ScriptCut questions and answers

What is ScriptCut?

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.

Which editing apps does ScriptCut work 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.

Who is ScriptCut for?

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

How does a ScriptCut project work?

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.

How do I 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.
• 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.

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 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. Nothing appears in Social until you press it.

• 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 do I get 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.

Where can I bring my footage 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.

Which files, formats and frame rates does it support?

• 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.

Can ScriptCut handle B-roll and music?

• 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 in the Client kit so an agency can reuse the same shots across every clip for that client. 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 the last section of the Video step in 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.

What do people 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 client.

Who makes ScriptCut?

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.

What can the AI tools do?

• 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. A checkbox next to the prompt, 'Use only my selected lines', restricts every clip to material already marked Must have or Maybe elsewhere in the project instead of reading the whole transcript, the way to turn an existing long-form cut into a set of short clips drawn from exactly that 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 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. Paid with AI credits.
• Social clip as a timeline (Social > a clip > Share step > Download timeline (XML)): a finished Social clip can be downloaded as a Timeline XML 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 globe button 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 globe and the PDF downloads in German. On Review the globe sits right next to the All Selects / Must Have Only / Maybe Only filter, because it decides what the downloaded files say. 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 the globe shows; 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. 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 globe 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).
• 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.
• What is stored is counts and seconds only - how many lines the AI picked, how many were kept, how many were added, how long the result ran. None of the transcript, the prompts or the speakers' names is stored, nothing from one account is ever used in another account's edits, and it is 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 on hook / self-containedness / payoff; 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 uses a few. 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.

What is ScriptCut Social?

• Where: the Social icon in the main sidebar. Free and Starter accounts do not see it (see the plan note above). Inside: folders and projects, each holding a grid of clip cards.
• 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 the Social page itself (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 of the cut in Social and never changes the project it came from. The copy is 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, and it keeps every line the editor picked in Select and the order they put them in Arrange. It arrives with the groups removed on purpose: in a long piece those are chapters, and in Social one group is one clip.
• Then two doors: Use AI (the same AI Clips window New Project > Social Clips uses) or Choose manually (lands on Arrange with a card explaining that one group is one clip, and the group name becomes the clip name). EITHER WAY THE AI ONLY EVER SEES THE LINES THE EDITOR ALREADY PICKED - everything left out of the cut stays out, and that restriction cannot be switched off on a copy. Rows that were not picked still come across unselected, so a human can put one back by hand.
• The copy is a snapshot and does not follow the film: cutting the original further does not change clips already made from it, and each copy says which version it came from on its card. Pressing Create Social Clips again on a later version makes a SECOND set rather than overwriting the first. 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; green and yellow selection marks are unchanged in both. 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.
• 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, Share.
• 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 'Reset selected clip' to put just its framing back to fully automatic, without touching its cuts, trim, or captions. SEVERAL SHAPES FROM ONE CLIP: under the main shape in the Video step's Shape section, Also make switches on more shapes (for example 1:1 and 16:9 next to a 9:16 main). Tabs above the player then pick which shape you are editing, 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 Share 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.
• 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 CLIENT the project is filed under, so an agency uploads a shot once and every clip for that client can use it; a project that is not filed under a client keeps its own. The Client kit (Social > Accounts) has the same shelf for adding a client's shots ahead of time, and they then appear in every one of that client's projects.
• 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 a client's 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 your client owns show up in every one of that client's projects 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 client, 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 client kit and Delete. Add to client kit puts the file on a client's own shelf, so it shows up in every one of that client's projects; pick the client 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 centre line stays still and the clips move under it. 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, 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.
• 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.
• Share 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.
• Accounts (in the Social sidebar): connect every profile you post to, several per platform if needed. Client folders can be tied to specific accounts so projects inside them always post to the right place.
• Clients (Social > Accounts > New client): a client is where everything you make for one person lives, and it is what unlocks the whole client side of Social. A CLIENT LIVES IN SOCIAL, not on the main dashboard: press New Client at the top of the Social Clips page, or New client on the Accounts page: a small window asks for their name and, optionally, a thumbnail you can drag and zoom to frame. The same window can also turn a folder you already have into one, and everything already inside it comes with it. A folder is different and is only for tidying: it groups projects together and carries nothing else. Everything you file under a client, including projects inside a campaign folder within it, starts from that client's rules. A client is where the Client kit, the Client link, the client password and the Client access switch live, so if you cannot find any of those it is because you have no clients yet. You do not have to decide up front: a folder you already have can become a client from that same New client window in Social, and every project already inside it comes with it. A client is always top level; you cannot put one inside another, because two sets of creative rules over one clip has no right answer. If you already had folders set up as clients before this, they are still clients and every link you have sent keeps working. Not everyone needs one: if you have no clients to answer to, keep using projects and folders exactly as before and nothing changes.
• Client kit (Social > Accounts, next to each client folder): 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 client's own setup), and you can keep a light AND a dark version of the same mark: name one of the client'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 client'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 client, and each one can want its own shape over the client'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 Share 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 of that client (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 client kit is per client folder; there is no account-wide one, and a client with no kit 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 client'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 client 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 client's logo, Use your account logo, or, when neither is set, Use no logo. A PROJECT THAT BELONGS TO NO CLIENT AT ALL 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 client, so a solo editor who has never made a client folder is not locked out of either.
• Opening and closing videos (uploaded on a client folder in Social > Accounts, chosen in the clip editor's Opening and closing step): a client's own animation, sting or end card, uploaded once to their folder and put on the front or the back of any clip in that client's projects. 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 client the library is that client's and is reused across all their work, and when it belongs to no client the library is that project's own, so you can put your own sting on the front of a one-off without making a client folder first. The same video may open AND close one clip, which is what a brand's logo sting is usually for. A client's opening and closing videos are offered on every project filed under that client, including a project inside a campaign folder within it, and never on another client's projects.
• How they write, and how their covers look (Social > Accounts, inside a client folder's Client kit): 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.
• Client link (Social > Accounts, on a client folder row): ONE link a client keeps, for everything you make for them rather than one project. It shows every finished clip for that client with its cover and its caption, they can watch or DOWNLOAD any of it, and they approve it or ask for a change on the same page. 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 answered it, their answer is marked out of date on their page and in your window, rather than a green tick quietly transferring to words they never read. A change request will not send without a comment. 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. THE VIDEO IS ONLY RENDERED WHEN THEY PRESS PLAY OR DOWNLOAD, never when the page loads, so a link listing everything you have ever made for them costs nothing to open. THEY CAN ALSO TAKE THE WHOLE LOT IN ONE GO, which is what removes the second link you used to have to send: Download all on any project, and Download everything at the top of the page, both hand over a zip carrying each clip with its captions as separate text files and its cover beside it, in the project's own folder when there is more than one project on the link. IT ONLY EVER CONTAINS WHAT IS ALREADY FINISHED, so pressing it never starts a batch of renders: the number on the button is the number of finished clips and the line beside it says how many are still being prepared. There is ONE live link per client, so pressing the button again hands back the same one rather than splitting their answers into two places, and switching it off keeps everything they have already answered. It covers every project filed under that client, including projects inside a campaign folder within it, and never another client's work. THEY CAN ALSO SEND YOU FILES THROUGH IT, which is the half that replaces an email: a Your brand files box at the top takes their own logo (PNG, JPG or WEBP) and their own fonts (woff2, woff, ttf or otf). 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 that client's logo bug, because the client 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 their Client kit (several is normal, up to five), then press Send to client in the link's 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 their Client link AND from any per project approval link you ever sent them, so you no longer open two or three screens to find out where a client stands. Each row carries the clip, the project, who answered, when, and the words of a change request rather than a bare red count. An answer about a caption you have rewritten since is marked out of date there too. If the same clip was answered on two different links, the LATER answer is the one shown and the row says which link it came from. It also tells you WHEN THEY LAST OPENED anything of theirs, and which link they opened, because 'they opened their client link an hour ago' and 'they opened one approval link in June' are very different facts. Answers given on an approval link you have since switched OFF are not listed, because switching it off removes the pointer that finds them.
• Client approval link (Social, beside Edit project on a clip): 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. 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. The video is only rendered when the client presses play, never when the page loads, so a ten-clip link costs nothing to open. 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 (Social > Accounts, on a client folder, and in 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. Inside a client folder you can PIN a font so it always sits at the top for that client, and give it a short description shown in grey beside the name ('Caption Color', 'Subtitle Highlight'). The pin and the description are the CLIENT's half: on a project outside that client folder 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: from Social, create a client-facing download link for one project 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.
• 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 / Editing / Social) narrows the view to one kind and REMEMBERS the last setting; whenever it is hiding anything the grid says so ('Showing Social only. 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.

Is there a panel for DaVinci Resolve or Premiere Pro?

• 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 (Mac only)' 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 on a Mac' (Windows not supported yet); Premiere needs 'Premiere Pro 2025 or newer' (Mac or Windows).
• 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.

How does client review work?

• 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.
• 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.
• 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 does ScriptCut 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.)
• No EDL, AAF, or OTIO export. The timeline export is always XML. (An EDL or XML can be IMPORTED at the timeline step.)
• 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. 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 word list (Words to get right): a list of names, brands and terms that transcription should spell correctly. One list for the whole account in Settings > Transcription, 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 > Personal Settings > 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 > Personal Settings > 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 account owner sees 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. 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 only) 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).

What do the words in ScriptCut mean?

• 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 does each plan include?

• Free: the full editor (Cleanup, Select, Arrange, Review), the plain-text cut sheet export, and ONE FREE RUN of each AI module. Up to 3 projects at a time. Transcription is pay as you go. Client review links and the client download portal are Starter and up.
• Starter: everything in Free plus every export format (timeline XML, PDF, subtitles, audio) and unlimited projects.
• 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 processed minutes and 300 AI credits a month, and unlimited projects. 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.