What ScriptCut does

ScriptCut (scriptcut.io) is a browser-based web app, with nothing to install. It is not the open-source desktop project on GitHub that shares the name. Everything ScriptCut can do today, in plain English. For prices see the pricing page, for step-by-step guides see the user manual, and to try it see scriptcut.io.

• Every AI run shows its price in credits on its button before you click, computed from the length of the transcript; the price shown is the price charged, and a run the AI fails to finish is refunded.

What ScriptCut is

ScriptCut is a web app for editing long, unscripted footage by editing its transcript. It sits BEFORE the edit: you upload a recording, ScriptCut turns it into a word-level transcript, you pick the moments worth keeping by highlighting text, and it hands your editor a timeline that drops straight into DaVinci Resolve or Premiere Pro already cut to those moments. Clients can review and approve the selection through a share link without an account and without touching the edit. It is often described as the pre-edit counterpart to Frame.io.

It is for ANY long unscripted content: podcasts, documentaries, interviews, vlogs, UGC, talking-head and panel recordings. It is a website, so there is nothing to install.

The editors it works with

ScriptCut works with DaVinci Resolve, Adobe Premiere Pro, Avid Media Composer and Final Cut Pro. The Timeline (XML) export opens in all four and rebuilds the selection in order, trimmed to the frame, with groups as markers. DaVinci Resolve and Premiere Pro additionally have a guided roundtrip when you start a project, and a panel that relinks the media for you; Avid and Final Cut do not have that guided path yet, so you start from Blank or Transcribe and export the XML.

The Timeline (XML) brings every sound channel of a recording into the editor: a stereo mix or two microphones on the left and right channel arrive as their own tracks, left and right as the file plays.

Who it is for

Video production companies, documentary and branded-content teams, podcast producers, agencies, and marketers who need short social versions of long recordings.

The five stages of a project

Import, Cleanup, Select, Arrange, Review and Export. Import brings in the recording and its transcript, Cleanup tidies the words, Select is where the cut is chosen, Arrange orders and groups it, and Review is the polished read-only version the client sees before everything is exported.

Ways to start a project

• Transcribe a recording: upload audio or video and ScriptCut makes the word-level transcript.
• Blank: bring your own transcript (SRT, SRTX, VTT or JSON) and optionally the timeline and an audio file.
• 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. Not yet: Thai, Bengali, Telugu, Serbian, Amharic, Burmese, Georgian, Gujarati, Khmer, Lao, Malayalam, Sinhala, Somali, Mongolian, Kannada, Marathi, Nepali and Pashto. The transcription service does not return a usable transcript for those yet, so they are not offered; each will be added once it passes the same test. Twelve of the 54 (Afrikaans, Albanian, Azerbaijani, Bosnian, Galician, Javanese, Kazakh, Macedonian, Maltese, Sundanese, Uzbek and Welsh) are transcription only: the AI tools work on them, with lighter language-specific checks, and AI Translate can translate out of them but not into them.
• Check spelling works in 40 languages, free and without AI credits: 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 each transcript in the language it is written in, and the Dictionary in Settings keeps its own word list per language. Japanese, Chinese, Finnish, Filipino, Malay, Thai and Urdu are not checked yet.
• DaVinci Resolve or Adobe Premiere Pro: a roundtrip, so the finished selection lines up frame-exact with the original footage in the project it came from.
• Social Clips: turn one long recording straight into several vertical social clips.
• Several recordings in one project (two takes, two cameras, two shoot days): the AI tools know which file every line comes from, keep only the strongest telling of an answer that appears in more than one file, and never cut across a file change as if it were one take. AI Story also lets you keep several uploads separate (each upload its own part of the story) or mix them, and picks the default from who is in each upload. Every AI window has an Upload a Brief field (PDF, Word, text or images): the AI reads the brief and fills the options and writes the prompt from it, and everything stays editable before you run.
• Recording Tags: in a project with several recordings, an optional switch gives every file a letter and a color (on its header, beside its speakers, and on every line in Arrange), so you always see which recording a line is from, and Arrange warns when a question from one recording sits right before an answer from another (one host in two locations).

You can also turn a cut you have ALREADY finished into social clips, with Create Social Clips on the Review page. It makes a separate copy in Social holding only the lines you picked and never changes your edit, it reuses the same recording so nothing is uploaded or transcribed twice, and the AI only ever picks from the lines you selected. Clips are then made one clip at a time, by AI or by hand, and pressing the button again opens the same set rather than making a new one. Nothing appears in Social until you press it. 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 in seconds (it starts at 60), then pick Max runtime (never longer than that length; the AI makes the best clip it can, so a clip can come in shorter) or Exact runtime (each clip lands on that length, within 5 seconds either way). The AI marks which beats it would drop first and ScriptCut fits each clip to the length, so the hook and the payoff are never the part that gets cut.

• Avid Media Composer and Final Cut Pro do not have their own guided start-here path in the picker yet, so start from Blank or Transcribe. The timeline export works in both, which is why ScriptCut works with all four editors.

What comes out at the end

A timeline (XML) that rebuilds the cut in the NLE, a PDF for the client, a plain-text cut sheet for the editor, subtitles (SRT or WebVTT), an audio file of the selection, and, from the Social suite, finished vertical videos. ScriptCut checks the timing against the sound, so each subtitle appears when its word is said, even over a music bed, and no word is cut off.

Media it can pull from

Files from your computer, or from a connected Frame.io, Dropbox, Google Drive, Box or OneDrive account, your Zoom cloud recordings, or your own Vimeo videos (Vimeo allows that on its paid plans). It cannot import from a pasted web link, and there is no YouTube import.

Auto Import (Starter and ProAI): point ScriptCut at a Dropbox, Frame.io or Google Drive folder once, and every new video or audio file dropped into it becomes a project and is transcribed by itself within a few minutes, ready to open on Cleanup.

Social Autopilot (Social, ProAI and Team): send that folder to Social Clips for a client instead, and every new video is transcribed and turned into branded short clips by itself, using the client's kit: AI decides how many (or a set number), clips under a minimum score are skipped, each clip gets the kit's shape, subtitles and logo, follows the faces and gets a track from your own music that fits its mood, and is rendered, ready for review. Then it books the week on the kit's Posting Schedule and posts once you give your OK in Next Week's Posts (Approve All in one tap), or by itself with Post Without Asking.

Files, formats and frame rates

• There is NO per-file size limit. The only limit is the 100GB of storage every plan includes, and running out of storage never stops you transcribing: the audio and the transcript are always kept.
• Large camera and editing files are fine, 4K and ProRes included. A video is uploaded and processed on ScriptCut's servers, not inside the browser, so file size is not a browser problem.
• The timeline export always uses the SOURCE video's own frame rate, and you are never asked to choose one for a video project. Every common rate works, including 23.976, 24, 25, 29.97, 30, 50, 59.94 and 60, drop frame included.
• Nothing ScriptCut produces carries a watermark, on any plan.
• A WIDE VIDEO IN A VERTICAL POST WITHOUT CROPPING: the Social suite can scale a shot down to 0% instead of cropping it, and its Layout menu has a Fit + blur effect that shows the whole 16:9 picture over a blurred, darkened copy of itself, so nothing is cut off and no split screen is needed.

B-roll, music and sound

• B-ROLL: you CAN upload your own B-roll footage and cut it into a clip. The gallery is at the bottom of the Social suite's Video step, and also on a folder's kit so an agency can reuse the same shots across every clip under it. Drag a clip from the gallery onto the timeline and it covers the picture for three seconds (or whatever default length you set) while the speaker keeps talking; drag the band to move it or either end to make it longer or shorter. You can also drop a clip onto one panel of a split-screen shot, so the B-roll fills that panel while the speaker keeps talking in the other one. The sound never changes: B-roll is picture only and its own audio is never used. B-roll is processed exactly like a main video, it counts against your storage, and deleting a clip removes the file from our servers straight away. Footage stays with the client it was uploaded for, or with the project when it is not filed under a client.
• MUSIC: you CAN add a music bed to a clip. Music is in the Audio step (the second step, right after Video) of the Social suite's Inspector (the panel on the right): upload your tracks, press Use on one or drag it onto the timeline, and it plays under the whole clip, repeating if it is shorter and fading out at the end. ScriptCut measures the track's own loudness and sets it to sit under ordinary speech, and you can move that level yourself. The voice is never turned down to make room for it. The track shows as a green audio track with its real waveform under the video, and it plays in the editor's own preview at the level it will have in the finished file, so you hear the mix before you render anything. THE BED CAN ALSO START ON A DIFFERENT PART OF THE TRACK: 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 simply 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. ScriptCut does NOT supply the music: you bring your own, and you are responsible for having the right to use it.
• You can also use footage you ALREADY have inside the uploaded recording, with no upload at all. In the Social suite's Video step there is a Timing control: it shifts a shot's picture to an earlier or later moment of the same video, anywhere in it, while the audio keeps running. So a split-screen panel can show something else from that same recording while the speaker keeps talking. A badge marks any shot that has been shifted.
• FRAME TRIMS 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 or leave a few frames of the wrong shot. In the Social suite's Video step, 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. The preview shows the exact frame you are choosing. If the picture in your uploaded video changes a few frames away from that cut, a small amber marker offers to snap it there in one click.
• IMPORTING THE FOOTAGE, AND THE MEDIA GALLERY: every media section of the Social editor (B-roll, music, logo bugs, opening and closing videos) has an Upload button and an Add from Gallery button. Upload takes a file from your computer, or lets you import it from your own Google Drive, Dropbox or Frame.io, and then the file never passes through your browser, so a 4K master imports on a slow connection. The Media Gallery holds everything you have ever uploaded, so you reuse the same file across projects rather than uploading it once per project and filling your storage with copies. It has folders, a lasso to pick several files at once, grid and list views, search, and a preview that plays when you hover. Each kind of file is separate: music does not appear under B-roll. Drop files anywhere on the gallery and it sorts them itself: pictures become logos and sound files become music, and each upload shows its progress as it goes. Any video in the gallery can be watched full screen. Each file has a three-dot menu to rename it, move it, delete it or add it to a client's kit. A client's own files show up in every one of that client's projects. A file you upload from your computer can be used straight away, while it is still being compressed, because the browser plays it from the copy on your own machine and swaps to the compressed one by itself. Downloading the finished clip waits for that copy, so what you download always matches what you saw.
• Sound design and mixing: no. ScriptCut lays your own music track under a clip and sets its level against the voice, and that is the whole of it. Everything else happens in your editor after you export.

Things people often ask for that ScriptCut does not have

• No public API, no webhooks, and no Zapier or Make integration.
• No posting to Threads, X, Pinterest, Snapchat, Bluesky or anywhere other than the five platforms named above. Of those five, LinkedIn posting is live today; Instagram, Facebook, YouTube and TikTok are 'Coming soon' while each clears its own platform approval.
• Restricting one teammate to only some clients is not there yet: on a Team, everyone sees every project and kit.

Sign-in security

Two-step sign-in with an authenticator app (6 digit code, with backup codes), passkeys (Face ID, Touch ID or a security key as the second step) and a one-time email sign-in link are all optional and set up in Settings. Text message codes are not offered.

Who makes it

ScriptCut is built by working filmmakers, for the kind of footage they cut every day. There is more about the team on the About page at https://scriptcut.io/about.

The AI tools

• Shared brief: a Type (Short Form or Long Form; the manual's older wording was 'platform'), a goal (convert/educate/entertain), a target runtime, and an optional prompt. Remembered across the project.
• AI Select: marks the strongest moments in place, honoring the target runtime. Short Form = one cohesive story; Long Form = a multi-topic editorial selection that keeps the strongest material across all the topics (like cutting a long recording down to its best). Every pick is adjustable afterward on Select.
• AI Story: in one pass designs the whole finished edit (which lines, the order, sentence trims, an optional cold-open hook) and drops the customer on Arrange. Short Form = one self-contained story; Long Form = multi-topic.
• AI Story understands a WRITTEN act/chapter structure in the prompt (a 'director's brief'). If the customer spells out sections (e.g. 'Act 1: intro to the business. Act 2: their history and challenges. Act 3: their top products'), AI Story builds EXACTLY those sections as named groups, in the order written (even if the recording covered them in a different order), and honors the weighting: 'equal weight' makes the acts roughly equal length, and per-section times like 'Act 2: 2 minutes' are followed. The length limit is held per act so no act gets squeezed out to fit another. An act with little matching material is kept and the customer is told, never padded with off-topic lines. Each act group's 'Rebuild with AI' keeps honoring that act. This works even on the Short Form type when the prompt defines sections.
• AI Clips: turns a long recording into several short, social-ready clips. AI Clips is no longer on the Select page of an editing project: short clips are made in Social. On Review press 'Create Social Clips' (a copy of the version, the original is never touched), then Use AI there. The customer chooses how many; ScriptCut assesses how many are genuinely strong, recommends a number, then builds each as its own single-topic mini-story. In a set made with Create Social Clips the AI only reads the lines the editor picked (they are all the set holds). A clip exists once AI Clips makes it or you save one by hand (Choose manually, one clip at a time). Running AI Clips again on a set adds clips and never changes the ones already made. Pressing Cancel in the AI window of a brand-new set makes nothing and takes the set away again. 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 in seconds (it starts at 60), then pick Max runtime (never longer than that length; the AI makes the best clip it can, so a clip can come in shorter) or Exact runtime (each clip lands on that length, within 5 seconds either way). The AI marks which beats it would drop first and ScriptCut fits each clip to the length, so the hook and the payoff are never the part that gets cut.
• Cover images (Social suite, ProAI): each clip's Cover step has four modes: Pick a frame (use a video frame as-is), Frame + AI (restyle a picked frame), Generate (AI builds one from a prompt; it already knows the clip's topic and words), Upload (bring your own image). In Generate mode, three Creativity levels trade restraint for attention: Conservative (polished, tasteful, one subtle accent), Moderate (bold, freely designed), and Creative (the loudest, busiest, most eye-catching option). The Real Host toggle puts the actual person from the video into the AI cover: scrub the preview to a clear shot of their face, tap Use this frame, then Generate; the AI keeps their exact face and builds a new scene around them. A typed prompt always outranks the automatic context, and the chosen color filter is remembered per generated image.
• AI Arrange: orders the lines already selected into a story and can group them into titled acts. It works from the customer's picks rather than choosing for them. It has NO target length: length is decided in AI Select / AI Story; Arrange only orders what is already selected.
• Search inside every transcript (dashboard search box): typing finds project names AND, under In transcripts, the lines in any project closest to the words, best match first (close word forms and small typos still match, so the user does not need the exact wording; a search of three or more words matches lines holding most of them; quotes find an exact phrase; lines that say the same thing in other words also show, tagged Similar meaning, e.g. 'money problems' finds 'we ran out of budget'), with the project, speaker and time. Clicking a line opens that project in Select at that line. 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 not opened since this was added is searched once it is opened.
• Clean up audio on downloads: the edited audio and edited video downloads, and Social clips, can remove rumble, hum and background noise, even out quiet and loud passages so every word is heard, and set the loudness to the podcast, YouTube or broadcast standard, without cutting a word and without touching the music.
• Publish kit (AI, on the finished edit): writes a summary, show notes, YouTube chapters timed to the edited cut, title ideas and a description, all editable and copyable, written in the transcript's language (or any translated language picked in Export). Paid with AI credits.
• Social clip as a timeline (Social > a clip > Post & Download step > Download timeline (XML)): a finished Social clip can be downloaded as a Timeline XML (needs a ProAI subscription; on a Social plan the row is greyed out with a ProAI badge and a hover note) for DaVinci Resolve, Premiere Pro, Final Cut Pro or Avid, cut on the exact frames the clip uses, in the clip's own order. B-roll covers sit on their own picture track above the interview and the music bed on its own sound track (repeating from its start when it is shorter than the clip), each pointing at the file by the name it was uploaded with, so the editor relinks to the customer's own originals. The picture framing (reframe crop), the size and position of a cover, split screens and burned-in captions do not travel yet; the clip's subtitle file (.srt) in Download package carries the captions. Any file in the Media Gallery can be downloaded from its menu (three dots), or several at once from the selection bar. A clip that mixes lines from more than one file cannot be exported as a timeline yet. Starter and ProAI, like every timeline export.
• AI Translate (Cleanup > AI Tools > AI Translate): translates the Transcript into other languages so selects can be made in the editor's own language even when the recording is in another (works for transcribed, Premiere JSON, and Resolve SRTX projects alike). Pick one or more languages in the window (searchable list; the round + button adds another); each translation runs with an automatic proofread pass for accuracy. When done, a language button (a globe, top right) appears in the Select, Arrange, and Review headers (clients on review links see it too) to switch between Original Language and any translation; the top choice is always Original Language. Playback, timecodes and the original Transcript never change, and the XML timeline export always stays in the recording's language. The TEXT downloads (Text, PDF, Word) follow whichever language is selected: pick German with the language button and the PDF downloads in German. The word-timed JSON stays in the recording's language, because every word there is paired with its own timecode. TRANSLATED SUBTITLES: the Subtitles export (.srt / .vtt) has a Language choice that starts on the language on screen; each line keeps its own timing and only the words change. In the Social suite the Subtitles step has a Caption language choice, so burned-in captions and the clip's subtitle file can be in a translated language; each translated word is timed to the speaker's own words. A line edited after it was translated stays in the original language until it is translated again: picking that language, the AI Translate window, the Export Subtitles window and the download menu all say how many lines changed, and a Re-Translate button re-translates only the changed lines (priced on those lines alone; every other line stays exactly as it was). AI Translate never drops a spoken word: numbers, ALL-CAPS terms such as API and names are always kept in the line, and a line whose translation left an ordinary word out is asked for again before it is saved. Word trims made on the original carry into the translated view automatically, and word-level dragging also works directly inside a translated view (it maps back to the exact source words). Hovering a language in the language menu reveals a trash icon to delete it; the Original Language and whichever language is currently open can never be deleted. The price is shown on the Translate button before running: it depends on transcript length, per language, charged in AI credits.
• All of these quietly trim filler and false starts as they build, without ever adding or reordering words the speaker did not say. Line tightening is always on; every trim is reversible per word with the row's Reset.
• Favorites (star): every Select row has a star. A starred row turns the star gold, is ALWAYS kept by AI Select, AI Story, and AI Clips (the AI can never drop or deselect it), and exports a yellow 'Favorite' marker into the Premiere XML (Resolve shows the marker without the color). Not in Social: a Social clip's Select and Arrange have no stars and no notes at all.
• AI Clips 'Cutting style' (its own separate setting from the one below, only on AI Clips): 'Cut freely' stitches the strongest moments (jump cuts, punchier); 'Trim ends only' keeps each clip one continuous take (music-safe). Same control on the Select-tab popup and the Social intro.
• Cutting style, Natural flow / Balanced / Tight: a SEPARATE, SHARED setting across AI Story, AI Select, and AI Clips that controls how many small interior edits are made inside a kept line (never how much is trimmed, only how it is trimmed). Natural flow makes the fewest interior cuts for the smoothest-sounding result, Tight makes the most for the punchiest, Balanced sits between. Lives in each window's Advanced options, persists across runs, defaults to Balanced, and is hidden on AI Clips whenever 'Trim ends only' is picked (that mode has no interior cuts to style).
• Don't include Interviewer now works identically on AI Story and AI Clips, not just AI Select: with it on, the AI still reads the interviewer's questions for context but never uses their lines in the finished result. Off by default, because a short setup question is sometimes the only way an answer makes sense on its own.
• AI Personalisation (Settings > AI (below the credits)): the AI tools learn how each account edits and work more that way over time. Every time an AI tool runs, ScriptCut notes what it suggested and what the customer then changed about it - lines kept, dropped, added, reordered, retimed, trimmed further or trimmed less - and once several finished edits agree on something, it starts taking that into account on later runs. Examples of what it learns: whether the customer puts the interviewer's questions back in, whether they cut shorter than the length they asked for, whether they loosen or tighten the AI's word trims, and where in a recording they like a piece to start.
• Usage counts (privacy): while a customer is signed in, ScriptCut counts which screens and tools their account uses (for example that a transcript was exported or an AI tool was run) and how long sessions last, to improve the product and to help customers who get stuck. These are COUNTS ONLY: it never records the words of a transcript, a prompt, a project name or any media for this. Daily counts are kept 60 days and the last 20 sessions; all of it is deleted with the account. Share-link reviewers are never counted.
• It waits before it concludes anything: nothing is learned from fewer than five finished AI runs, a single conclusion needs at least three of those runs to agree, and a run the customer undid never counts as a preference. A brand new account gets exactly the same AI as before. The customer's own prompt, goal and length always outrank anything that was learned.
• The customer controls it completely, in Settings > AI (below the credits): every line ScriptCut has learned is listed in plain English with the number of runs behind it, each can be deleted with the round x (and restored again afterwards from 'Removed by you'), and one switch turns the whole thing off, after which every AI tool behaves exactly as it does for a new account. Nothing is lost when it is off, and switching it back on picks up where it left off.
• Shared defaults: separately from what it learns about one account, 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 everybody. These appear under "From other editors" on the same Settings page, can be deleted there like any other line, and anything ScriptCut has learned about you personally always beats them. It is still counts only: no model is trained on anybody's material, and one account's transcript, prompts or footage are never used in another account's edits.
• AI Clips learns from your posts: every clip that is posted 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 (a client is a top-level project folder, and one client never learns from another), and steers the next run toward the openings and story shapes that held that audience, with the best-held openings as examples to beat (never copied: the AI only uses lines from the new transcript). The score learns too: when past AI scores did not match how clips really did, scoring leans on what that audience rewards. The more you post, the more it knows. It needs real results, so it only learns from platforms that send them back. A brand new account starts from what worked across many ScriptCut accounts (averages only, no words, once at least eight accounts agree). Every line is listed under 'From your posts' in Settings > AI and can be deleted or restored like the rest; the same off switch turns it off. Nothing is trained on anybody's material: it counts and compares.
• What is stored for how you edit is counts and seconds only - how many lines the AI picked, how many were kept, how many were added, how long the result ran. For AI Clips, the opening words of your own posted clips are kept with their results, and they steer only your own AI Clips: never shown to or used for another account, never used to train anything, and deleted with the account.
• Undo an AI run: the moment Story, Select, Arrange, Clips, or AI cleanup finishes, a small box (on a phone, the top item in the ... menu) offers one-click Undo back to right before that run. It disappears the moment the customer makes their own edit. For an older rollback, Settings > History (Starter and up).
• AI scores + reasons: AI Select shows WHY it picked a line - hover a picked row and the who-did-what popup includes 'AI pick (score/100): reason'. AI Clips grades every clip 0-100 in four parts of 25: hook (does the first line stop the scroll), makes sense alone (no missing context), story (one topic that builds to its point) and ending (lands the payoff). The length never counts toward the score. A clip a top social editor would post unchanged scores 92 to 100, so 100 is reachable. Hover the score to see the four parts. The Social results grid orders strongest first and badges each card with its score (green 80+, amber 60+, red below).
• Every AI run quietly self-checks: Arrange re-reads every cut point and repairs seams that would confuse a viewer; Select re-judges all its picks together to drop near-duplicates before filling the target length.
• Long-form AI Story is OUTLINE-FIRST: it designs a chapter outline (3-7 titled chapters with time budgets), fills each chapter, and delivers the chapters as titled groups on Arrange. Rename, reorder, or delete a chapter like any group; every chapter also exports as a named range marker to the NLE. Each chapter group's menu has 'Rebuild with AI' to re-pick just that chapter without touching the others.
• After AI Select finishes, the completion note shows WHO it selected for (the inferred audience). If that reads wrong, steer it with the Prompt field (e.g. 'audience: new parents') and run again.
• AI credits: each run shows its price on its button before you click, and that is what it charges. ProAI, Social and trial accounts include a monthly allowance, and a purchased pool never expires. BOUGHT CREDITS ARE NEVER LOST ON A DOWNGRADE: if you move from ProAI or Social to Starter or Free, the credits you bought stay on your account, they just cannot be used until you are on ProAI or Social again. The monthly allowance is separate and ends with the plan.
• Stability: if the AI is busy a run may pause and retry silently; the customer should never see a technical error, only a calm 'the AI is unusually busy, give it a moment and try again' nudge. If it keeps failing, the customer can contact support from Settings > Support.

The Social suite: turn a long recording into vertical social clips

• Where: the Social icon in the main sidebar. Free and Starter accounts do not see it (see the plan note above). Inside, the left menu has Home, Calendar, Performance, Media Gallery, Posting and Links. Home shows the same folders as the main dashboard (folders that hold Social projects, folders that carry a kit, and folders made in Social), in the same folder shape. 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.
• Social Notifications: in the Social left menu, Notifications sits right under Home, with a bell and an indigo count of what is unread. It opens a drawer that looks exactly like the main Activity drawer but holds ONLY Social news, one line each: 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, a cover or one platform’s post (a rejected clip cannot be posted until the rejection is cleared), approved everything waiting, answered everything, suggested or edited a description, downloaded a clip (from a Kit Page, an Approval Page or a download link), opened their Kit Page, Approval Page or download link (at most once a day per link), sent files or their brand brief, connected or removed a social account; a video was posted (and to which network), a post failed or only partly posted, a posting account needs reconnecting soon, a Kit Page reminder went out; and the Social projects’ own news: a transcription finished or failed, a video could not be processed, a clip could not be made, someone tagged you. Clicking a line opens the project it is about inside Social (or Posting, Kits or Links when it is about an account, a Kit Page or a link). Mark all as read, the X to clear one line (swipe left on a phone) and the gear to the notification settings work as in Activity. These Social lines appear only in Social, not in the main Activity drawer, and the unread count shows only on Social’s own Notifications row (the Social icon in the main sidebar carries no count). Emails are unchanged: the client-answer email still bundles several answers into one message (at most one every 15 minutes, plus one when the client has answered everything), while the drawer shows every single action. A post that goes live is a drawer line only, never an email.
• THREE ways in, and the third is for an editor who has already finished a cut. New Project > Social Clips (upload a long recording; AI cuts several vertical clips from it), Upload Video from inside Social itself (the upload lands in the Social folder you are standing in, so it picks up that folder's kit; where several recordings are switched on it takes several finished videos at once: they sit in a list under the drop zone, which then reads Upload more Videos, and nothing uploads until Continue; every video is transcribed automatically and no transcript can be uploaded there), or **Create Social Clips** on the Review page of any project that has a video. A project does NOT reach Social on its own: nothing appears there until somebody presses that button, and before it is pressed the project is an ordinary ScriptCut project and nothing about Social touches it.
• What Create Social Clips does: it makes a SEPARATE COPY (a set) of the cut in Social and never changes the project it came from. The set holds ONLY the lines the editor picked as Must Have or Maybe, nothing else, and none of them arrive picked. It is made from the version that is open (from the dashboard project menu it asks which version, latest preselected), it points at the same recording so nothing is re-uploaded and no transcription minutes are charged. A project has ONE set: pressing Create Social Clips (or Open in Social) again opens the same set and adds any lines picked in the project since; it never makes a second set and never touches clips already made.
• Then two doors: Use AI (the same AI Clips window New Project > Social Clips uses) or Choose manually. Clips are made ONE CLIP AT A TIME. Choose manually opens Select with nothing picked: every line of the set is shown (also the ones other clips already use, a line can be in several clips), a click puts a line in the clip or takes it out (green only, no Maybe in a clip), picking only some words of a line works and is kept per clip, and the timer shows the clip's length and turns red past 2:00. On Arrange the picked lines sit in the clip's group in spoken order to drag into order, and the clip can be named in the group header (Name This Clip). New Clip on Arrange adds a second group: drag lines into it to make two clips at once. Save Clip checks that every clip is under 2:00 (a red window stops it otherwise), asks for a name for any clip without one, and turns each group into its own clip. Lines added to an already saved clip wait below it (Not in a Clip Yet) until dragged in; with one clip open, Save Clip adds them to its end.
• Leaving halfway loses nothing: the clip shows on the project's clip page as Unfinished, titled (No Title) until it has a name, with one orange Finish Edit button (it opens where you left off) and no Prepare. Unfinished clips are left out of sharing, the Kit Page, the Calendar and posting until they are finished.
• The set's clip page has no Upload Video and no Edit Transcript: New Clip (the indigo button, or the grey tile with the + after the last clip) opens the same AI or manual window. Each clip card has an orange Edit (opens that one clip on Select, never all clips at once, whether the AI or a person made it) and an indigo Prepare (Open once the clip has been prepared). An AI run adds clips and never changes the ones already made: its results show only the clips it just made, it reads every clip already in the project and will not make one whose story is too close to one of them, and it may reuse a line inside a clearly different story. New Project > Social Clips and Upload Video 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 already made from it, and each set says which version it came from on its card. The set lands in the same folder as the project it came from, and the Create Social Clips window says which kit applies (Clips start from the X kit.) or offers Set Up Kit for that folder. A social project is indigo everywhere (Select, Arrange and its own Clips step) so it can never be mistaken for the original, which stays orange. From Social you cannot open the original project - they are separate.
• Free and Starter accounts cannot open the Social suite, so the Review page shows Create Social Clips with a padlock and an upgrade prompt rather than hiding it.
• In Social Clips you are never asked whether to transcribe. Drop the video in and it runs by itself: the upload screen shows Uploading video, then Processing video, then Transcribing, and moves on when the transcript is ready. There is no 'I have a transcript' upload on this path.
• Client answered an approval link (Settings > Notifications, accounts with Social): a switch for the email sent when a client approves clips or asks for changes on a Social Approval Page or Kit Page. On unless turned off; Social’s Notifications drawer still shows every answer; the Never frequency turns it off too.
• Social Clips emails: a Social project does NOT send 'Your transcript is ready'. It sends 'Your video is ready for Social Clips' when the upload is processed, and 'Your Social Clips are ready' when AI Clips has finished building the clips. Both follow the 'Transcription ready' switch and the email frequency in Settings > Notifications. While AI Clips runs, its button shows a spinner.
• If the account runs out of transcription minutes, it stops right before transcribing and says so. The video is already uploaded and stays that way: buy minutes in Settings > Transcription (the screen links straight there) and transcription starts on its own, with nothing to re-upload. Closing the project and opening it again later comes back to the same screen. There is also a 'Continue without a transcript' link for anyone who just wants to trim, reframe and post (AI Clips, captions and burned-in subtitles stay off until a transcript exists; the project menu's Transcribe action adds one later).
• AI Clips builds several short, social-ready vertical clips from the source and scores each 0-100 (green 80+, amber 60+, red below), ordered strongest first. The score is the star badge in a card's top-left corner; hovering it explains what it means and, when the AI gave one, its reason for that clip.
• On the results grid every card PLAYS: click it to watch the clip before deciding. Keep locks a clip so running AI Clips again cannot change or replace it (the lock is saved with the project, so it survives a refresh); the bin discards one.
• Each clip opens into a 5-step workspace: Video, Subtitles, Cover, Caption, Post & Download.
• Video step (auto reframe): ScriptCut converts the wide recording to vertical (9:16; 1:1, 4:5, and 16:9 also offered) automatically, detects the camera cuts, and inside each shot frames and follows the speaker. Per shot you can adjust Camera movement (Calm/Normal/Active). When two people are talking and do not fit in one frame, Auto split screen (on by default, in the Framing section, shown when a clip has two or more people) gives each 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 Auto split screen off and the frame stays on whoever is talking, cutting cleanly between speakers rather than panning back and forth. Framing a shot by hand (dragging it, keyframes, or picking who to follow) always wins: that shot is never auto split. Scale any shot from 0% to 160%: above 100% punches in, below 100% shrinks the whole picture inside the frame instead of cropping it (so a wide 16:9 recording can sit whole inside a vertical reel), and 0% hides it. Or force a 2-way, 3-way, or 4-way Split screen on ANY clip (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. 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 filling the background, the usual look for a horizontal video in a vertical post without a split screen. After applying it you can still move the Scale slider; picking a split layout takes the effect off. Creative offers a diagonal split (2-way) and slanted bands (3-way); each panel is still dragged, zoomed and re-timed exactly like a rectangular one, and the finished video is cut to the same shapes the preview shows. Add or remove cuts on the timeline, drag a cut or stitch point a frame at a time, set keyframes, and undo/redo every change. What you see in the preview is exactly what renders. Right-click a shot for 'Auto reframe clip' to redo the automatic framing on just that shot (every other shot keeps its framing), or 'Reset selected clip' to put just its framing back to fully automatic, without touching its cuts, trim, or captions. SEVERAL SHAPES FROM ONE CLIP: the first time a clip is opened, the editor asks which shapes you need, several allowed, and the first one ticked is the main shape (for example 1:1 and 16:9 next to a 9:16 main). Shape tabs above the player stay on screen on every step: a tab picks which shape you are editing, + adds a shape, x removes one (it keeps its changes), and the Video step's Main shape section changes which shape the others start from, and every shape can be framed, split, zoomed and keyframed on its own. Decisions flow DOWN, like breakpoints in a website builder: a change made in a shape also applies to the shapes after it (9:16, then 4:5, then 1:1, then 16:9 outward from the main shape) unless they set their own, and never back up. A dot on a tab means that shape has its own changes, and in a shape that follows another, the More menu has Use (that shape's) framing for this shot. Burned-in captions can be switched on or off per shape (Subtitles step, Show in). Cuts, trims, Timing, B-roll, music and the caption words are shared by every shape. Downloads include every switched-on shape, one file each, and on the Post & Download step each network gets the shape picked for it. 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.
• Text on screen: when a shot has a title card or a motion graphic whose words the vertical frame would cut off, auto reframe shows the whole picture with the Fit + blur effect (the full picture over a blurred, darkened copy of itself). If the words fit once the frame slides over, it slides there and holds still instead, with no blur. It counts crisp, level words drawn over the video: a title card, a full-screen graphic, a big title over the footage, and a lower third or a name tag that comes on and goes off screen by itself. A lower third over a long shot gets Fit + blur only while it is up, then the normal crop comes back. Subtitles, signs and buildings in the background, a poster behind someone, a word on a shirt, a mic flag and corner credit labels (like a film's title and year) are left alone. Each shape (9:16, 1:1, 4:5) is judged in its own frame, and 16:9 never needs it. To undo it on a shot, turn Fit + blur off in the Layout menu (Effects): it stays off. Anything set by hand on a shot (a drag, a zoom, a layout, keyframes) 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, in the background (part of Preparing your video); the clip is shown once that check is done.
• Auto reframe follows the person in focus: 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, and it judges focus by how crisp the edges are, so a face in profile or a darker skin tone reads exactly as sharp as it is. When nobody in a scene is in focus (a phone screen in front of a blurred person, a product shot), the frame holds ONE still place on the sharp part of the picture for that scene; it does this only when one part is clearly the sharpest, a person in focus always wins, it changes framing only where the picture itself changes, and a drag on the shot always wins. The B-roll Auto reframe follows the same focus rules. A clip prepared before 2026-10-17 is prepared once more the next time it is opened (a short Preparing bar).
• Timing (a Position / Timing switch beside each shot's controls): Position is the ordinary framing above. Timing instead lets you drag the picture left or right to show an earlier or later moment from ANYWHERE in the original video, so a split-screen panel can pair the interview with footage from elsewhere in the same recording. A small badge always marks a shifted panel. The audio never moves, only the picture.
• B-roll (Video step, a gallery below the framing settings): upload your own footage and cut it into a clip. Press Upload to add a file from your computer or your cloud storage, or Add from Gallery to use one you already have, then DRAG A CLIP FROM THE SHELF ONTO THE TIMELINE: it lands as a COVER of your default length (3 seconds until you change it in the Default length field at the top of the B-roll section; ScriptCut remembers your number on your account, and footage shorter than it uses its own length), meaning the picture comes from that footage while the interview keeps talking. 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 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 the B-roll fills that panel while the speaker stays on screen in the other one. On a phone there is no drag, 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. The library is processed exactly like a main video, it counts against your storage, and removing one deletes the file from our servers straight away. It belongs to the KIT the project sits under (the nearest kit on a folder above it), so an agency uploads a shot once and every clip under that kit can use it; a project with no kit above it keeps its own. The kit (Kit > Look and Shapes, the B-roll section) has the same shelf for adding shots ahead of time, and they then appear in every project under that kit. A B-roll shot can never run past the end of its own file: dragging its end stops at the file's last frame, dragging its start back stops at the file's first frame, and a Timing nudge on a B-roll in a split screen panel stops at what is left of the file. Right-click a B-roll shot to Split it at the playhead, zoom and pan it with keyframes, or Auto reframe it.
• Music (the last section of the Video step, in the Inspector: the panel of numbered steps on the right of the Social clip editor): a music bed under a clip. Add tracks with the same Upload and Add from Gallery buttons B-roll uses, then press Use on one, or drag it onto the timeline. It starts at the top of the clip, runs its whole length, repeats if it 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; the voice is never turned down to make room. 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 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. THE BED CAN ALSO START ON A DIFFERENT PART OF THE TRACK: 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 simply 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. Music is picture-safe: adding it never re-encodes the video. It plays under the clip only, not under an opening or closing video.
• 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 that says 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.
• YOU DO NOT WAIT FOR PROCESSING TO START USING A FILE YOU JUST UPLOADED. 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, and it swaps to the compressed one by itself the moment that is ready. A file imported FROM CLOUD, or uploaded from a different computer, says Processing until it is finished, because this browser does not have it. DOWNLOADING A FINISHED CLIP still waits: if you ask for the file while one of its ingredients is still processing, ScriptCut says which one rather than handing you a video with the B-roll missing.
• Frame trims at an edit point (Video step): 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, or leave a few frames of the wrong shot when the uploaded video was already edited. 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 the exact frame you are choosing. The seam between the two brackets still rolls the edit point without changing the clip length. If the picture in the source changes a few frames away from a cut, a small amber marker offers to snap it there in one click.
• Subtitles step: burn styled captions into the video. Needs a word-level transcript (transcribe the project first if it has none).
• Fix a word (Subtitles step): click any caption word of a clip and retype it, or empty it to leave it out. The fix belongs to that clip only: the transcript and every other clip stay as they are. The preview, the finished video and the clip's .srt all use it; Undo all takes every fix on the clip back.
• Touch timeline (Social editor on a phone or tablet): the orange line 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.
• Cover step: four modes, Pick a frame, Frame + AI (restyle a picked frame), Generate (AI builds one from a prompt, with a Real Host toggle to keep the actual person's face), and Upload. A typed prompt always outranks the automatic context; a color filter is remembered per generated image.
• Subtitles step styles: live-preview presets (None, Clean, Karaoke, Boxed, Bounce, Word by word, Blend, Bold pop, Neon, TikTok, Beasty, Gradient, Typewriter) with Font color and Highlight color swatches; the burned-in captions can be dragged into position on the preview.
• The Blend style (Subtitles step): 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.
• Caption step (shown as 'Description' in the clip workspace): AI writes a platform-native description (Instagram, TikTok, YouTube, LinkedIn, Facebook) with an Include-hashtags option, per platform, about 1 AI credit each. You can also just type your own. 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.
• Post & Download step: connect social accounts, then Post now or Schedule for later on a calendar. Posting is open for LinkedIn today; Instagram, Facebook, YouTube and TikTok show 'Coming soon' until each platform finishes its own approval (they switch on one at a time); everything else in the suite (clips, reframe, subtitles, captions, covers, downloads) works either way, and you can always Download the finished clip, its cover, or a full package (video + cover + description + the clip's subtitle file as .srt, zipped) instead of posting.
• Calendar (in the Social sidebar): every scheduled and posted clip by month, week, or day, filtered by platform, status, account, or project. Drag a post to another day to reschedule; click one to change its time.
• Posting (in the Social left menu): connect every profile you post to, several per platform if needed. A folder's kit can be tied to specific accounts (Kit > Accounts) so projects under it always post to the right place.
• Kits: 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: for example a folder Google with no kit of its own can hold two subfolders, Pixel and Nest, each with its own kit. HOW TO MAKE ONE: in Social, New Folder (at the top level or inside any folder) has Create and Create With Kit; or open a folder and press Set Up Kit in the toolbar; a folder card's menu in Social 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 the accounts now, or let your client connect them through the Kit Page link) and Look (press Set Up Look). THE KIT BUTTON: inside a folder the toolbar shows Set Up Kit when no kit applies, or a Kit button when one does (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 a folder above, Own Kit For This Folder, which gives this folder a kit of its own. A folder card's menu in Social has Kit: Look and Shapes and Kit Page when the folder has a kit. SHARING ONE PROJECT: inside a project in Social the Share button has Approval Page (the approval link for that project: watch, approve, ask for changes, comments, and downloads when allowed) and Download Link. The red Edit Transcript button opens the project in the transcript editor. On a phone, inside a project the bottom bar's Links tab becomes Share, and the bottom bar's tab that leaves Social is called Dashboard. THE KITS PAGE (Social > Kits in the left menu; on a phone, Kits in the account menu): every kit on the account in one list, at any depth, each row with its logo, the folder it sits 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. OLD NAMES, so nobody looks for them: the old Clients page is now the Kits page and New Client is now New Kit, the old Client kit is now simply the kit (Look and Shapes), the old Client link is now the Kit Page, and the old Client approval link is the Approval Page under Share. The word client now only means the person who signs off. A folder that was a client before still carries its kit, and every link already sent keeps working. Not everyone needs a kit: with no kit, projects and folders work exactly as before.
• Hide From Client (Social, inside a project): a clip you are not ready to show can be hidden from your client. Open the clip's menu (the three dots on its card) and choose Hide From Client, or tick several clips in Select and press Hide From Client. A hidden clip shows a grey Hidden from client mark on its card, and it disappears from the Kit Page and from the Approval Page: your client cannot see it, answer it or download it. Show To Client brings it back. Nothing about the clip itself changes.
• After your client approves a version (Review), ScriptCut offers the next step once: a green notice says the version was approved and asks Make social clips from this version?, with a Make Social Clips action that opens the Create Social Clips window for that version. Close it and it does not come back for that version; it is only shown when Social is part of your plan and no social copy of that version exists yet.
• The kit's look: 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 (drop in a PNG, and keep as many of their logos as you like as a gallery of thumbnails; one of them is in use at a time and that is the one burned in. Open one and drag it to exactly where you want it on a live preview of each 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. Two 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, which turns it off for that one clip only and 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 also 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.), their brand colours (which then REPLACE your own in every colour picker for their clips, so nothing off-brand is offered; a custom colour is still one click away, it lasts for that clip only, and right-clicking any swatch adds it to the kit's colours for good), and THE SHAPE THEY WANT ON EACH NETWORK. 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 without you remembering it per clip. When that shape is switched on for a clip, the Post & Download step gives that network that shape automatically (and offers to switch it on when it is not). The kit can also switch on extra shapes for every new clip under that kit (Also make) and choose which shapes start with captions (Captions in); both only fill in a new clip and can be changed on it. Each brand colour can also be given a name, for example Headline or Subtitle, and that name shows on the swatch wherever their colours are offered, so five squares of blue are tellable apart. Every project in that folder starts from the kit, and anything can still be changed on any individual clip. A kit sits on a folder, and the nearest kit above a project wins; there is no account-wide one, and a project with no kit above it behaves exactly like any other project. Built for agencies: with six clients you set the rules once each instead of rebuilding them on every job. AND THE KIT IS A PRESET RATHER THAN 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 that came from (this project, the kit, or your own account logo), the logo is DRAWN ON THE CLIP PREVIEW and you move it by grabbing it on the video itself, 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, and Change sets one for this project only. The way back NAMES what it goes back to rather than calling it the usual one, because a project may have nothing behind it: Use the kit's logo, Use your account logo, or, when neither is set, Use no logo. A PROJECT WITH NO KIT ABOVE IT GETS BOTH IN THE SAME WAY: its own logo bug, and its own opening and closing videos kept with that project instead of with a kit, so a solo editor who has never set up a kit is not locked out of either.
• Opening and closing videos (kept on a folder's kit, chosen in the clip editor's Opening and closing row under Video, right before B-roll): a client's own animation, sting or end card, uploaded once to the kit and put on the front or the back of any clip under that kit. They appear as thumbnails you can play back, rename and delete. Click one to add it, click it again to take it off; the clip's timeline then shows the finished order with each part at its real length. It is rendered into the downloaded video, 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. They use the account's own storage like any other upload. THE STEP IS THERE FOR EVERY PROJECT: when the project sits under a kit the library is the kit's and is reused across all its work, and 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. The same video may open AND close one clip, which is what a brand's logo sting is usually for. A kit's opening and closing videos are offered on every project under that kit, including a project in a subfolder with no kit of its own, and never on projects under another kit.
• How they write, and how their covers look (Kit > Look and Shapes, the How they write and How their covers look sections): the two things an agency sets once per client so the AI stops starting from zero. For CAPTIONS, 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. For COVERS, upload a few covers or thumbnails the client has already published and it writes down their visual rules the same way: their colours, how much text and where it sits, whether a person appears, the register. Both rule sets are shown as editable text, so you can change or delete any line, and every caption and every cover made for that client follows them afterwards. Learning again UPDATES the rules rather than replacing them, so adding one more good example refines what is already agreed. There is also a one-time client BRIEF (who they are, who they sell to, what they must never claim) that sits in front of the AI for everything it makes for them. None of it is a model we train: it is words you can read. The example images are read once and not kept. A client with none of this set behaves exactly as before. Learning costs the same as generating one caption.
• Kit Page: ONE link a client keeps, for everything under that kit rather than one project. EVERY CLIP ON IT IS THE SAME CLIP CARD AS THE APPROVAL LINK: your own logo at the top when your account has one, otherwise the ScriptCut logo with SOCIAL under it, and on each clip a tab per platform it is prepared for, a Clip and Cover switch, Approve or Reject, and timecoded comments with replies (pause, type, and the comment carries that moment; click it to jump back). Comments are how a client asks for a change; there is no separate change button. THEIR ANSWERS AND COMMENTS ARE SAVED ON THAT PROJECT'S OWN APPROVAL RECORD, the same one the Approval Page uses, so you read and reply to them in the project's Client approval window, the client sees the same answer on both links, and a clip they REJECT cannot be posted until you press Clear rejection there. A project with no approval link yet gets one the first time the client answers or comments on it. A clip you Hide From Client is not on it. NOTHING ON IT IS A SNAPSHOT: the projects, the titles, the covers and the captions are resolved live every time it opens, so a project you start next month appears on the same link on its own and a caption you rewrite is the caption they judge. If you change a clip AFTER they approved it, their approval is marked out of date. The client needs no account; they type their name once, and you can put a password on the link, change it or remove it at any time. WATCHING NEVER RENDERS: each clip plays from its saved recipe exactly as your Social editor previews it, so a link listing everything you have ever made for them costs nothing to open or watch. ONLY A DOWNLOAD RENDERS, and only what is missing or changed since the last render. They can download one clip, a whole project, or everything with 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, in the project's own folder when there is more than one project. A download of more than ten clips asks first, because any clip not made yet is made then. Download buttons only show when your house rules allow downloads. There is ONE live Kit Page per kit, so pressing the button again hands back the same one, and switching it off keeps everything they have already answered. It covers every project under that kit, including projects in subfolders with no kit of their own, and never another kit's work. THEY CAN ALSO SEND YOU FILES THROUGH IT, which is the half that replaces an email: the Your brand files box takes their own logo (PNG, JPG or WEBP) and their own fonts (woff2, woff, ttf or otf), with a progress bar for each upload. NOTHING THEY SEND IS USED UNTIL YOU ACCEPT IT: it waits 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, because the kit steers every caption, cover and render for them and a file that wrote itself in would change live work nobody approved. They can take a file back off the link themselves. An SVG is deliberately refused, there is a size limit per file and a limit on how many the link holds, and nothing is scanned for viruses. AND YOU CAN 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, up to five), then press Send to client in the Kit Page window, with an optional personal line. THE EMAIL WEARS THE CLIENT'S OWN LOGO when they have sent you one, falling back to your branding and only then to ours, so it reads as made for them. Everyone gets their own copy rather than sharing a To: line. AND ONE PLACE TO LOOK: the link's own window lists 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 they opened. Answers given on an approval link you have since switched OFF are not listed, because switching it off removes the pointer that finds them.
• The round trip with your client: WAITING FOR YOU: the Kit Page opens on what still needs the client's answer, with a switch to All. APPROVE ALL: each project on the Kit Page has an Approve all button that approves everything still waiting in that project in one go, after asking once; anything the client rejected stays rejected. WHEN IT POSTS AND HOW IT DID: under each clip the client sees its posting schedule and results: when it is scheduled to post and where, that it waits for their approval when the kit says so, and once it is posted the views, likes, comments and shares the networks reported (no extra cost: these are the numbers the Performance panel already reads). WHAT CHANGED: when you change a clip after the client answered or commented, their page says what changed (the video, the cover, the title or a description), shows the old and new words of a description, and offers Compare Before and Now to play the clip as it was against how it is. Got it, or answering again, clears it. Nothing renders for any of this. KIT PAGE LAYOUT: each project is its own row with the clips indented under it; the arrow on the project row folds or opens all its clips, and each clip has its own arrow beside its name (a clip with no name of its own is called Clip 1, Clip 2 and so on, with its cover picture beside it). The video sits in a frame with the description under it; there is no Clip / Cover switch: the cover is the picture shown before the clip plays, one Approve or Reject answers the clip and its cover together, and comments about the cover sit in the same list marked Cover; the platform switch is in the clip's top row with Reject, Request Changes, Approve and a small Download icon. Comments stay hidden until wanted, except on the Cover view and when the clip already has comments. KIT PAGE PARTS ARE SWITCHED ON PER CLIENT: a new Kit Page shows Review only (no menu). In the Kit Page window, open Sharing and switch on Calendar, Your Files, Accounts or Brand Brief for that client; the menu appears once there is more than Review. The Kit Page window is three folded sections: Sharing (what they see, password, link on or off), Deadlines (answer-by date, reminders) and Activity (answers, answer speed, their brief and files; it opens by itself when something waits). On each clip, Download is a small icon beside the three answer buttons. KIT PAGE MENU: the Kit Page has a menu (a sidebar on a computer, a row across the top on a phone) with Review (the clips, with a count of what waits), Calendar, Your Files, Accounts (when the client can connect accounts) and Brand Brief; one part shows at a time. Under Your Files the client sees everything they sent, grouped by what it is (Logos, Other pictures, Fonts, Opening videos, Closing videos, Footage): files still waiting for you (they can relabel or remove them) and files you already handled, marked Added or Not used. Download all shows on Review only. KIT PAGE CALENDAR: in the menu, the Kit Page has a Calendar of every post for that kit's clips only: a month grid on a computer (a day-by-day list on a phone), each post a coloured chip (green Posted, amber Waits for your approval, slate Booked) with its time, network and clip name; arrows change month, Today jumps back, and clicking a post opens that clip. CLIENT EDITS A DESCRIPTION: next to each description the client presses Edit, changes the words right there and saves. It CHANGES THE CAPTION RIGHT AWAY (owner's choice): the clip editor takes the new words, an approval of the old words goes out of date, and you are told who edited which description. Older suggestions sent before this change still show in the project's Approval Page window with Use it and Dismiss. COMMENTS AS A TO-DO LIST: every client comment has Mark done in the Approval Page window, and the clip editor's Inspector lists the open clip's client comments as a to-do list at the top (Client comments), where a time jumps the preview to that exact frame and a tick marks it done. The client sees a green Done beside every comment you ticked. THEIR BRAND BRIEF: the Kit Page has a Your brand brief form (how they sound, words to always use, words never to use, anything else). It waits in the Kit Page window until you press Use it, which adds the words to the kit's Words (never replacing what is there) and the brief to the background every caption for them is written from. FOOTAGE FROM THE CLIENT: the client can send footage (MP4 or MOV, up to 2GB each, 3 at a time) in the same box as their logo and fonts; you download it from the Kit Page window into a project. WHAT EACH FILE IS: every file the client sends is labelled from its type (a picture is Logo, a video is Footage) and they can change it under the file (Logo or Other picture; Footage, Opener or Closer). In the Kit Page window you see the label and can re-assign it with one tap, for example when they sent their closer as the opener. Nothing is used until you add it: Use as logo bug, Add to my fonts, Add as opener or Add as closer (the video goes into the client's Opening and closing library, named Opener or Closer, ready once processing finishes; each clip still picks Before or After itself), or Download for footage and other pictures. POST WHEN APPROVED: a switch in the kit (Kit > Look and Shapes > Posting). With it on, a post for one of the kit's clips waits for the client's approval and goes out at its time, or the moment they approve if the time has passed; the Share step and the clip card say Waiting for approval. A rejection still stops it completely. ANSWER-BY DATE AND REMINDERS: in the Kit Page window set an Answer by date (the client sees Please answer by on their page) and switch Reminders on: ScriptCut then emails the people on the kit when work has waited 2 days without an answer (at most every 3 days, never twice a day) and the day before the answer-by date, and tells you when the client opened the page 2 days ago and has not answered. ANSWER SPEED: the Kit Page window shows how fast this client usually answers, from a clip appearing on their page to their first answer or comment (the middle value, so one forgotten clip does not skew it).
• Clip defaults (Social > Posting in the left menu; on a phone, Posting in the account menu): your defaults for new clips, set on the same page as your connected accounts. Each connected network's card has a Post in row for its shape, and when a network has two accounts or more, Make default on the account it should post to, shared by everyone on the account. Pick the shape each connected network posts in (9:16, 1:1, 4:5 or 16:9), for example TikTok 9:16 and LinkedIn 1:1: new clips are made in exactly those shapes, the first one picked is the main shape, and a network you leave unpicked gets it. Click a picked shape again to unpick it. Only before any account is connected does the page show a Shapes for new clips row instead, since then it is the only control. Picking a default account never sets a shape. Press Default again to go back to asking each time. Each account shows its profile picture, and on Instagram, YouTube and Facebook its name opens that profile in a new tab. Once a default is set, a new clip opens already set up and never asks which shapes you need; a shape the video cannot make (a vertical video cannot make 16:9) is skipped with a short notice. Changing it only affects new clips, never clips you already opened. A kit has the same block (Shapes and networks, in Look and Shapes) and replaces your Clip defaults for the clips under it; with nothing set there it says Using your Clip defaults and offers Set for this kit. Anything you change on a clip itself always wins for that clip.
• Where a clip posts (the clip editor's Post & Download step): only networks you have connected are listed (under a kit, only that kit's own accounts). Click a network to post there, pick its shape underneath (only the shapes switched on in the bar above the video are offered; add or remove a shape there, never here), and see the exact account by picture and name. A video posts to ONE account per network: with two accounts on a network, click the account's name to open a list and switch it (a long name is cut with ... instead of wrapping). The folded Post & Download step names where it will post. Under a kit a clip can ONLY ever post to accounts assigned to that kit; ScriptCut refuses anything else, also for a scheduled post whose project was moved under another kit. Set Up Kit is two steps: Accounts (connect them now if you have the login, or copy or email the client the Kit Page link so they connect them themselves), then Look (Set Up Look). Each step can be skipped, and the Kit menu's Accounts and Look and Shapes reach either one later. Clients can connect their own social accounts on the Kit Page (the same link they approve clips and send logos on): they see the accounts they connected, can remove one, and you get a notice each time. An account they connect there is live for posting at once. Settings > Client view has a switch, Connect their social accounts, to turn this off.
• One cover for each shape (the clip editor's Cover step): when a clip is made in several shapes, every shape has its own cover, and each network posts with the cover of the shape it posts in. The Cover step works on the shape whose tab is open. Under the cover, Other shapes shows which shapes already have one (click to go to that shape) and offers two buttons: Same cover on all shapes crops the same picture to every other shape with the same title, font, colours and filter, for free, and fits the title so it is never cut off; Redraw for each shape has AI extend the same picture to fill each shape so nothing important is cut off, at the AI credits shown on the button. Each shape can still be changed on its own tab, and the download package carries every shape's cover.
• Approval Page: one link that shows the client every finished clip in the project with its cover and its caption, and lets them Approve it or Ask for a change. ONLY VIDEO READY CLIPS: only clips with the green Video ready badge go on the page. A clip still preparing, or never opened, is left off, and making or updating the link never prepares a clip. To add one, open it and let it finish preparing, then update the link. If no clip is ready the link is not made. WHAT THE CLIENT SEES: your own logo at the top when your account has one, otherwise the ScriptCut logo with SOCIAL under it, and no 'made with' credit line. A progress bar says how much they have answered. Each clip sits beside its comments: the video on the left with its captions underneath, the comments on the right. WATCHING NEVER RENDERS: the client watches each clip exactly as your Social editor previews it, straight from your edit (cuts, framing, split screens, B-roll, captions, text, logo bug and music; the opening and closing videos are not in the preview, just as in the editor), so opening and playing the link costs nothing. When a clip has no cover yet, its own first frame is the picture. THE COVER IS ANSWERED ON ITS OWN: a Clip and Cover switch above the picture, each with its own Approve button and its own comments, and a clip with several shapes shows each shape's cover. If you change a cover after they answered, that answer is marked out of date too. ONE BUTTON: the client's only answer is Approve, which then greys out and says Approved; there is no Request changes and no Change answer, because their comments ARE the change request, and you are notified when they comment. An approval stays until you change that clip or cover. PER PLATFORM: when a clip is prepared for platforms (a description written for a network, or a shape picked for it, whether or not you post from ScriptCut), the client sees one icon per platform and each shows exactly that post: the video in its shape, its cover and its description, with one Approve per platform. Video comments are shared by every platform; cover and description comments belong to one. With downloads on, the package has a folder per platform (video, cover, description) ready to post by hand. REJECT: next to Approve the client has Reject (it asks twice). REQUEST CHANGES: an amber button between Reject and Approve; it is not an answer, it opens the comments with the box ready for what should change. The comments panel stays hidden on a clip until it is wanted (Request Changes, Comment on a description, a reply) and is always shown when there are comments or a note on that clip. The platform switch sits in the clip's top row beside the buttons, centred over the video. A rejected clip shows a red Client rejected badge and CANNOT BE POSTED, from the Post & Download step or by a scheduled post, until you press Clear rejection in the approval link's window. TIMECODED COMMENTS, like Frame.io: the client pauses, types, and the comment carries that exact frame; clicking it jumps the clip back there, and every comment shows as a mark on the play bar. They can reply to a comment as a thread, and delete their own comments (a comment with replies takes its replies with it). You read every comment in the approval link's window, reply to it there as your team, and can delete any of them. DOWNLOADS ARE A SWITCH IN THE SAME WINDOW (Allow downloads), OFF unless you turn it on. When it is on, each clip gets a Download button for its whole package (the video in every shape, the cover, a text file per platform description, 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, the page shows the measured percentage while it is made, and it is made again only after you change the clip. Making or updating the link also saves every clip's edit recipe so a clip you never opened can still be watched (no render, no cost). YOU ARE TOLD WHEN THEY ANSWER: a notification and an email arrive with the running tally (approved, changes asked for, still waiting), at most one every fifteen minutes so a client working through ten clips is one message rather than ten, and the moment they finish always arrives whatever else is quiet. A PASSWORD IS OPTIONAL and can be added, changed or removed on a live link at any time. CLIPS MADE AFTER THE LINK WAS SENT ARE NOT IN IT UNTIL YOU SAY SO: the window tells you how many your client cannot see and offers to add them, rather than changing what they are being asked about while they are part way through. A change request will not send without a comment, so nobody is left with a red badge and no idea what to fix. The client needs no account; they type their name once, and a password can be set on the link. Nothing is a snapshot: the title, the cover and the caption are read live every time the page opens, so a caption rewritten after the link was sent is the caption the client judges. AND THE REVERSE IS SAID OUT LOUD: if you change a clip's caption or title AFTER the client has 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. There is ONE live approval link per project, so pressing Create again hands back the same link rather than splitting the answers into two places, and switching it 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 (badge Approval Link), where it can be opened or turned off, and each clip card in the Social grid shows Client approved or Changes asked once the client answers.
• Your own fonts (the Fonts section of Kit > Look and Shapes, and the clip editor's font pickers): 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 WORK ON BURNED-IN CAPTIONS AS WELL AS ON COVER HEADLINES: the Subtitles step has a 'Caption font' picker offering Default plus your own fonts, and the one you choose is rendered into the video itself. Only fonts you have uploaded can be used there, because the renderer needs the font file; the built-in display faces are for covers, which are made in the browser. They belong to YOUR ACCOUNT ALONE and are never offered to anybody else's, because the licence is yours and not ours to share. 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. Uploaded fonts use your account's storage like any other file.
• Download links: create a client-facing download link for one project (inside the project in Social, Share > Download Link) or a whole folder, either Videos only or Full package (video plus any caption and cover already made for it, zipped). The download page shows readiness ('5 of 7 ready') and refreshes itself while anything is still rendering. Every download link is listed on the Links page in the Social left menu.
• A social project also shows on the MAIN Dashboard, not only inside Social: it carries a small solid indigo 'Social' chip on its thumbnail, and clicking it opens straight into the Social suite. The chip means the project LIVES in 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 dashboard grid (All / Hide Social) hides Social projects when set to Hide Social and REMEMBERS the last setting; whenever it is hiding anything the grid says so ('Social projects hidden. 12 projects hidden.') with a Show all beside it.
• Edit clip: a clip's card menu on the results grid has 'Edit clip', which opens the Select page focused on just that one clip (the rest of the transcript stays visible but dimmed for context) so its picks can be adjusted without leaving Social's flow.

The DaVinci Resolve and Premiere Pro panels

• WHICH PLANS: Starter and ProAI (and a trial, a beta account, or the account owner). FREE AND THE SOCIAL PLAN DO NOT INCLUDE THEM, and neither of those plans includes a timeline export either, which is the same fact: the panel's whole job is to put the Timeline (XML) into the editing app already linked to the footage, so there would be nothing for it to carry. A Free or Social account still SEES both rows in Settings > App Integrations, with a padlocked Upgrade button in place of Download, and the 'Send to your NLE' row is not offered in the Export menu. Pairing a panel is refused for those plans too, so nobody installs software and then finds out.
• Where the customer finds them: Settings > App Integrations has an 'NLE Plugins' section, below Frame.io/Dropbox/Google Drive, with a Download button for each of 'DaVinci Resolve' and 'Premiere Pro'. The exact on-screen copy: 'Send clips to ScriptCut from inside Resolve/Premiere, and bring your finished edit back already linked to your media.' Resolve needs 'DaVinci Resolve Studio, Mac and Windows'; Premiere needs 'Premiere Pro 2025 or newer' (Mac or Windows).
• Installing the DaVinci Resolve panel: the Download button gives the right installer for the computer it is clicked on (a .pkg on a Mac, a Setup .exe on Windows). Both ask once for the computer's admin permission, because Resolve only reads panels from a system folder. On Windows the installer asks you to quit DaVinci Resolve first. After installing, open Resolve and choose Workspace, Workflow Integrations, ScriptCut. To install on a different computer than the one you are browsing on, open Settings > App Integrations on that computer. The free version of DaVinci Resolve cannot load panels; the installer says so.
• The same two options also appear as a 'Send to your NLE' row in Review > Export (alongside PDF/Editor download/XML/Subtitles/Audio/Video), so a paired customer can send a project's timeline straight into Resolve or Premiere from there too.
• What it is for: normally, opening a Timeline (XML) export in the NLE leaves every clip offline until the editor manually relinks each one to the real file on their computer. A paired panel asks the NLE for each clip's real path and rewrites the export so the media relinks itself, so an exported timeline can open already connected to the right footage.
• It also lets a customer create a new ScriptCut project (and later import its finished timeline) without leaving Resolve or Premiere.
• It is a genuine second way into the SAME account: it can only do what the customer could already do signed in on the website (create a project, use their own plan and credits), nothing more.

Sharing and client review, with no account for the client

• Share from Review: copy the link, optionally add a password, and under Advanced settings set what THIS client may do (export, rename speakers, use AI). These sit on top of the account-wide defaults in Settings > Client view.
• HOUSE RULES FOR EVERY LINK (Settings > Client view): these apply to every project the account shares, and a single link still has its own password and its own on/off switch. Require an email: the client types an email address as well as their name before the link opens. Links expire: new links stop working after a number of days you set; 0 means never, and links you had ALREADY sent keep working, so turning it on can never close something that is already out there. Timecodes: show or hide the source timecode beside every line. Older versions: let the client open earlier rounds, or show only the one you sent them. First screen: whether a review-link client lands on Select or on Review.
• Presentation link (a toggle in the share link settings): the client sees ONLY the polished Review page, not Select or Arrange. Use it for a clean final presentation. Two account-wide rules in Settings > Client view apply only to this kind of link: whether the person can Approve at all (approving locks the version for everybody), and whether they can leave notes (turning it off still lets them read the notes already there). A review link is unaffected by both.
• 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); Get Started, the X, Escape or a click outside close it. 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.
• Multi-stage sign-off (a toggle in the share link's Advanced settings): turns one approval into a chain, Producer, then Client, then Legal/Comms. Each stage approves in order, and ScriptCut creates a separate named sign-off link to send to Legal/Comms. The project locks when the chain completes.
• Link activity: every link row shows how many times it was opened and when it was last viewed; View activity lists each visit.
• Tag people with @: type @ in a project note, a reply, or a comment on a Kit Page or approval link, and pick a name. Teammates on the account and clients who left an email address can be tagged. The tagged person gets an email with a button to the project. A client with no email on file cannot be tagged. Each teammate can switch these emails off in Settings > Notifications with 'Someone tagged me'.
• The client enters their name (and optionally company/email) so feedback is attributed, then lands in a clean, branded version of the project.
• They can read Select, Arrange, and the polished Review (minus anything not permitted), play the audio, and leave notes on individual lines. Their notes appear in the account owner's Activity feed and travel into exports.
• Approve: when happy, the client clicks Approve. Approval LOCKS the project so it cannot be changed by accident, and notifies the account owner in the Activity feed and by email. The account owner can unlock it to make changes.
• Clients get a slim sidebar: tutorials, a theme toggle, and a Support button that reaches the ScriptCut team.

What ScriptCut does not do

If a customer asks for something on this list, the honest answer is a short NO, plus the real alternative if there is one, plus the feature-request button. NEVER assemble steps for anything here.

• SEVERAL RECORDINGS PER PROJECT is NEW: on for beta testers now, and for everyone once it is switched on. Where it is ON, add more video or audio files on the Import tab (Video / Audio step, 'Add another video or audio file'); the next step lets you tick which files ScriptCut transcribes and give the others their own transcript, and each file's lines are added to the project under the file's own name. Where it is NOT on, a project holds ONE audio file and ONE video file, and choosing another REPLACES the first.
• Without Several recordings switched on, you cannot IMPORT a second transcript into a project, and importing a transcript again replaces the one that is there. With it switched on, each file can carry its own transcript, transcribed by ScriptCut or brought in (Add transcript on its row in the Import tab's Get Your Transcripts step).
• TWO INTERVIEWS / TWO RECORDINGS / TWO SHOOT DAYS IN ONE PROJECT: only where Several recordings is switched on (see above). There, the timeline XML, the Edited Video and the Edited Audio, High Res downloads cut across every file; Social clips can mix lines from every file too (in Chrome and Edge the editor's preview plays straight through a change of file, because it gets the next file ready a few seconds early; in other browsers, or for a line under about a second long, the preview can pause for a moment there; the downloaded file never does; a line from a file whose picture is a different shape is left out of that clip, and the clip says so). Only the quick Edited Audio MP3 still uses the FIRST file, and says so. Where it is not on, the workflow is one project per recording, then lay the exported timelines side by side in the editor; offer that and the feature request. Each file can bring a timeline XML for each file from Resolve or Premiere, and the exported XML joins them into one timeline, each file at its own frame rate. There is still no multicam (angles in sync). Two existing projects CAN be combined where Several recordings is on: Merge with other project (below).
• MERGE WITH OTHER PROJECT: combines two or more existing projects into one. 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 (search by name), choose whether the other project is kept or deleted after merging, and press Merge. The NEWEST version of each project is used. The merged lines land in a NEW version of the receiving project (named Merged with ...), so every earlier version, an approved one included, is untouched. Each merged project's files become files of this project, sharing the same stored video and audio: nothing is uploaded or transcribed again and no minutes or storage are used. Picks, word trims, notes and groups come along. A named speaker who appears in both is one person; default labels such as Speaker 1 stay separate, and the Who is in this file? window offers to match them. Deleting moves the other project to the Trash; its audio and video stay because the merged project uses them. Social projects, projects still processing, and projects with no transcript or no file cannot be merged.
• No combining or merging two existing projects, and no copying selections from one project into another. (Master transcripts share ONE transcript across projects in a folder; that is reuse of one recording, not a way to mix two.)
• The timeline export is always XML (no EDL, AAF, FCPXML, ALE or OTIO, in or out). The timeline step takes an XML file.
• NOT A LIMIT, AND THE OWNER SETTLED THE WORDING: ScriptCut WORKS WITH DaVinci Resolve, Adobe Premiere Pro, Avid Media Composer AND Final Cut Pro. The Timeline (XML) export opens in all four, so all four are a true claim and should be said plainly. What Avid and Final Cut do not have YET is a dedicated START-HERE workflow in the New Project picker (the guided roundtrip, with its tutorials), so those two are still marked 'Coming soon' there.
• Translation: the TRANSCRIPT can be translated (Cleanup > AI Tools > AI Translate, ProAI) so selects can be made in the reader's own language, and the Text/PDF/Word downloads follow the chosen language. Translated subtitles work too: the Subtitles export has a Language choice, and Social clips can burn in captions in a translated language. The Edited Video download (your cut as an MP4) can burn in subtitles as well, in the original or a translated language. A line corrected after it was translated can be re-translated on its own, and AI Translate never drops a spoken word. What is NOT possible: translated AUDIO (no dubbing or voice-over), and the timeline XML and word-timed JSON stay in the recording's language.
• Custom dictionary: one list of names, brands and terms. Transcription spells them correctly and Check Spelling never flags them. One dictionary for the whole account at the bottom of Settings > Transcription (type a word, press Add, press the x to remove it), plus a list per folder (every project inside it, including sub-folders, uses it) and per project, both set from the dashboard menu (Word list). All the lists that apply are combined, up to 200 words; it applies to new transcriptions, not ones already finished, and costs no extra minutes.
• No importing from a pasted web link (a YouTube, Vimeo or Zoom page, a shared Dropbox URL), and no YouTube import at all. Media comes from the customer's computer or from a CONNECTED Frame.io, Dropbox, Google Drive, Box, OneDrive, Zoom (cloud recordings) or Vimeo (your own videos, on a paid Vimeo plan) account.
• NOT A LIMIT: DOWNLOAD ALL MY DATA. Any account can download a copy of everything it holds: Settings > Account > Your data > Download all my data. ScriptCut packs everything into one zip of plain text files and spreadsheets (no code files): every project (each transcript as text and as a spreadsheet with timecodes, picks and notes), folders and clients, client answers and review visitors, billing history, notifications, support messages and the account activity log into one zip, emails a link when it is ready, and shows a percentage while it works. Videos and audio are not inside the zip (accounts can hold up to 100 GB); the zip lists one download link per file instead, and those links work for 7 days. One copy a day; the page says when the next copy can be made. Sign-in tokens for connected services and password hashes are never included. For anything else ScriptCut holds about them, a customer emails support@scriptcut.io.
• NOT A LIMIT: ACCOUNT ACTIVITY LOG. Settings > Account > Activity (a folded section under Download all my data; click it to open) lists what happened on the 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 and deleted, files deleted, share links created, turned off, turned back on or deleted, when a client opened a link, a client's approvals and change requests, plan and payment changes, and data downloads. Filters: All, Account, Projects, Links and clients, Billing. Only the Owner and Admins see it, and entries cannot be edited or deleted. It never records transcript words. Entries older than 12 months drop off, and it is deleted with the account.
• NOT A LIMIT: TEAMMATES. The Team plan gives each person their own login and a role on one shared account, priced as a starting price for 3 seats plus a price per extra seat (see TEAM PLAN above). Teammates can work in the same transcript at the same time and everyone's edits are kept. Seats are never bought ahead: when every seat is filled, a seat is added when they accept an invite, charged to the card already on file, and it comes off at the next renewal when someone leaves (never below 3 seats). Someone who already has their own ScriptCut account keeps it when they join a team: one login can belong to several accounts, and they switch between accounts from the account menu, keeping their personal settings. Clients still use share links and never need a login.
• No mobile or desktop APP. ScriptCut is a website; it works in a phone browser, but there is nothing to install and nothing in an app store.
• NLE panels DO exist now (Starter and ProAI, not Free and not the Social plan): a DaVinci Resolve Studio panel (Mac and Windows) and a Premiere Pro 2025+ panel (Mac and Windows), both downloaded from Settings > App Integrations. They exist so an exported timeline opens already relinked to the real media instead of offline. Everything else still moves by export and import, and there is no plugin for Final Cut Pro or Avid.
• ScriptCut edits WORDS. It does not do colour grading, sound design, titles, effects, or render a finished film. MUSIC IS NO LONGER A FLAT NO: you can put your own music track under a Social clip and set its level, though ScriptCut does not supply the music and does no wider mixing. The one place it renders video is the Social suite's vertical clips. B-ROLL IS NO LONGER A LIMIT AT ALL: you CAN upload your own B-roll footage into the Social suite and cut it into a clip, either covering the whole picture or filling one panel of a split screen while the speaker keeps talking beside it. The Timing control still re-times a shot to a different moment of the SAME recording, which is a second way to get the same effect with no extra footage. Never answer a b-roll question with a flat no.
• A video uploaded straight into the Social page is capped at 3 minutes (that path is for a finished reel; a long recording goes through New Project > Social Clips).

A plain-language glossary

• Must have (green): a moment marked as definitely in the final cut.
• Maybe (yellow): a moment marked as a backup/alternate, not a sure thing.
• Master transcript: one project's transcript that other projects in the same folder reuse, instead of re-importing or re-transcribing.
• Word-level (transcript): every single word has its own timecode, not just each sentence; this is what lets ScriptCut trim to the exact frame.
• Cut sheet: the plain-text rundown of the final selection with timecodes (the Free-plan export).
• Roundtrip: exporting a Timeline (XML) back into the same NLE project (DaVinci Resolve, Premiere Pro, Final Cut Pro, Avid) it came from, so the selection lines up frame-exact with the original footage.

What each plan includes

• Free: Transcribe has no project limit, so a Free account can transcribe as many projects as it likes (minutes are pay as you go). Every project has Cleanup and its tools. The full editor (Select, Arrange, Review) works on 3 projects. Also the plain-text cut sheet export and ONE FREE RUN of each AI module. Client review links and the client download portal are Starter and up. 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.
• Starter: everything in Free plus every export format (timeline XML, PDF, subtitles, audio), unlimited projects, and 2 hours of transcription every month (120 minutes, resets monthly, never rolls over). Extra transcription is pay as you go at the Starter rate.
• ProAI: everything in Starter plus the AI tools (AI Cleanup, AI Select, AI Story, AI Clips, AI Arrange, AI Translate), the Social suite, the DaVinci Resolve and Premiere Pro panels, custom branding, and a monthly allowance of AI credits and transcription minutes. The monthly allowances never roll over: they reset every month and unused ones are gone. Minutes and credits you buy never expire.
• ScriptCut Social: for marketers. The Social suite for turning long recordings into vertical clips, with AI Clips, 200 transcription minutes and 300 AI credits a month, and unlimited projects. On the Social plan, AI Clips, cover images, captions and descriptions use AI credits, and uploads use transcription minutes like every plan. No review links, no timeline export, no Premiere or Resolve panels.
• Every plan includes 100GB of media storage, and you can buy more storage as a package on top of it: +100GB, +200GB or +500GB, monthly or yearly. The bigger the package the cheaper it is per 100GB, and it renews with your plan on the same rhythm, so there is one invoice and one renewal date.
• During the 7-day ProAI free trial you can end your trial early and start paying right away, for example to buy transcription minutes at the ProAI rate straight away. Extra storage can be bought during the trial too, and bought storage is never lost when a plan changes: it carries on as its own monthly payment for as long as it is paid for.
• AI 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.
• If extra storage is ever cancelled and the account no longer fits, there are 14 days to free up space, with email warnings, and after that VIDEO FILES ONLY are removed, oldest-unopened first. Transcripts, edits and audio are never removed, so every project still opens and still plays. Adding storage again inside those 14 days stops it. Storage already paid for is not refunded.