Film edit

The cut is built from the selects, never from the raw pile, and it stays editable: shots, not a flattened strip. Read references/join-repair.md before you change a join between two shots.

What generated footage cuts like

• It runs draggy. Entries into action are slow; cut harder than feels necessary.
• Held generated motion reads uncanny. Dramatic beats hold four to seven seconds at most; action cuts live at one to two. Vary lengths on the emotional beat, never evenly.
• The first and last half-second of a generation are the least stable. A solo take is trimmed at both ends; inside a run, the edges are the run's cuts, kept unless the user moves them.
• Cut on motion and match it. Static frames butted together read as a slideshow.
• Check every run edge: a changed angle and size, a carried movement, a sound step hidden by the bed, then eyelines, action axis, costume, props, hair, light and tempo.
• Weigh continuity in this order: emotion, story, rhythm, eye trace, then screen direction and literal space. Never sacrifice a beat to save a prop match.

Windows