
Music is analyzed on the way in, so a cut can land on the grid the track actually has.
If a track was never analyzed there is no grid, and the assembler says so instead of pretending.
Speech is timed to the word, so the music comes down where somebody is talking and back up after.
Slow a clip and it stays in its own voice, the same way it will in the finished file.
It ducks off the transcript, not loudness, so a slam or a breath won’t fool it.
Try it on a talking cutVoice
Music
Not here yet
There is no denoiser, no hum removal and no voice isolation. A windy street stays a windy street. If your dialogue needs repair, do it before it gets here.
Five cameras and a field recorder will not line themselves up by their sound. Nothing in the product listens across takes for a common signature, and lining them up is still your job.
Trimming the pauses lives in Clive, where a thirty-second window becomes a short. It is genuinely automatic there, and it is not in the studio timeline yet.
And the preview matches the file.
Your footage in it, and everyone you invite.

Bring your own footage.
Start editingEach of these is as clear about what is missing as this page was.