N°00Questions
Straight answers.Including the awkward ones.
Nothing here is dodged. Where the true answer is a limit, it is written as a limit and we move on to the next question.
N°01Getting started
Before youupload anything.
The trial is the honest demo: your own footage, every feature on, nothing held back.
- What do I get without paying?
- 280 credits, free, and no card. That is about 62 minutes of source through the whole engine - the see-and-listen review, motion reframing, captions, the editor, the zip. Nothing is disabled, and nothing you render carries a watermark. The credits land when you open the link we email you, and that link lasts 24 hours. The account works before that; it simply holds nothing.
- What do I hand it?
- A video file, a link to one, or the page a video sits on - paste a watch page and the worker opens it and takes the video behind it. Up to 25 GB and 3 hours of source, whichever you reach first. Everything after that is optional: a sentence describing the moments you want, a clip-length band, a spoken-language override, a range of the source worth considering. Every control has a working default, so the short path is drop it and press go.
- What happens when I paste a link to a page rather than a file?
- The page cannot be measured until it is opened, so a nominal hold goes on at submit and the real length is set from the video behind it before any of the expensive work runs. Some things will not come through that way and are refused by name rather than guessed at: a live stream (clip the replay once it has ended), a playlist or channel URL (send the video's own link), and anything a signed-out visitor cannot see - private, members-only or age-gated - because the tool signs in to nothing and holds an account nowhere. A file you already hold is always the more predictable input. And the rights to whatever is at the other end of that link are yours to hold: that is a rights question and the tool cannot answer it for you.
- How long does a job take?
- It scales with how much source you gave it, whether you asked for the multimodal review, and what is queued ahead of you. There is no honest single number, so we do not print one. The studio names the stage it is actually in - reading the file, transcribing, listening for peaks, picking moments, watching the frames, rendering clips - instead of a bar that means nothing.
- Is there a watermark?
- No. Not on the trial, not on any plan, not on a re-cut. A watermarked trial tells you what the watermark looks like, not whether the tool is any good.
- Can something other than me press the button?
- Yes. There is a REST API with signed webhooks and an MCP server an agent can call, and they are on every plan - your project has an API key and a webhook secret from the moment you create it, trial included. Studio is where the volume to run them in production lives, not where they are switched on. Platforms that already know their own timestamps send those instead and skip detection entirely - that is the partner path, and it is the cheapest thing the API does.
N°02How the cutting works
What it doeswith the footage.
Three inputs, one score, and a result you can argue with afterwards.
- Does it work on footage where nobody is talking?
- Yes, and that is the reason it exists. Sampled frames and the texture of the audio are inputs in their own right, not a fallback for when the transcript comes back thin. A wide shot of a pitch and a crowd that erupts is a signal. A tool built only on transcripts has nothing left to score the moment the room goes quiet.
- What if it picks badly?
- Then you fix it, and fixing it is cheap. Every clip reports what it saw, what it heard and why it landed on its number, so a bad pick is legible instead of mysterious. Trim it or change the shape and re-cut - a re-cut bills at the anchored rate, with no detection start-up, because the moment is already known. Fix a word, restyle the captions or lay music under it and it is a touch-up - a flat 4 credits to re-render the same moment, because nothing is re-detected at all. If a whole run misses the point, tell it the point: "every lead change", "the parts where they disagree".
- Can I tell it what to look for?
- Yes. There is a plain-text box, and what you write narrows selection. You can also say what the footage is - talk leads with the transcript, action leads with the pictures - or leave it on auto, in which case it reads the footage, decides, and tells you which way it went.
- What languages does it handle?
- Transcription auto-detects the spoken language and the coverage is broad. English, Spanish, French, German, Portuguese, Italian, Dutch, Japanese, Korean, Chinese, Hindi, Arabic and Russian can each be forced when a noisy open fools the detector. Captions are written in the language that was spoken. Translation is not built: it will not turn Spanish speech into English captions.
- Can I change the result after it runs?
- An automatic cut is a first draft. Drag the trim handles or nudge in tenths of a second. Where there is speech, click a word in the transcript to delete it and the footage goes with it, silence included. Switch aspect ratio, reframing mode, caption style, colour, size and height on a finished clip without going back to the source. And a mis-heard word on a delivered clip is a click to correct or strike - saving is free, and the captions file follows your fix.
- Does the score predict whether a clip will do well?
- No. The score is a judgement, not a forecast. It rates whether a moment stands alone - whether it opens well, holds, and ends somewhere sensible. Nobody can predict an audience from a file, and a number that claims to was made up.
N°03Credits and billing
What it costs,and when.
One unit, quoted before you spend it, refunded whenever we are the ones who failed.
- What is a credit, exactly?
- 60 seconds of source video, rounded up to the minute for each job, at the base rate. A bill has two halves: the minutes, and a start-up charge for the work that happens once however long the file is - the shortlist that goes to the grounded review, the sweep's peak sampling, the ranking pass. The see-and-listen review raises the per-minute rate and adds most of the start-up; supplying your own timestamps removes all of it except the delivery and the renders, which is 1 credit on a five-clip job. The studio itemises both before you press the button, computed by the same code that bills you, so the number you see is the number you pay.
- Why per minute of source rather than per clip?
- Because the work is in reading the footage, not in writing the files. A clip that already exists is yours to keep: download it as often as you like, in whatever you already have, at no charge. Changing one splits by what moves. Moving the trim or changing the shape cuts new pictures, which is a re-cut: it skips detection, the review and the ranking pass entirely and bills at the anchored rate - a few credits, not a job. Changing what is burned over the pictures - a word, the caption style, a music bed, the logo - is a touch-up: a flat 4 credits to re-render the same moment, with nothing re-detected. Asking for more clips up front does move the price a little, and it should - the review looks at three candidate windows for every clip you want, up to a shortlist that caps at 45, so twenty clips is forty-five windows of frontier-model judgement. The footage is still only read once, so it is nowhere near four times the price of five.
- What happens if I run out mid-month?
- The next job does not start. Credits are held at submit, and a hold the balance cannot cover is refused outright rather than quietly downgraded - nothing you get back is ever worse because you were short. Top-up packs start at 300 credits for $59, or you wait for the allowance to reset. Nothing already rendered is taken away.
- Do credits expire?
- The plan allowance resets each period and does not roll over. On a yearly plan that period is a year, so all twelve months of credits land at once and stay spendable until the year is out. Top-up packs never expire on either interval, and the allowance is always spent first, so the credits you paid for outright survive into the next period.
- Do I get a refund if a job fails?
- In full, automatically, and the same for a job you cancel. We do not bill for our own failures. Delivered jobs are trued up as well: the hold is placed before anyone knows how long your file really is, so if it turns out shorter than quoted the difference comes back. Every movement is in the ledger against the job that caused it.
- Can I cancel?
- Yes, and no call to sit through. Paid access is arranged over email rather than a self-serve checkout today - that is a gap, not a retention tactic - so cancelling is one email and it stops at the end of the period you paid for, a month or a year depending on which you picked. Top-up credits you already bought stay yours.
- Why is pasting timestamps so much cheaper?
- Because it costs us far less to run, and the saving is mostly the start-up charge rather than the meter. Supplied moments are never re-scanned, re-ranked or trimmed to a limit: no detection model is called at all - the engine builds its LLM clients with a budget of zero - so there is no sweep, no review and no rank pass to pay for. What you list is what you get. Nobody should pay a model to work out something they already wrote down. Captions still need a transcript, and that part is billed when you ask for it.
N°04Your footage and privacy
Whose footagethis is.
Short answer: yours. The longer answer is a retention schedule, written down.
- Do you train on my footage?
- No. Your footage is not training data, ours or anyone else's. Scoring a clip does send sampled frames and transcript excerpts to the model provider, because looking at the footage is the entire product - there is no version of this that reads your video without reading your video. The privacy policy names the provider and says what it is allowed to do with them.
- What happens to my clips after 30 days?
- They are deleted. Clips are working output, not an archive - storing them forever makes us a backup provider, and that bill would come back to you as a higher price. Each clip counts down to its expiry in the studio, so nothing disappears unannounced. Pull the zip when the job is done and the question never comes up.
- What happens to the file I uploaded?
- Source uploads are removed 14 days after upload. The clock starts at the upload and a render does not restart it. 14 days is long enough to re-cut or touch up, and both read the original rather than the clips. After that, cutting the same footage again means uploading it again. Through the API the window is 30 days.
- How much can I store?
- 250 GB, and the allowance belongs to your account rather than to a single project, so five projects share one pool. Usage is shown in the studio. The 14-day sweep on sources is what keeps most people under it without ever thinking about it, because a source is far larger than the clips cut from it.
- What if I clip something I do not own?
- That is a rights question and the tool cannot answer it for you. We do not check, no detector we could ship would be honest about ownership, and the terms put it on you. A broadcast you did not shoot, a track playing in the background, somebody else's stream - cutting it faster does not make it yours.
N°05Limits and what is not built
The partswe do not have.
A feature list made entirely of ticks tells you nothing. Here is where the edges are.
- How long can a source be?
- 3 hours, or 25 GB, whichever you reach first - and the two are close to the same recording, because 25 GB is about 3 hours of 4K at 20 Mbps. It is not a plan limit and no plan raises it. An ordinary job of that length finishes in well under an hour; the limit is set by the bad day rather than the good one - no spare GPU, a slow download, everything falling back to CPU at once - and past 3 hours that combination runs longer than the container is allowed to live. Selling a job we can only sometimes finish, then handing it back hours later as a timeout, is worse than refusing it in two seconds. A refused job is never charged - the hold is returned in full - and the way through is to trim the recording or split it into parts and send each part as its own job, which the meter prices on its own length.
- What is not built yet?
- Intro and outro cards. Shared projects and per-seat roles. Posting to social on your behalf - you download and post it yourself. Translated captions. Self-serve checkout. That is the list. Anything not on the features page is not built, and we would rather you find that out here than three days in.
- Does it generate b-roll or fill gaps with stock?
- No, and it will not. Your clip is your footage: no stock inserts, no synthetic filler, nothing in the frame that was not in front of your camera. That is a decision, not an omission.
- Will it work on my footage?
- We do not know, and anyone who answers that without seeing your footage is guessing. That is what the 280 free credits are for. Run your worst hour through it - the badly lit one, the one with the crowd noise - rather than the hour you would have picked for a demo.
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