Video Editor

Pick a project folder first — proxies, the autosave journal and the finished export live there, next to your footage. Drop your recordings: they are probed, ordered by the date-time and sequence number in their names (DJI, GoPro and phone files all carry them), reorderable afterwards, and joined end to end. The preview plays the originals; if scrubbing 8K stutters, pick a proxy size (360p, 720p or 1080p) and a small copy of each recording is rendered so a three-hour timeline scrubs smoothly, with sound. Split, trim and remove ranges on the timeline; Scan for stops finds every stretch where the picture stands still — a paused talk, an idle camera, a red light — from how little it changes between small frames, lists them with their lengths, and cuts out the ones you tick in one go, keeping a margin at each end so each cut still shows the picture settling and moving again; Merge with next rejoins the two halves of a split into one clip, or joins two different recordings so the cut disappears — no marker, no transition, one shared grade, crop and audio. Give any clip its own speed, from quarter-speed slow motion to a 16× time-lapse: it shortens or lengthens on the timeline, the export keeps the frame rate and drops or holds frames to match, and the original sound follows the speed up to 4×. Rotate in quarter turns, straighten by up to 10°, and crop. In Colour, choose a conversion: DJI's own Osmo Action 6 D-Log M → Rec.709 LUT applied as DJI ships it, a compact model of it, a Study look tuned for long-play study and focus videos (on DJI's file or on the model), a Natural or Vivid variant, D-Log from DJI's published curve and D-Gamut matrix, or your own .cube such as DJI's official download — then set exposure, temperature, tint, contrast and saturation, and apply the look to every clip. Music tracks drop onto three lanes, overlap into equal-power crossfades, and carry fades, mute and volume keyframes; the original sound mixes underneath. Add a whole folder of songs at once and Shuffle & fill lays them end to end in a random order to cover the entire video with crossfades, reshuffling when they run out so no song follows itself. Transitions — a 2 s cross dissolve by default, or dip to black or white, a zoom through, speed blur, a soft wipe and a push — go on any cut: add one at the playhead (the clip splits there if needed), click its marker to change or remove it, or stamp one onto every cut. Each is centred on its cut so nothing shifts in time — and sized to the footage: a dissolve needs spare footage beyond each clip’s edge, so where a side has none (a recording’s first frame, a clip trimmed to its last) the window slides onto the other side, and when both are tight it shrinks, so nothing ever freezes; the panel and the marker say when that happened. Intro scenes are cut with that spare room reserved and never shorter than their style’s transition. Export the whole timeline or just a from–to range. One JSON template covers the intro and the titles: download it from the Intro or Titles tab, let an LLM fill it in from your notes, and import it back to get both at once. The Intro tab builds a cold open from the footage itself — up to twenty scenes of 3 s each with 2 s transitions by default, both adjustable: one click lifts a handful of short scenes from across the footage — skipping the first and last few percent, and picking the liveliest moment in each stretch by motion and contrast when proxies or 4K-or-smaller recordings make that quick to judge, else spacing them evenly — cuts them together in one of ten looks (teaser cuts with a flash on every cut, cinematic letterbox with a slow push-in and warm grade, punch zoom, high-contrast mono, colour pop, retro film grain, glitch with RGB split and jitter, spotlight vignette, 8× hyper-lapse, or clean dips to black) and ends on a title card that dims the last scene under the project name. The scenes are ordinary clips at the head of the timeline, so you can reorder them, retime each one, lift another from wherever the playhead is, swap the look, change the card's text and subtitle, preview just the intro, or remove it; titles and the export range move with the main video while music stays put and plays under it, and the export re-encodes the scenes with their effects so the finished MP4 opens on them. Add an intro card, titles and lower thirds — several at once if you like, each with its own position, colour, backing box, font and size — and a logo watermark. Music that runs past the end of the video is cut there with a fade, and the part past the end is drawn hatched on the timeline so it is plainly not used; a track can never be placed to start after the video ends — a full lane hands it to the next, and the start field is capped. Export plans the timeline into spans: anything untouched passes through at source quality while graded, cropped or titled spans decode, grade on the GPU and re-encode through WebCodecs, hardware-accelerated where the browser provides it — so the estimate you see before exporting is honest. A rendered preview runs that same export at 180p to 720p on 30 s around the playhead, the intro, the export range or the whole timeline — from proxies when there are any — into the browser’s private storage and plays it in the preview box, so cuts, transitions, looks and steady lights can be checked exactly as they will come out. While it runs, a full panel shows position to the millisecond, frames, speed, bytes written, elapsed and remaining time and the expected finish, and lists every step — preparing, each video span, mixing and encoding the audio, finishing the file — with its own estimate, what the estimate rests on (a default guess, the speed of your last export at these settings, or measurement as the step runs), and once done the actual time against what was promised. Finishing the file has two stages, flushing the encoders and closing the file: Chrome reads the whole file back to check it before moving it into place, so that stage grows with the file size, and its estimate is sized from the bytes written and the close speed learned from your earlier exports. Steady lights holds LED lights — signs, displays, traffic and vehicle lights, which pulse faster than the shutter and blink on camera — at their brightest over the last two or three frames, so they stop blinking in the export (the preview shows it while playing). File tags — title, artist, album, genre, year, comment and a music-video media kind — go into the MP4 as the iTunes-style atoms ffmpeg writes from -metadata. The export can be paused and resumed. Save frame writes the frame under the playhead — graded, through any transition, with titles, from the source rather than the proxy — as a YouTube-ready 1280×720 JPEG thumbnail by default, or at full source resolution as JPEG or lossless PNG, into a frames folder beside the export. Space taps play and pause; holding it doubles the speed until it is released, and when the decoder cannot keep up with a held speed the preview eases down to what it can actually show rather than letting the clock run ahead of the picture. Holding Control skims the cuts: three seconds before and after each one, skipping the middle of every clip. The ? key lists every shortcut. The timeline ruler scrubs on click or drag and snaps to cuts (hold Alt to scrub freely), a hover shows the time under the pointer, ⌘ or Ctrl with the wheel zooms around the pointer while the zoom slider keeps the playhead on screen, the view follows playback, clips drag to a new place, the step buttons keep stepping while held, and the time readout can be clicked to type a time. Every edit autosaves; reopen the folder and unsaved work is recovered.