And you can keep a light and a dark version of the same mark: name one of the kit's other logos as the bright-shot version, and ScriptCut measures the picture behind the mark on each finished clip and burns in whichever one will actually be readable, in the same spot and at the same size either way. Each logo can be given a name, so a light and a dark version of one wordmark are tellable apart in the gallery, and the arrow keys nudge a mark a hundredth of the way across the frame per press, ten times that with Shift held, when a drag is not precise enough. The kit also carries their brand colours (which then replace your own in every colour picker for their clips, so nothing off-brand is offered; you can still pick a custom colour for one clip, and right-click any swatch to add it to the kit's colours for good) and the shape they want on each network they post to. There is no list of platforms to tick: the networks shown are the accounts you have actually connected to that kit, and each one can want its own shape over the kit's default, so a client can be vertical everywhere and wide on YouTube. A clip is still made in one shape, so the Post & Download step checks the clip against it and tells you if it does not match; nothing is re-rendered behind your back. Each colour can also be given a name, for example Headline or Subtitle, and that name shows on the swatch wherever their colours are offered. Every project in that folder starts from the kit, and you can still change anything on any individual clip. A project with no kit above it behaves exactly as before. The kit is a preset, not a lock. Whatever it sets is filled in for you, and you can still change it for one project without touching the kit's own setup: the Video step of any project shows the logo bug it is about to use and says where it came from (this project, the kit, or your own account logo), the logo is drawn on the video and you move it by grabbing it right there, while Scale, Opacity and a switch that turns it off for one clip sit in the Logo bug section of the Inspector, a file can be dropped straight onto the row, Change sets one for this project only, and the way back names what it goes back to: Use the kit's logo, Use your account logo, or, when neither is set, Use no logo. The Calendar shows every scheduled and posted clip by month, week, or day, filterable by platform, status, account, or project; drag a post to another day to reschedule it, or click one to change its time.

A kit can also hold a client's opening and closing videos: their own animation, sting or end card, uploaded once to the kit and then put on the front or the back of any clip under that kit. They show as thumbnails you can play back, rename and delete. In the clip editor an Opening and closing row sits under Video, right before B-roll, on every project; click a video to add it, click it again to take it off, and the timeline underneath shows the finished order with each part at its real length. When the project sits under a kit the library is the kit's and is reused across all its work; when no kit applies the library is that project's own, so you can put your own sting on the front of a one-off without setting up a kit first. It is rendered into the downloaded file, letterboxed rather than stretched if its shape differs from the clip's, and a silent one is joined without breaking the clip's own sound. The same video may open AND close one clip, which is what a brand's logo sting is usually for, and a kit's videos are offered on every project under that kit, including one in a subfolder with no kit of its own. They use your account's storage like any other upload.

A kit can also hold your own fonts (the Fonts section of Look and Shapes). Upload the typefaces you have licensed, in woff2, woff, ttf or otf, and they appear at the top of every font picker in the Social suite under Your fonts. They belong to your account alone and are never offered to anybody else's, because the licence is yours. Under a kit you can pin a font so it always sits at the top for that kit, and give it a short description shown in grey beside the name (Caption Color, Subtitle Highlight). The pin and the description belong to the kit: on a project outside that kit the same fonts are still offered, in plain alphabetical order, with no pin and no description, because a note written for one client means nothing on another's work. Your fonts work on burned-in captions as well as on cover headlines: the Subtitles step has a Caption font picker offering Default plus your own, and the one you choose is rendered into the video. Only fonts you have uploaded can be used there, because the renderer needs the file itself.

Each kit also has a Kit Page (Kit > Kit Page, or Kit Page on the folder card's menu). It is one address the client keeps, for everything under that kit rather than one project. Every clip on it is the same clip card as the approval link (the Approval Page): your logo at the top (or the ScriptCut logo with Social under it), and on each clip a tab per platform, a Clip and Cover switch, Approve or Reject, and timecoded comments with replies. Comments are how they ask for a change. Their answers and comments are saved on that project's own approval record, so you read and reply to them in the project's Client approval window, and a clip they reject cannot be posted until you clear the rejection. Nothing on it is a snapshot, so a project you start next month appears on the same link by itself, and a caption you rewrite is the caption they judge. If you change a clip after they have approved it, their approval is marked out of date. They need no account; they type their name once, and you can put a password on the link, change it or remove it whenever you like. Watching never renders anything: each clip plays exactly as your Social editor previews it. Only a download renders, and only what is missing or changed since. They can download one clip, a whole project, or Download all at the top: each clip arrives as a package with its video, cover and description in a folder per platform, plus its subtitles. A download of more than ten clips asks first, because clips that are not made yet are made then. There is one live Kit Page per kit, and switching it off keeps everything they have already answered. They can also send you files through it, which is the half that replaces the email: the Your brand files box takes their logo (PNG, JPG or WEBP) and their fonts (woff2, woff, ttf or otf), and shows each upload's progress. Nothing they send is used until you accept it in the link's window, where a font goes into your own font library with one press and a logo becomes the kit's logo bug. They can take a file back off the link themselves. You can also send it rather than copying the address into your own mail app: put your client's email addresses on the kit (Their email, in Look and Shapes; several is normal), then press Send to client in the Kit Page window, with an optional line of your own. The email carries that client's own logo when they have sent you one, so it reads as made for them, and everyone gets their own copy rather than sharing a To: line. The link's own window is also the one place to look for what they have said: every answer this client has given you, newest first, merged from the Kit Page and from any per project Approval Page you ever sent them. It also tells you when they last opened anything of theirs, and which link. Answers given on an approval link you have since switched off are not listed.

The round trip with your client (Kit Page and Approval Page). The Kit Page opens on Waiting for you, with a switch to All, and each project has Approve all, which approves everything still waiting after asking once (a rejection stays a rejection). Under each clip the client sees its posting schedule and results: when and where it posts, and once posted the views, likes, comments and shares. When you change a clip after they answered, their page says what changed, shows the old and new words of a description, and offers Compare Before and Now. A new Kit Page shows Review only; in the Kit Page window, open Sharing and switch on Calendar, Your Files, Accounts or Brand Brief for that client, and a menu down the side (across the top on a phone) switches between them; The arrow on a project row folds or opens all its clips, and each clip folds on its own with the arrow beside its name. In your Kit Page window the settings sit in three folded rows, Sharing (what they see, password, link), Deadlines (answer-by date, reminders) and Activity (answers, answer speed, their files and brief); on each clip Download is a small icon after Approve. Your Files lists everything they sent by category, marked waiting, Added or Not used. The Kit Page calendar shows every post for that kit's clips by day (posted, waiting for their approval, booked), and clicking one opens its clip. Next to each description they can press Edit the description (the Edit button) and change the words right there; it changes the caption right away, an approval of the old words goes out of date, and you are told who edited it. Every client comment has Mark done in that window, and the clip editor's Inspector lists the open clip's Client comments as a to-do list where a time jumps to that frame; the client sees Done beside each one you tick. The Kit Page also has Your brand brief (how they sound, words to always and never use) that you take into the kit with Use it, and the client can send footage (MP4 or MOV, up to 2GB, 3 at a time) for you to download into a project. Under each file they say what it is (Logo or Other picture; Footage, Opener or Closer), you can re-assign it in the Kit Page window, and Add as opener or Add as closer puts their video in the client's Opening and closing library. In the kit, Post When Approved (Look and Shapes, Posting) makes a post wait for the client's approval and go out the moment it arrives. In the Kit Page window, set an Answer by date and switch Reminders on: they get an email when work has waited 2 days, and the day before the date, and you hear when they opened it without answering. The same window shows their Answer speed.

Clip defaults (Social > Posting, on the same page as your connected accounts: in each network's card its shape and, with two accounts, Make default) hold your defaults for new clips, shared by everyone on the account: the shape each connected network posts in (for example TikTok 9:16, LinkedIn 1:1) and which account it posts to when you have two. New clips are made in exactly the shapes your networks post in; the first one picked is the main shape, and a network you leave unpicked gets it. Before any account is connected, a Shapes for new clips row stands in. With a default set, a new clip opens already set up and never asks which shapes you need; a shape the video cannot make is skipped with a short notice. A kit has the same Shapes and networks block (in Look and Shapes) and replaces your Clip defaults for the clips under it, and anything you change on a clip wins for that clip. In a clip's Post & Download step only connected networks are listed, each with its shape and the exact account by picture and name, and a clip under a kit can only post to that kit's own accounts.

When a clip is made in several shapes, every shape has its own cover and each network posts with the cover of its shape. The Cover step works on the shape whose tab is open. Under the cover, Other shapes shows which shapes have one and offers Same cover on all shapes (the same picture and title cropped to each shape, free) or Redraw for each shape (AI extends the same picture to fit each shape, for AI credits).

Set Up Kit is two steps: Accounts (connect them now, or copy or email the client the Kit Page link) and Look (Set Up Look). Clients can connect their own social accounts on the Kit Page, the same link they approve clips and send logos on. They see what they connected and can remove it, you get a notice each time, and an account connected there is ready to post at once. Turn this off in Settings > Client view (Connect their social accounts).

When the clips are finished, send an Approval Page. Inside the project in Social, press Share > Approval Page (the window is titled Approval Page), and it shows the client every clip in that project with its cover and its caption, each with an Approve button and an Ask for a change button. Only clips with the green Video ready badge go on it. A clip that is still preparing, or that you have never opened, is left off. Making the link does not prepare anything, so open a clip and let it finish first, then update the link from the same window to add it. A change request will not send without a comment, so you are never left with a red badge and no idea what to fix. The client needs no account; they type their name once, and you can put a password on the link. Nothing on the page is a snapshot: the title, the cover and the caption are read live every time it opens, so a caption you rewrite after sending is the caption they judge. There is one live approval link per project, so pressing Create again hands back the same link rather than splitting the answers in two, and switching a link off keeps every decision already made. Switching a link off keeps its answers on screen too, under Earlier links in the same window. Every answer has a check mark you tick when you have dealt with it; ticked answers are hidden until you pick Show completed. The live approval link is also listed in Shared Links, where you can open it or turn it off, and each clip card in the Social grid shows Client approved or Changes asked once the client answers. And the reverse is said out loud: if you change a clip's caption or title after the client has already answered it, their answer is marked as out of date on their page and in your window, rather than a green tick quietly transferring to words they never read. You are told when they answer: a notification and an email arrive with the running tally, at most one every fifteen minutes so a client working through ten clips is one message and not ten, and the moment they finish always comes through. You can add, change or remove a password on a live link. Clips you make after sending the link are not in it until you say so: the window tells you how many your client cannot see and offers to add them.

The approval page carries your own logo at the top when your account has one, otherwise the ScriptCut logo with Social under it. Each clip sits beside its comments: the video on the left with its captions underneath, the comments on the right, and a bar at the top says how much has been answered. Watching never renders anything: the client watches each clip exactly as your Social editor previews it, straight from your edit, so opening and playing the link costs nothing (the opening and closing videos are not in the preview, just as in the editor). When a clip has no cover yet, its first frame is the picture. The cover is answered on its own: a Clip and Cover switch above the picture gives each its own Approve button and its own comments, and a cover you change after they answered is marked out of date. The client's only answer is Approve, which then greys out and says Approved; their comments are how they ask for changes, and you are told when they comment. When a clip is prepared for platforms, the client sees one icon per platform, each showing that post's video shape, cover and description with its own Approve; with downloads on, the package has a folder per platform ready to post by hand. Next to Approve the client also has Reject, and between them Request Changes, which opens the comments so they can say what to change (the comments stay hidden until then, unless the clip already has some). A rejected clip shows a red Client rejected badge and cannot be posted, now or by a scheduled post, until you press Clear rejection in the approval link's window. Comments are timecoded comments, like Frame.io: your client pauses, types, and the comment carries that exact frame; clicking it jumps the clip back there, and each comment shows as a mark on the play bar. They can reply in a thread and delete their own comments. You read every comment in the approval link's window, reply there as your team, and can delete any of them. Allow downloads is a switch in the same window, off unless you turn it on. With it on, each clip gets a Download button for its whole package (the video in every shape, the cover, the descriptions and the captions as subtitles) and the top of the page gets Download all. A file is only made the first time somebody downloads that clip, with the real percentage on screen, and made again only after you change the clip.

A kit's Look and Shapes also carries the two things that stop the AI starting from zero on every job: how they write and how their covers look. Paste a handful of that client's own published captions and ScriptCut reads them once and writes down how they write, in plain English, sentence length, whether they write as we or you, emoji and hashtag habits, how they open, what they never say. Upload a few covers they have already published and it writes down their visual rules the same way. Both are shown as plain editable text, so you can change or delete any line, and every caption and cover made for that client follows them afterwards. Learning again updates the rules rather than replacing them. There is also a one-time client brief, who they are, who they sell to and what they must never claim, which sits in front of the AI for everything it makes for them. None of it trains a model on your material: the example images are read once and not kept, and what is stored is the words. A client with none of this set behaves exactly as before.

Downloading and sharing

Download a clip on its own, or create a download link so a client can grab the whole batch, video, captions, and covers included, without an account. Download package zips the video, its covers, its descriptions, and the clip's subtitles as an .srt file. Make one for a project from Share > Download Link inside it, and manage every download link from the Links page in the Social left menu; the download page shows readiness (“5 of 7 ready”) and refreshes itself while anything is still rendering. Download timeline (XML) hands the clip's cuts to DaVinci Resolve, Premiere Pro, Final Cut Pro or Avid, cut on the exact frames of the clip, with B-roll on its own picture track and the music on its own sound track, each named after the file you uploaded; the framing, split screens and burned-in captions stay in ScriptCut (the .srt in the package carries the captions). Starter and ProAI. Any file in the Media Gallery can be downloaded from its menu (three dots), or several at once from the selection bar.

Editing one clip from the main dashboard

A Social project also shows on your main Dashboard now, wearing a small indigo Social chip; open it from either place. From a clip's card menu on the results grid, Edit clip jumps straight into the Select page focused on just that clip, with the rest of the transcript visible but dimmed, so you can adjust its picks without losing the surrounding context. Right-click a shot on the timeline for Auto reframe clip to redo the automatic framing on just that shot (the other shots keep theirs), or Reset selected clip to put its framing back to fully automatic, without touching its cuts, trim, or captions.

ScriptCut is built around the back-and-forth with a client. You share a link, they read the selection, leave notes, and approve, all in their browser, with nothing to install and no account to create.

Creating a share link

On the Review page, click Share. Copy the link and send it. You can protect it with a password, and under Advanced settings you control exactly what this client can do: export, rename speakers, or use AI. These per-project permissions sit on top of your account-wide defaults in Settings > Client view.

Presentation links and multi-stage sign-off

Two extras live in the share link settings. Presentation link shows your client only the polished Review page, nothing else, and two account-wide rules in Settings > Client view apply to that kind of link alone: whether the person can Approve, and whether they can leave notes. A review link is unaffected by both. Multi-stage sign-off (under Advanced settings) turns one approval into a chain: Producer, then Client, then Legal/Comms, each approving in order, with a separate named sign-off link created for Legal/Comms. The project locks when the chain completes. The client welcome window: the first time a client opens a review link and types their name, a short welcome window headed Quick Guide shows how it works in four parts, Select, Arrange, Notes and Favorite, with a short animated demo of each that play one after the other: a cursor clicks and drags rows for Select and Arrange, and points at the notes icon and the favorite icon on a row. Take Product Tour starts the guided tour (when the Guided tour switch in the link settings is on) and Get Started closes the window. It shows once per link in that browser, never on a presentation link, and never for a studio on the whitelabel plan. A brand-new account sees the same Quick Guide window trimmed to what each page teaches: once the first time it opens the Select page (Select, Notes and Favorite) and once the first time it opens the Arrange page (Arrange, and Groups: a lasso round the rows, the Group button, then naming the group). Take Product Tour there starts the guided tour on the dashboard; in a Social project the window shows on Select without the tour button and not on Arrange.

Chat with your client

Every project has its own chat, in the bubble at the bottom right. It connects you, your team, and your client in one thread, and the whole conversation can be downloaded as a text file.

Managing all your links

The Shared Links icon in the main sidebar lists every review link across every project in one place; open it from inside a project and it filters to just that project. Each row shows who the link is for, how many times it has been opened, and when it was last viewed. Use the row menu to rename, password-protect, or revoke a link at any time. Social’s own Links page works the same way for client download links. You can also send any of them from inside ScriptCut rather than copying the address into your own mail app: press Send on a link and it goes to the people on the kit's email list, one message each rather than everybody on one To: line, with an optional line of your own, and it wears the client's own logo when they have sent you one. A one-off link with no kit above it takes an address you type for that send. The kit also carries a Link Access switch: turning it off closes every link under that kit at once, including the folders inside it. It only closes, so each link keeps its own settings and turning it back on puts them all back exactly as you left them. Beside it is a Link Password: one password for every link under that kit which has no password of its own, so you set it once rather than on every link. A link you gave its own password keeps it, so your client only ever types one. Setting it also protects links you have already sent that had no password, and clearing it puts them back.

What your client sees

When a client opens the link, ScriptCut asks for their name (and optionally a company and email) so you can track whose feedback is whose. Then they land in a clean, branded version of your project.

The client view mirrors your own, minus anything you have not permitted. They can read the Select and Arrange pages and the polished Review, play the audio, and leave notes on individual lines.

Approving

When the client is happy, they Approve the selection. Approval locks the project so it cannot be changed by accident, and notifies you straight away in the Activity feed and by email. If you need to make a change afterward, you can unlock it.

Notes, support, and tutorials

Clients get their own slim sidebar: tutorials to help them review, a theme toggle, and a Support button that reaches your team. Any note they leave on a line shows up in your Activity feed and travels into your exports.

Open Settings from the Account menu (the account photo at the bottom left of the sidebar). It shows you on top (your photo, name and email), then every account your login belongs to, with the one you are in ticked: click another to switch to it. Below that are Settings, Keyboard Shortcuts, the light or dark switch, and Log Out. In Settings, the list on the left has two groups. You holds what is yours in every account: Profile (with Sign-In Security), Appearance and Notifications. Account, headed by the account's name, holds what belongs to the account you are in: Account, Team, Plan, Billing, App Integrations, Storage, Transcription, AI, Branding, Client View, Archive and History.

Personal & Appearance

Profile holds your name, email, password, your photo, and the option to take the guided tour again. Account holds the account's name and photo (the Owner and Admins change them), Download all my data and the Activity log (which also shows each time ScriptCut support opens one of your projects to help you), Leave This Account for Admins and Members, and Delete account for the Owner. While you are in an account where you are a Member, Settings shows the You group, App Integrations and Support, and you leave the account from Profile. In App Integrations you can download the editing software extensions; the cloud apps show Ask Admin, because only admins connect or disconnect them. Switch to an account where you are an Admin and the Account group shows. On a team the Owner shows as an Admin; only the Owner can delete the account or hand it over. Appearance switches between dark and light mode and toggles the small help tooltips that appear on hover.

Tag people with @. Type @ in a project note, a reply, or a comment on a Kit Page or approval link, then pick a name. Teammates on your account and clients who left an email address can be tagged. They get an email with a button that opens the project. A client who left no email cannot be tagged. In Settings, Notifications, Someone tagged me turns these emails on or off for you alone.

Your photo and the Account photo are two pictures. The account photo shows bottom left, in the account switcher and on client links; the Owner and Admins set it in Settings, under Account, and until one is set it uses the Owner's photo. Your photo is yours alone and shows next to your chat messages, notes and on the Team page, so a teammate changing theirs never changes the account photo. Either photo can be a PNG, JPG or WebP up to 20MB; ScriptCut shrinks it to one small square.

Sign-In Security sits in Profile. Authenticator App adds a second step: after your password (or Google) ScriptCut asks for the 6 digit code from an app such as Google Authenticator, 1Password or Authy. Press Turn On, scan the code, type the 6 digit code it shows, and save the 10 backup codes shown once. If you lose your phone, choose Use a backup code on the code screen and enter your email, password and one backup code. That code switches two-step sign-in off, so turn it on again in Settings. Passkeys let you confirm the second step with Face ID, Touch ID, Windows Hello or a security key instead of typing a code: press Add A Passkey. When two-step sign-in is on and you have a passkey, ScriptCut asks for it right after your password. On that screen, Try another way lists everything you have set: a passkey, the authenticator code, a backup code, or Email me a sign-in link, a one-time link that works for 10 minutes (accounts that sign in with a password). You can keep up to 10 passkeys and remove any of them. Both are optional.

Notifications

Choose which email alerts you receive, client approvals, new notes, messages, and how often. You can also opt out of marketing emails here. On a Team plan, Which projects lets each person hear about every project on the account, or Only ones I made or opened. With Social, Client answered an approval link turns off the email you get when a client approves clips or asks for changes on an approval link or client page (Social's Notifications drawer still shows every answer).

Client view

Set the house rules for every project you share. They come in five groups. Every link: require an email as well as a name before the link opens, make new links expire after a number of days (leave it at 0 for never, and links you have already sent keep working), and the client onboarding tour. What a client sees: timecodes beside each line, and whether they can open earlier versions or only the one you sent. Review links, the link where a client works: download exports, rename speakers, use AI, and which screen they land on. Those first three can still be changed on a single project from its own share settings; nothing else here can. Presentation links, the link where a client only watches: whether they can approve at all, and whether they can leave notes. Social links, the Kit Page and the Approval Page: whether they are offered "Ask for a change" as well as Approve, whether they can download the videos or only watch them (the approval link has its own Allow downloads switch in its window), and whether they type an email first. A download link is not governed here: it is made by hand for one recipient and keeps its own password and its own switch.

Plan

See your current plan and compare Free, Starter, and ProAI side by side. Each plan lists what is included (orange checks) and what is not (grey crosses). A monthly/annual toggle shows the annual saving.

Billing

Manage your subscription, view invoices and transaction history, redeem a promo code, and buy more transcription minutes or AI credits as you need them.

Storage

Shows how much of your plan's storage you have used, and how much is left, with every project listed biggest first. Above the projects, one Media Gallery row shows the size of your B-roll, music, and opening and closing videos together, and how many files, logos and fonts it holds. That row and the projects together are the whole of your usage, so nothing in the total is left unexplained. Logos and fonts are a count only: they are held separately from the videos and do not count towards your limit. Open takes you straight to the Media Gallery in Social.

Every plan includes 100GB. You can add more storage as a package on top of it: +100GB, +200GB or +500GB, and the bigger the package the cheaper it is per 100GB. It renews with your plan and on the same rhythm, so storage on a monthly plan bills monthly and on an annual plan annually: one invoice, one renewal date. During a free trial you can buy it too: it is then its own small monthly subscription, charged straight away. Storage you buy is never lost when your plan changes: if your plan ends, for example when you move to Free, your extra storage carries on as its own monthly payment once the time you already paid for runs out, for as long as you keep paying for it. You can also end your trial early and start paying for ProAI right away (Settings > Billing, or the offer in Settings > Transcription): you are charged for the plan today, your billing date moves to today, and minutes you buy after that cost the ProAI rate instead of the Free rate a trial pays. If the card is declined nothing is charged and the trial simply continues. Moving to a bigger package is charged straight away for the days left in the period and the space is there immediately; moving to a smaller one, or cancelling, takes effect at your renewal date, so you keep every byte you have already paid for. Storage already paid for is not refunded. If the extra storage ever ends and your files no longer fit, you have 14 days to free up space, and we email you on the day it ends and again as the date gets close. After that we remove video files only, starting with the projects you have not opened for the longest time, and only as many as it takes to fit. Your transcripts, your edits and your audio are never removed, so every project still opens and still plays. Adding storage again at any point in those 14 days stops it, and so does freeing up the space yourself. Deleted video cannot be recovered.

Team

The Team plan puts several people on one account, each with their own login and a role. It has one starting price that covers the first 3 seats, plus a price for each extra seat (at least 3 seats), and every seat gets everything in ProAI. The monthly transcription minutes, AI credits and storage are shared by the whole team: the starting bundle for the first 3 seats is bigger than three times the per-seat amount, and each extra seat adds the per-seat amount. The plan card shows the exact numbers. Bigger teams (25 seats and up) can contact us for Enterprise.

Team in Settings lists everyone on the account. There are three roles: the Owner pays, changes the plan, adds or removes seats and is the only one who can delete the account or hand over ownership; Admins can do the same money things as the owner (invite and remove people, pay, open Billing, change the plan) and change account settings; Members work on projects and never see Team, Billing or card details. Everyone on the team sees every project and every client. A Member who presses a buy button can send the owner a short note asking for it.

Several people can work in the same transcript at the same time. Everyone's edits are kept, including splitting, joining, adding, deleting and moving lines. If two people change the very same line at once, the newest change is kept.

To add someone, type their email, pick Member or Admin and press Send invite. The link in the email works for 7 days. If a seat is free the invite simply goes. If every seat is filled, a window first shows what one more seat costs, and a seat is added when they accept: it is charged that moment to the card already on file, for the rest of the billing period, and nobody is asked for card details again. If that card is declined, they cannot join yet and the owner and admins get an email. When someone is removed or leaves, their seat comes off your bill at the next renewal, never below 3 seats, and nothing is refunded. You can also buy seats ahead with Add a seat, or take one off with Remove a seat. Someone who is removed, or who uses Leave This Account (Settings, under Account), keeps their login, name and photo; the work they did stays with the team. If they belong to another account they land there. If they belong to none, there is no automatic free account: they see Choose Your Plan and start their own, Free or paid, or press Join on a team invite already waiting for their email. The Owner cannot leave without handing ownership over first, and the Owner and Admins can remove anyone except the Owner; the removed person gets an email. If someone who already has their own ScriptCut account opens your invite, the team is added as a second account and their own account stays exactly as it is, plan and all. One login can belong to several accounts: switch between accounts from the account menu (bottom left, or the menu on a phone). Their name, photo, email, password, notification settings and appearance stay the same in every account; plan, billing, branding, projects and clients belong to each account. Removed from a team, or leaving it, they land back in their own account.

The owner and admins also see Usage this month on the Team page: each person's transcription minutes and AI credits since the 1st, and how much storage their uploads take up. The team still shares one allowance; this only shows who used it.

Your data and Activity

Download all my data sits in Settings, under Account, for the Owner and Admins. It packs a copy of everything your account holds into one zip: text files and spreadsheets that open in any text editor, Excel, Numbers or Google Sheets: every project with its transcript per version (as text and as a spreadsheet with timecodes, picks and notes), your folders and clients, what your clients answered, billing history, notifications, support messages and your activity log. A bar shows how far along it is, and we email you a link when it is ready. Videos and audio are not inside the zip, because an account can hold up to 100GB; instead the zip lists one download link per file, and those links work for 7 days. You can make one copy a day. Sign-in tokens for connected services and password hashes are never included. For anything else we hold about you, email support@scriptcut.io.

Activity, the folded section just below it (click to open), lists what happened on your account in the last 12 months, newest first: sign-ins with the city and country, password and settings changes, projects created, moved to the Trash, restored or deleted, files deleted, share links created, turned off, turned back on or deleted, when a client opened one of your links, your clients' approvals and change requests, plan and payment changes, and data downloads. Filter it by Account, Projects, Links and clients, or Billing. Only you can see it, nobody can edit or remove an entry, and it never records the words of a transcript.

App Integrations

Connect Frame.io, Dropbox, Google Drive, Box, OneDrive, Zoom or Vimeo so you can import media straight from those services when starting a project. Underneath, an NLE Plugins section offers a Download for a small companion panel for DaVinci Resolve (Mac and Windows, needs Resolve Studio) or Premiere Pro (Mac or Windows, 2025 or newer): install it once inside your editing software, and it lets you send clips to ScriptCut straight from Resolve or Premiere, then bring your finished edit back already linked to your media, instead of relinking every clip by hand. The same two options also appear as their own Send to your NLE row in the Export menu. The panels are included on Starter and ProAI. On Free and on the Social plan the two rows still appear, with an Upgrade button in place of Download: those plans do not include the Timeline (XML) export either, and carrying that timeline into your editing software already linked is the whole point of the panel.

Transcription & AI Credits

Transcription shows how many transcription minutes your plan includes and lets you buy more. Your plan's minutes reset every month on your billing day and never roll over: unused plan minutes are gone at the reset, and they are always used before bought minutes. Minutes you buy never expire. AI Credits (a ProAI feature) shows your AI allowance, what is left this cycle, any credits you have purchased, and an optional auto top-up. Credits you buy are never lost: if you move from ProAI or Social to Starter or Free, they stay on your account and work again when you are back on ProAI or Social.

On the Social plan Settings shows only what a Social account uses. Transcription shows your minutes like on every plan (for example 150 of 200 this month, with the reset date) and lets you buy more. On the Social plan, AI Clips, cover images, captions and descriptions use AI credits, from the monthly allowance on the AI Credits page. The Team tab only appears on the Team plan.

Branding

On ProAI, add your own logo and accent color so every share link, PDF, and email your clients see is yours, not ScriptCut’s.

Click an uploaded logo (or a photo) to re-open it and set how it sits: drag to reposition, scroll or use the slider to zoom. The light and dark logo always take the same framing so they stay matched. Nothing is thrown away, so you can re-open it later, zoom back out, and the whole logo is still there.

Archive

Archive holds deleted projects for 30 days, where you can recover them or remove them for good. Automatic restore points live with the project itself, on the version chip in the editor header, not in Settings.

Under the panel list, two links sit on their own: User Manual opens this manual, and Legal Notices opens the terms and privacy policy.

Support

Reach the ScriptCut team directly from the Support panel. Send a question and you will get a reply by email, with your whole conversation kept together.

ScriptCut on your phone

ScriptCut works in your phone's browser too, no app to install. Cleanup, Select, Arrange, and Review share one compact header, with a bottom tab bar for quick moves between pages. Swipe a row to reveal its quick actions, and look for the ⋯ menu for anything that does not fit on screen, including Search and Undo/Redo.

ScriptCut’s keyboard shortcuts are guarded so they never fire while you are typing in a text field. On a Mac, use Cmd; on Windows, use Ctrl.

Press ? on any screen (or open Account menu > Keyboard shortcuts) to see the shortcuts for the screen you are on. Show every shortcut lists them all.

Everywhere

Enter

Confirm the primary action in a dialog (delete, approve, plan change, and so on).

Esc

Close the open dialog or menu; on the dashboard, clear the current selection.

On the dashboard

Cmd/Ctrl + A

Select all visible projects.

Cmd/Ctrl + D

Duplicate the selected projects.

Delete / Backspace

Move the selected projects to the Archive (still asks you to confirm).

Cmd/Ctrl + click

Add or remove a single project from the selection.

Shift + click

Select a range of projects.

In the editor

Cmd/Ctrl + Z

Undo your last edit.

Cmd/Ctrl + Shift + Z

Redo.

Cmd/Ctrl + F

Find a word in the transcript.

Enter (in Cleanup)

Split the current line in two at the cursor.

B

Add or remove a bookmark on the current line.

Cmd/Ctrl + D

Duplicate the selected line(s) (Select and Arrange).

Cmd/Ctrl + B

Group the selected lines into a titled group (Arrange).

Social clip editor (Video step)

C

Add a cut at the playhead.

K

Keyframe the current shot (or delete the selected keyframe).

+ / −

Zoom the timeline in / out.

Delete

Remove the selected cut or keyframe.

Audio playback

Space or K

Play or pause the current selection.

L / J

Speed up / slow down playback.

Left / Right arrow

Jump to the previous / next clip while playing.

That is the whole tour. Whenever a page has more to offer, look for the ⋯ menu, the Tutorials drawer, and the help tooltips. Happy editing.