Change the words, not a timeline.

The layout

• Scenes on the left: each with its type, first line and length.
• Preview in the middle, with a seek bar and a size switch for 9:16, 4:5 and 16:9.
• Copy on the right for the selected scene, and four tabs under it: Brand, Music, Voice and Motion.
• Top bar: Undo, Redo, the version label (such as v3), Compare and Export.

On a phone the tabs sit in a bar, and a tap opens the panel as a sheet over the preview. A second tap on the same tab closes it.

The preview plays in your browser from the same film the export draws, so an edit shows with no wait for a render. The sound you hear is a mix made on the server (Getting the sound ready…), so it can lag a moment behind an edit.

While a film is still building, or while another job runs on the project, editing is locked. You can watch and play it. The page says This project is busy right now if you try.

Editing copy

Select a scene. Every line you can edit is listed with a counter, such as 34 / 48, and, for headlines, a fit note: fits or too long for 9:16. The fit is checked at the film's head size in the narrowest of the three sizes.

• Type a line. It saves when you leave the box, press Enter, or stop typing for a moment. One save is one version, not one per key.
• When you focus or save a line, the preview pauses on the frame where that line is drawn and settled.
• A good save says Saved. Undo? and the changed scenes flash in the list.
• A refused change says Not saved and why, in words, for example the line is too long for 9:16. The film stays as it was.

Some problems are about the whole film, such as its length or a scene type used too often. The editor lets those through while you work and shows them as N things to fix before you export. The export check stops on them.

Scenes

• Reorder. Drag a scene, or use its up and down buttons.
• Duplicate a scene. The copy lands right after it.
• Delete a scene. You are asked first. You cannot delete the last scene. Undo brings it back.
• Insert. Under the list, choose where (the start, after any scene, or the end) and a clip template your style can use. Fill its small form, with live character limits, and insert it. If it would break a scene rule, you see why and the film is unchanged.
• Swap composition. In the scene panel, the Composition menu lists the layouts that scene supports in your style. Planned by the style puts the choice back to automatic. A headline has none to swap.
• Rewrite this scene… Open it, tell it what to change (for example shorter, mention the free plan) and press Rewrite. The writing helper proposes a new version of that scene. It is one version, so Undo restores the old scene. If the new scene fails the checks, nothing changes. This needs the writing helper to be set up on the server.

Undo, redo and versions

Every accepted change is a numbered version. Undo and Redo in the top bar step along them. Ctrl/Cmd+Z undoes, and adding Shift redoes. The button tooltips say what they would undo.

• A new change after an undo clears what you could have redone.
• Version numbers are never reused.
• A change that changes nothing makes no version.
• A project holds up to 1,000 versions. At the limit you see This project has reached its limit of saved versions.
• If the project was changed somewhere else, such as from another tab or from Claude, you see This project changed somewhere else. Reload, then try again. Your change is not replayed on a film you have not seen.

Compare

Compare opens two version pickers. They start on the version before the latest and the latest.

• Side by side: two previews on one seek bar.
• A / B: one preview and a toggle, held on the same frame.
• A list of what changed sits below. Click a change and both films jump to that scene.
• You can give a version a name (up to 80 characters). A named version is kept if old versions are ever compacted.

Brand panel

• Logo. Pick one of the logos found for the project, use a saved workspace brand kit's logo (the Brand kit… menu), or upload a PNG or SVG. Remove logo takes it off.
• Colours. Five fields: Paper, Ink, Accent, Second accent and Third accent. Each shows a contrast badge, such as AA 12.3:1 or Low 2.1:1, measured against the paper (the paper itself is measured against the ink). A brand kit can fill in its colours too.
• Ink and the first accent set type on the paper. If either is under 3:1, the change is refused and you are told the ratio and a colour that passes. A Low badge is allowed elsewhere: fine for fills and shapes, weak for small text.

Music panel

• The panel ranks the library for your film and says why each track scored as it did. The top five are the shortlist.
• Narrow the ranking with Mood tags and an Intensity from 1 to 5.
• Play auditions a short excerpt. Use switches the film to that track and keeps your level and sound settings. The preview mixes again on the new track.
• Each track has a Licence badge and details.
• Level. A track that loops has a volume control. UI sounds (clicks and ticks drawn with the interface) can be switched only on tracks that are arranged for the film.
• Sonic logo. When a track has two or more sonic logo variants, you can choose one.

Voice panel

A new project starts without voice-over. Tick Voice-over to turn it on.

Script

• With voice on and no lines yet, press Write a script for me. It writes a short line for the scenes that carry the message, fitted to their length. If no writing helper is connected, the lines come from the words already on screen. Edit any line, or undo.
• If scenes already have narration captions, Use the captions as lines turns the ones that fit into lines.
• Or write the lines yourself, one per scene. Each shows a live meter: words against what the scene's length can carry (about 2.6 words per second, less a short lead-in and breath before the cut), and characters against a 200-character limit. A scene too short to hold two words stays silent.

Pronunciations

Add a word and how it should be said, such as Acme as ak-mee. The voice says the spoken form. Captions and the script keep the written one. Web addresses and short capital-letter acronyms such as API are read out sensibly without you adding them.

Voices

Choose a voice from the list. Press Hear a sample to listen, where the server's voice engine can make samples. Press Synthesize to make the voice for every line. The panel then says Voice ready, playing in the preview. Change a line and the panel tells you how many lines are out of date. Synthesize again to update them.

When voice-over is on, the export mixes it in with the music, as the preview does. Switching it off mutes it.

Motion panel

Effects come only from your style's menu. There are no keyframes to set.

• Transitions. One choice for each cut. A choice that does not fit is greyed out and says why.
• Emphasis. Pick the words of a headline that get emphasis, at most two.
• Camera (calm, balanced or energetic) and Pace (relaxed, balanced or snappy). Camera moves apply to films that have a travelling camera. Pace re-plans scene lengths on the music's beat. Both apply as one change you can undo.

Sizes

The switch above the preview flips between 9:16, 4:5 and 16:9. Each size is laid out again, not cropped, so check a line at the narrowest size. Exporting lists the sizes you can export.