A library of ways to edit.

Footage

• A short spoken passage with a transcript
• A clear background shot or room for text

Structure

1. Choose a line of 5–12 words with a clear point.
2. Cut to its opening breath, then reveal words on their spoken beats.
3. Hold the key phrase for roughly twice the duration of the surrounding words.
4. End on the speaker or the next visual idea.

Direction

• Use auto_captions with a word animation as a starting point, then edit individual text clips where emphasis needs to differ.
• Keep text inside title safe and preserve faces.
• Use one type family and one accent colour; let scale and timing carry the effect.

Review

• Read every word at normal playback speed.
• Check that the emphasized phrase is still legible on a phone-sized frame.

Footage

• A music track with a steady beat
• At least six distinct shots or images

Structure

1. Find the downbeats and make a first pass of one shot every two beats.
2. Cluster three quick cuts around the strongest musical accent.
3. Hold one visually strong shot for four beats.
4. Finish on a clear image or title rather than an arbitrary music stop.

Direction

• Use detect_beats and beat_montage for a draft, then adjust cuts by hand.
• Alternate wide and close views; avoid repeating adjacent angles.
• Reserve speed ramps or zooms for one or two emphasis points.

Review

• Watch once without audio: the visual sequence should still progress.
• Check the last cut against the music ending.

Footage

• Two shots with related motion
• Enough handle before and after the cut

Structure

1. Find the action peak in each shot.
2. Trim so the first movement exits as the next enters.
3. Align the moving subject near the same screen position.
4. Add a brief sound bridge if the cut feels abrupt.

Direction

• Use slip_clip, trim_clip and transform keyframes to align the action.
• Prefer a hard cut; use a transition only when the footage needs it.
• Keep the perceived motion direction consistent across the cut.

Review

• Step through two frames on each side of the cut.
• Play at full speed to confirm the eye follows the movement.

Footage

• Three or more related images or short shots
• A phrase or label that gives the sequence a subject

Structure

1. Start on a quiet background and introduce the first image.
2. Layer two supporting images at different scales with slight timing offsets.
3. Bring in a short label after the picture is understood.
4. Clear the spread with one decisive cut or wipe.

Direction

• Use picture-in-picture layout or clip transforms on separate video tracks.
• Use restrained rotation and shadow; preserve a strong reading order.
• Animate position and scale with keyframes, staggered by a few frames.

Review

• Check overlaps at every entrance and exit.
• Ensure text remains legible over all layers.

Footage

• Two shots with a motivated change
• A warm light texture or gradient image to use as a short overlay

Structure

1. Start the colour bloom just before the cut.
2. Peak the wash across the cut for only a handful of frames.
3. Reveal the second shot cleanly and let it settle.

Direction

• Place the light image on an upper picture track over the cut, with a short fade in and fade out.
• Avoid a full white frame unless it matches the footage's exposure.
• Match the brightness of the adjacent shots before adding the flash.

Review

• Check for an unintended blank frame.
• View the transition at full speed and at reduced brightness.

Footage

• A screen recording
• One action or feature to explain

Structure

1. Open with the full interface for orientation.
2. Move in before the action begins and hold through the interaction.
3. Return to the full view after the result appears.
4. Cut dead time around the action.

Direction

• Use the studio look when recording or add_zoom and transform keyframes afterward.
• Keep the pointer visible and the active target away from the camera bubble.
• Make each zoom slow enough to track, then hold still while text is read.

Review

• Check that every click target can be identified at normal playback speed.
• Verify the camera bubble never covers the active control.

Footage

• Two comparable shots or states
• A clear reason to favour one side

Structure

1. Introduce both views at equal size.
2. Hold long enough for comparison.
3. Move the divider or cut to the chosen view.
4. End on the result at full frame.

Direction

• Use arrange_clips for the initial two-up layout.
• Match colour and scale before the reveal.
• Keep captions outside the dividing line.

Review

• The comparison must be understandable without a label.
• Check framing in square and vertical variants if needed.

Footage

• A strong portrait or detail shot
• Clean natural sound or a low music bed

Structure

1. Begin before the visible action so the shot can settle.
2. Introduce a short title after the subject is established.
3. Hold through a natural gesture or line of speech.
4. Leave on a motivated movement or breath.

Direction

• Use subtle grading and a gentle push-in only if the frame is truly static.
• Avoid decorative transitions and dense captions.
• Keep the title away from the face and use generous negative space.

Review

• Watch with sound muted to check the visual pacing.
• Confirm the title feels secondary to the subject.

Footage

• Two shots with camera or subject motion in the same direction
• Several frames of handle on both sides of the cut

Structure

1. Find the moment motion accelerates in shot A.
2. Cut on peak blur into a similarly directed motion in shot B.
3. Let shot B settle before adding text or another cut.

Direction

• Trim or slip each shot to align the motion; try a short slide transition only if a hard cut does not read.
• Keep the transition under half a second and preserve the original scene sound under it.

Review

• Watch at normal speed for a visible hitch or reversal.
• Pause before and after the cut to check that the subject remains legible.

Footage

• Three or more distinct shots
• A clear shot to land on

Structure

1. Open on a moving strip of short views.
2. Slow the strip as the chosen frame nears center.
3. Cut or expand that frame to full picture and continue the scene.

Direction

• Place the shots on separate picture tracks in a repeated three-column layout.
• Use simple labels or frame numbers sparingly; avoid film damage overlays that hide the footage.

Review

• Each frame must remain recognizable at phone size.
• The chosen shot should be the same image before and after expansion.

Footage

• A concise word of four to eight letters
• Footage with movement and contrast inside the letterforms

Structure

1. Start on a dark field with the footage visible through the title.
2. Hold the word long enough to read.
3. Open to the full shot and continue the motion.

Direction

• Use a large bold text clip with a media mask if available; otherwise build a similar reveal from a full-screen title followed by the same shot.
• Choose footage with bright detail centered in the letters.

Review

• Read the word at a glance on a phone.
• Ensure the footage after the reveal matches what was visible inside the title.

Footage

• Four related but visibly different shots
• One preferred shot to continue

Structure

1. Show all four shots together with even margins.
2. Allow the viewer to scan the set.
3. Expand or cut to the chosen tile at full frame.

Direction

• Use arrange_clips for a two-by-two grid.
• Match exposure and framing before the expansion.
• Use an upper track or a cut to continue the chosen shot full frame.

Review

• All four tiles are distinct and recognizable.
• The exit leads to the same shot chosen in the grid.

Footage

• One factual question and sources that support the answer
• A relevant map or location visual
• Context footage and at least one document or data point

Structure

1. Open with the question and a specific geographic or visual hook.
2. Locate the subject on a map, labeling only what the viewer needs.
3. Move from map to real footage to document or data evidence.
4. Return to the question and state the supported conclusion.

Direction

• Use the Cartographic grid and Document page from the asset library as optional canvases; replace their generic route and headings with accurate project-specific labels.
• Use add_text and add_overlay for callouts and source lines; keep every claim tied to an on-screen citation or source.
• Keep animated moves purposeful and give the map a readable hold.

Review

• Every geographic label and number is sourced and accurate.
• The conclusion is supported by the footage and evidence shown.
• No decorative map route is mistaken for a real location.

Footage

• A verified route or location
• At least two shots from the journey or destination

Structure

1. Begin with a wide location view and one named place.
2. Trace only the route segment relevant to the story.
3. Cut from the map to footage at a recognizable point on the route.
4. Return to the map for the next leg or outcome.

Direction

• Replace every illustrative map label with sourced locations.
• Use add_overlay lines or arrows and text labels; animate the route in short, readable stages.
• Match the direction of travel from map to footage.

Review

• Every place name and route is accurate.
• The move from map to footage is spatially understandable.

Footage

• A verified short quotation
• The source document or relevant research footage

Structure

1. Establish the document in a full frame or close detail.
2. Highlight the exact passage being quoted.
3. Lift only the necessary words into a readable title.
4. Return to the document or the next piece of evidence.

Direction

• Use a brief zoom and text overlay; preserve the original wording and punctuation.
• Keep the source name and date visible long enough to read.
• Do not present library newspaper footage as the actual cited document.

Review

• Compare the on-screen quote with its source.
• Check attribution and publication date.

Footage

• Departure, transit, and arrival footage
• A clear destination or outcome

Structure

1. Open on the place being left.
2. Cut on movement into a vehicle, road, or crowd.
3. Use one geographic wide shot as a reset.
4. Land on an arrival action and let it play.

Direction

• Match movement direction between adjacent shots.
• Carry one piece of ambience across a cut before changing sound.
• Use speed changes sparingly and keep labels tied to real locations.

Review

• A viewer can identify departure and arrival.
• The sequence works without music.

Footage

• Two comparable values from cited sources
• Footage or images related to each side

Structure

1. Introduce the question and the shared unit.
2. Reveal the first value with a relevant shot.
3. Bring in the second value using the same visual scale.
4. Hold the comparison, then return to the real-world implication.

Direction

• Use simple text and shape overlays with a common baseline.
• Animate values only if the motion clarifies the change.
• State dates and units directly on screen.

Review

• Both values use the same scale and period.
• A source is visible for each claim.

Footage

• At least three distinct action shots
• A visible result or completed action

Structure

1. Start with an establishing view of the workspace.
2. Cut to a hand or tool beginning the task.
3. Alternate tight details with one wider orientation shot.
4. End on the result, not another preparation shot.

Direction

• Cut on actions, not arbitrary beat intervals.
• Keep left-to-right direction consistent when possible.
• Use natural sound to connect detail shots.

Review

• The steps are in a truthful order.
• Every insert reveals new information.

Footage

• Two clips with contrasting texture or color
• An editorial moment that warrants a visible transition

Structure

1. Cut the outgoing scene at a motivated change in place or time.
2. Overlap the incoming clip for 500–850 ms.
3. Reveal from left to right with a light fibrous edge.
4. Let the incoming shot settle full frame before adding text.

Direction

• Apply add_transition kind paper-tear to the incoming clip.
• Pair with document-paper or newspaper-pages as an adjacent cutaway when the story calls for a scrapbook feel.
• Keep the transition rare so it reads as a chapter change.

Review

• Inspect the edge at normal speed and at the export resolution.
• Confirm the next image is visible and unobstructed after the transition.

Footage

• Two clips that can support a hard, tense transition

Structure

1. Set up the outgoing image with a hold or simple cut.
2. Overlap the incoming clip for 350–650 ms.
3. Break the incoming image into offset horizontal bands.
4. Return to a clean image immediately after the transition.

Direction

• Apply add_transition kind signal-glitch to the incoming clip.
• Use sparingly around surveillance, screens, or a disrupted account; avoid covering essential faces or text.
• For stronger sound design add a brief static hit on its own audio track.

Review

• Check the scanline treatment for readability and comfort.
• Confirm both picture and sound return to normal after the transition.

Footage

• Two to six verified nonnegative values
• A named source or clear demo-data label

Structure

1. Introduce the question in the preceding narration.
2. Animate bars from the same zero baseline.
3. Hold the completed chart long enough to compare labels and values.
4. Return to the footage or a supporting example.

Direction

• Use create_motion_graphic with the bar-chart template (or add_infographic kind bars) with labels, numeric values, unit and source; set highlight to the bar the story is about.
• Try the editorial theme for documentary footage, signal for technology, or mono for archival material; backdrop card keeps the footage visible around the chart.
• Keep units consistent across every row.

Review

• Verify every number, label, unit and source.
• Check text at phone scale and hold duration at normal playback speed.

Footage

• Two to six verified category values
• A single meaningful total and source

Structure

1. State what the whole represents.
2. Reveal segments together without exaggerating their final share.
3. Hold the complete chart and labels.
4. Follow with the segment most relevant to the story.

Direction

• Use create_motion_graphic with the donut-chart template and the signal theme (or add_infographic kind donut, palette electric). Cue derives slice angles and percentages from the supplied values.
• Use a source field and avoid mixing categories that overlap.

Review

• Check category values sum to the intended whole.
• Verify the displayed percentages and source.

Footage

• One to six sourced metrics
• Short labels and compatible units

Structure

1. Name the topic with a concise title.
2. Reveal the metrics over roughly one second.
3. Hold the final card set for at least two seconds.
4. Cut to evidence that explains the most important number.

Direction

• Use create_motion_graphic with the stat-row template and the mono theme (or add_infographic kind cards); change the values later with update_motion_graphic.
• For different units, omit the shared unit and include units in each label.
• Replace the demo values before publishing.

Review

• Confirm every number and unit.
• Check that the cards do not hide critical footage.

Footage

• Two to six chronological points with verified values
• A consistent unit and named source

Structure

1. Establish the measure and time span.
2. Reveal the path from the first point to the last.
3. Hold the completed values long enough to read them.
4. Cut to a scene that helps explain the change.

Direction

• Use create_motion_graphic with the line-chart template (or add_infographic kind line) with ordered labels, values, unit and source.
• Do not reorder the data to make a smoother curve.
• Use the same unit throughout.

Review

• Check the point order and values against the source.
• Check label collisions and that the zero baseline does not distort the trend.

Footage

• Two to six verified milestones
• Dates or short stage labels and a source

Structure

1. Introduce the starting point.
2. Reveal milestones from left to right.
3. Hold the full sequence for comparison.
4. Return to the latest scene or outcome.

Direction

• Use create_motion_graphic with the timeline template and the signal theme; each item is a date or stage and a short label with its value (add_infographic kind timeline makes the same from labels and values).
• Keep the labels short and use the source field.
• For more than six moments, split the story across multiple clips.

Review

• Verify dates, values and order.
• Check spacing at phone size.

Footage

• A shot with a clear target point
• A short label, optional value and a source for factual claims

Structure

1. Hold the picture long enough to establish the setting.
2. Animate the target ring and leader line toward a compact label.
3. Let the value remain readable, then clear the callout before the next cut.

Direction

• Use create_motion_graphic with the callout template (or add_data_callout): targetX and targetY on the subject, and labelX and labelY where the label can sit without covering faces.
• Include the source field for a factual value.
• Choose the editorial, signal or mono theme (or colors {accent}) to suit the surrounding sequence.

Review

• Confirm the line ends on the intended object throughout the shot.
• Check that label and value remain readable at phone size and do not obscure important footage.

Footage

• Two adjacent shots with distinct visual content
• A motivated chapter or location change

Structure

1. Hold the outgoing shot long enough to register its subject.
2. Overlap the incoming clip for 600–1000 ms.
3. Let the ink shape expand from the centre and clear fully.
4. Continue on the clean incoming shot.

Direction

• Apply add_transition kind ink-blot to the incoming clip.
• Use it between archival, map, document or nature material when a tactile transition fits the story.
• Keep titles away from the reveal interval.

Review

• Check that the expanding edge never hides critical text for too long.
• Confirm the outgoing shot is completely replaced when the overlap ends.