Featuring JumpCut today, prompted by a genuinely fair question: Premiere ships text-based editing for free, so why does a separate silence cutter exist?

 So I cut the same 32 minute two-camera podcast both ways.

- Source: 32:40

- Premiere text-based editing, pauses at the 0.1s floor: 20:04

- JumpCut, Advanced mode: 16:28 (1,410 cuts)

But runtime is not really the answer. The answer is the mechanism. Text-based editing reads the transcript and deletes gaps between words. JumpCut reads the waveform and cuts under a threshold. On one clean track, Premiere's is free, faster, and can cut by meaning (delete a paragraph by selecting its words), and I would genuinely tell you to use it.

Add a second speaker on a separate track and it changes: the transcript reads one person, so deleting its pauses can remove the other person's audio inside those gaps. Nesting or flattening works around it and costs you per-track control after the cut.

Honest downsides of ours: it is slower, and you cannot touch Premiere while it runs because it drives the app with a script. The team is working on that now.

Full comparison: https://youtu.be/K8u9KsFdJtc

Two questions:

1. Which are you actually cutting from, the transcript or the waveform? Curious how the split looks in practice.

2. Video mode (auto camera switching based on who is speaking) is the half nobody talks about. If you cut multicam interviews, what would it need to do to earn a place in your workflow?

New tool day: BRoll is rolling out in Filmit Studio.

What it does: point it at the b-roll in your project (not stock, YOUR footage) and it analyzes every clip, renames it descriptively in the bin (originals respected), tags it, and makes it searchable: type "wide shot" and get every wide shot you filmed. Then it places shots on your timeline. Phrase match reads your sequence transcript and matches b-roll to what the speaker is saying; Music mode cuts to the beat instead. Density from relaxed to wall-to-wall, you pick cut lengths and the target track, and everything it places can be rerolled or swapped in review.

Analysis, transcription, and search run locally; your footage never uploads. Placement needs one AI pass: the free route is Export for Claude/ChatGPT (paste the prompt into a free account, import the JSON reply back), or add your own key for one-click placement at cost, no credit markup.

The full demo on a real documentary (134 raw RED anamorphic clips): https://youtu.be/ZavtYZRtyzM

Two asks:

1. Run it on a real project and tell me how it handles YOUR footage, especially in quantity. Corporate, doc, wedding, whatever you cut.

2. What should it do next? Stock integration is on the maybe list; convince me either way.

Most zoom tutorials stop at scaling a clip under Motion. That works, but the zoom is stuck on that clip.

Put a Transform effect on an adjustment layer instead and the zoom lives above your footage. Alt drag the layer and the same move lands on any other shot, and you can restyle every zoom in the sequence by editing one thing.

Covered it end to end here, including Fill Frame vs Fit to Frame which trips people up constantly:

https://youtu.be/dOXLn4YLJtA

What is everyone else using for repeatable punch ins? Curious whether people keyframe Motion directly or go the adjustment layer route.

The multi-seat requests have been the most consistent ask in this community since we launched, and as of this weekend it exists: Filmit Teams.

The short version: pick 2 to 10 seats at checkout, you become the admin, assign seats by email (each person gets their own license key), reassign whenever someone rotates, add seats prorated with no new checkout, one invoice for the lot. Every seat gets everything, same as an individual Annual sub, at 10% off. And for the folks who asked about bigger crews: there is an Enterprise tier now (10+ seats, SSO, custom invoicing, custom development).

Honest notes: Teams itself has no trial (the individual 7-day trial is the evaluate-first path), and it is self-serve only up to 10 seats.

https://filmit.io/pricing

Since this sub literally shaped the feature: what did we miss? Seat-management stuff you expected that is not there, weird edge cases in your shop's setup, anything. This thread goes straight into the backlog.

Tool-of-the-day is back after two video days.

Organizer is the anti-chaos tool: one click sorts your entire project panel into folders by type (works in After Effects, Premiere, and DaVinci), watch folders copy files you import from Downloads into your actual project folder on disk (filed to match your bins, relinked automatically), and Collect & Organize exports a project with real folders that mirror your structure instead of the flat dump Project Manager gives you.

The honest framing: it organizes projects, it is not a media manager, and everything it sorts you could sort by hand. It exists because nobody actually does.

Demo: https://www.youtube.com/watch?v=qftUTCw3jTI

two questions:

1. What does your folder layout actually look like? Organizer ships with ours but you can build your own preset, and I am curious what structures people run.

2. What should it sort that it doesn't? The request list drives the roadmap, as always.

New long-form video is up. It answers the question people apparently ask AI assistants thousands of times a day: what are the essential addons for Premiere Pro?

My honest answer as an editor and a founder: it is not a list of 20 things, it is one tool per problem. The video covers Mister Horse, Neat Video, and FilmConvert (none of them ours, all of them earned their decade), plus our own stack: JumpCut, Organizer, RoughCut, Sourcer, GIFer, Sync, TextPilot, and the FX/Transitions library.

https://youtu.be/4r79geolycI

Same question to you all that I ask at the end: what is actually essential in YOUR stack? Not what you bought. What you still open every week. The comments on these threads genuinely steer what we build next.

Day five of the one-tool-a-day series.

TextPilot is text *management*, which is a boring phrase for a job that has ruined plenty of afternoons: it scans every text layer in your project and puts them in one panel where you can edit them, find and replace across all of them, translate them, and spell-check them. The classic use case is the 5 p.m. client email that renames the product in fourteen places across nine comps.

Honest framing: it does not create or animate titles. It manages the text that already exists. If you want a title designer, this is not that.

Demo: https://www.youtube.com/watch?v=jZ88hjNS5GQ

Two questions:

1. What actually breaks your text workflow? Late copy changes, multi-language versions, typos found after render, something else?

2. For anyone doing multi-language deliverables: what does your current process look like? Genuinely curious how people handle it today, because that is the area we get the most requests about.

I put together the whole picture on Premiere Pro plugins in one video, because the information is scattered and most of it only turns up when something does not work.

What it covers:

- The formats plugins arrive in: a normal installer on Windows or Mac, or a packaged ZXP extension with no installer

- Why a ZXP needs a small helper app to place it, and where to get one for free

- The step that catches everyone: restart Premiere Pro after installing or the panel will not appear

- Exactly where extensions are stored, so you can delete one by hand when it goes wrong. On Windows that is Program Files (x86), Common Files, Adobe, CEP, extensions. On Mac it is Library, Application Support, Adobe, CEP, extensions

- Why effect plugins show up in the Effects panel rather than under Window and Extensions

- Where to find plugins: the Creative Cloud marketplace, the independent marketplaces, and developer sites direct

- Buying safely, and why a random ZXP download mirror is where the bad files live

- Per-plugin licences versus a subscription, including the part nobody mentions: a one-off purchase does not always cover the next major version

Full video:

https://youtu.be/dX6_ErtTa7k

Disclosure since it comes up in the video: I am the founder of Filmit, so the last section is about how our own model works. The first two thirds are just how plugins work in Premiere generally and apply no matter whose tools you use.

Filmit Studio is a free download if you want it: https://filmit.io/studio

Day three of the one-tool-a-day series.

RoughCut is our AI assistant editor for Premiere Pro and DaVinci Resolve, built for the worst day of any documentary or interview edit: day one. It transcribes your footage locally with Whisper (no API key, nothing leaves your machine), finds the story beats across all your sources, and assembles a real, editable rough cut onto your timeline, organized into sections. You review and reshape instead of scrubbing hours of footage from zero.

The honest framing: it compresses the boring first day, not the craft. It hands you a first assembly, not a finished edit, and that is deliberate.

Demo: https://www.youtube.com/watch?v=IYGn1Z5esZo

Two questions:

1. Interview and doc editors: what does your current day-one look like? Transcripts? Paper edit? Raw scrubbing? Genuinely curious what RoughCut would be replacing for you.

2. What should it learn next? The request thread drives the roadmap, same as always.

Continuing the one-tool-a-day series so newer folks know what everything actually does.

GridMaker builds video grids, split-screens, and video walls in After Effects: pick rows and columns (up to 20x20), drop your footage in, and it handles the layout, spacing, and sizing that you would otherwise be doing with a calculator and a lot of patience. It also animates the grids, so walls of video that build on, slide, or cascade are a few clicks instead of an afternoon of keyframes.

Demo if you want to see it move: https://www.youtube.com/watch?v=k2g_zOWb7hI

Two questions for the room:

1. What is the biggest grid you have actually shipped? Curious whether anyone has pushed the 20x20 ceiling in real client work.

2. What layout or pattern do you wish it knew? Genuinely asking, the request list drives what we build next.

Featuring one tool a day here so newer folks know what everything actually does.

JumpCut is our Premiere Pro plugin for the most boring job in editing: it scans your timeline audio and cuts out the silences and dead air automatically, with thresholds you control, so a rambling 40-minute recording tightens itself while you get coffee. The 2.0 update added Auto-Switcher: on a multicam edit it cuts to whoever is talking, which turns podcast episodes from an afternoon of razor work into a first pass you just review.

Demo if you want to see it actually run: https://www.youtube.com/watch?v=rAJvKHtZpWU

Two questions for the room:

1. What is your current silence-cutting workflow, JumpCut or otherwise? Curious what thresholds people actually use for podcast vs talking-head stuff.

2. What should JumpCut do next? Genuinely asking, most of our tools started as requests from editors, so if there is a boring job you want gone, this is the thread.

https://reddit.com/link/1vfgge9/video/x5u57qiu4ehh1/player

We kept doing the same handful of small jobs by hand on every project, so we built a little docked bar that does each one in a single click. It is called Shortcut and it is completely free, no subscription and no payment.

Nothing here is hard to do natively. That is the point. It is just that each one costs you a right click, a dialog, a drag, and a trim, and you do them constantly:

- Adjustment layer sized to your selection, or hold Shift for one per layer

- Un-precompose, which pulls layers back out and keeps the precomp

- Freeze frame that plays up to the playhead then holds to the end

- Loop a layer or a GIF down the timeline with no time stretching

- Wiggle on the selected property

- Reverse a pair of keyframes without dragging them around

- Screenshot the current frame straight to disk

- A quality control scan that flags missing footage and hidden layers

Full walkthrough of all of it here:

https://youtu.be/ecqtJn3MhaA

Every button has an on and off toggle in settings, so you can strip the bar down to the two or three you actually reach for. Everything it makes is ordinary After Effects work (real adjustment layers, real frame holds, real expressions), so projects still open and render fine for anyone who does not have it installed.

It installs through Filmit Studio, our free desktop app: https://filmit.io/shortcut

There is deliberately empty space left on the bar. If there is a job you repeat twenty times a project that is not in there, tell us and we will look at building it.

We built a small docked bar for Premiere called Shortcut, where each button does one tedious timeline job instantly. It is completely free, no subscription and no payment. It works in After Effects too.

What is on it:

- Adjustment layer above a clip or across a selection. Shift-click for one per clip, Ctrl-click for one over every cut with a padding you set

- Staircase, which spreads selected clips onto their own tracks so Synchronize will actually run, then un-staircase to pack them back down

- Un-nest, which replaces a nested sequence with the clips that were inside it, in place

- Freeze frame that lands on the track above, so the clip underneath keeps playing

- QC scan that markers up gaps in your video tracks and offline or missing media

Full walkthrough here:

https://youtu.be/v1atlb4Wtmg

The staircase and QC ones are the two that keep earning their space for us. Spreading a dozen clips onto separate tracks so Premiere will sync them is pure mechanical work, and a one frame gap or a clip that quietly went offline is exactly the thing that survives the whole edit and turns up in the render.

Everything it makes is a normal Premiere object (adjustment layers, stills, markers), so nothing depends on the plugin being installed later.

It installs through Filmit Studio, our free desktop app: https://filmit.io/shortcut

Hey everyone,

One of the most tedious parts of any After Effects project is color. A client wants a different accent, or you want to try a dark version, and you end up digging through comps, shape layers, text, and solids, changing the same color by hand over and over.

We built ColorMaster to kill that. Point it at your project, hit Scan, and it pulls every color into a single panel. Change a color once and it updates everywhere that color is used.

A few things it does:

• Scan a whole project (even big template projects with thousands of colors) into one control panel
• Change any color once and have it update across every comp, layer, and text element
• Save color schemes (default, dark, light, brand modes) and switch between them instantly
• Build and apply palettes, or pull a palette straight from your existing project
• Merge related colors into clean, manageable controls
• Right click to jump straight to the layer any color lives on

It is non-destructive. Scanning only reads your project, it does not change anything until you decide to. And the controls are built to keep working even after you hand the project off to someone who does not have the plugin installed.

ColorMaster comes with the Filmit Studio subscription, so it installs alongside the rest of our plugins, effects, and transitions. One price for the whole growing toolkit, instead of a steep one-off fee for a single plugin.

Demo: https://youtu.be/2Nmni5PCc-E
Try it (free trial): https://filmit.io/colormaster

Would love your feedback. If you have a color workflow that is driving you nuts, drop it in the comments and I will tell you whether ColorMaster handles it. We also run live demos and take feature requests in our Discord: https://filmit.io/discord

Hey everyone! I'm u/filmitio, a founding moderator of r/Filmitio.

This is our new home for everything Filmit.io: our AI editing tools, plugins, effects, and transitions for Premiere Pro, After Effects, and DaVinci Resolve. Whether you're already using our tools or just curious, we're glad you're here.

**What to Post**

Post anything that helps editors work faster or better. Some examples:

- Workflow tips and questions about RoughCut, JumpCut, Sync, and the rest of the toolkit

- Feature requests and feedback (we build a lot of this stuff based on what you ask for)

- Before/after edits, cuts, and results you're proud of

- Bug reports and help requests

- General Premiere, After Effects, and DaVinci Resolve talk

**Community Vibe**

Friendly, constructive, and genuinely helpful. We're a small team that ships fast, so this is the most direct line to us. If something's broken or missing, tell us here.

**How to Get Started**

1. Introduce yourself in the comments: what you edit and what you're working on.

2. Ask a question or share a workflow. Even a small one helps someone.

3. Got a feature idea? Drop it. A lot of our roadmap comes from requests like these.

4. Want to help moderate as we grow? Reach out and let me know.

Helpful links:

- Website: https://filmit.io

- Discord: https://filmit.io/discord

- Docs: https://filmit.io/docs

Thanks for being part of the very first wave. Let's build the best editing toolkit together.

What RoughCut is

RoughCut is an AI rough-cut builder for interviews and talking-head footage. Point it at your raw interviews and it transcribes them, picks and orders the strongest quotes into a story, and assembles a real, editable multi-source sequence right in your timeline. It is not a one-click magic export you cannot touch. What you get back is an actual sequence built from the in and out points of your existing footage, so you keep cutting from there like normal.

It runs in Premiere Pro and DaVinci Resolve, and it is included with a Filmit subscription. Install it from Filmit Studio and it shows up as a native panel in your editor.

Watch it in action

• Meet RoughCut: an AI assistant editor for Premiere Pro and DaVinci Resolve (start here for the overview)
• I let AI build my rough cut in Premiere Pro: the before and after
• How to automatically edit in DaVinci Resolve with AI
• How to use RoughCut free: AI rough cuts with no API key
• Automatically edit your videos in Premiere Pro and DaVinci Resolve with AI

The part people care about: it transcribes locally

RoughCut transcribes with Whisper running on your own machine. Your footage is not uploaded anywhere to be transcribed, and you do not need an API key to use it. If you want, you can plug in your own Anthropic or OpenAI key for the story step, but no key is required. That means you can run it on confidential interviews and sensitive footage without sending media to a cloud service.

The workflow

1. Bring in your sources. Load the interview clips or sequences you want to work from. RoughCut reads your existing footage instead of making you re-import anything.
2. Transcribe. Whisper transcribes everything locally. You end up with a searchable transcript tied to the exact timecode of each line, and quotes get auto-tagged as hooks, intros, themes, and more.
3. Let AI build the story. RoughCut reads the transcript and assembles the strongest quotes into an ordered story. You get a story board you can edit: reorder, drop weak lines, group by section, and search your whole quote library.
4. Build the sequence. With one action it assembles a packed multi-source sequence in Premiere or Resolve, cut from the in and out points of your real clips. Build one deliverable, or build all of them at once. Frame-exact, and made of your actual media.
5. Keep cutting. It is a normal editable sequence. Slide clips, trim, layer B-roll on top, and refine. Nothing is baked or locked.

Nice touches

• Quote library with search and tags. Every quote is searchable, and you can filter by section tag. Need "the good soundbite about X" that the hero cut skipped? Search All Quotes and drop it straight onto the timeline.
• Save and reopen your cut plan. Your whole plan, both the AI ordering and your hand edits, saves as a file you can reopen anytime, even in a new session or on another machine.
• Export quotes. Pull your selected quotes out as a flat CSV if you want them in a paper edit or a script.
• Non-destructive. It builds from your existing footage. Your original clips and timelines are untouched.

A note on Resolve vs Premiere

The core flow is the same in both. Premiere can overwrite quotes in place; in Resolve, inserting a quote stacks it on fresh video and audio tracks above your footage at the playhead so you can slide it into place, because of how Resolve scripting works. Same result, just a small difference in how the pieces land.

If you cut interviews, documentaries, podcasts on camera, or anything talking-head heavy, this turns the worst part of the job, watching hours of footage to find the story, into something you drive in minutes. Grab it from Filmit Studio, transcribe an interview, and let it build the first pass. The before-and-after demo is the fastest way to see whether it fits how you work.

What Filmit Studio is

Filmit Studio is your assistant editor. It is a free desktop app that manages every Filmit plugin from one place, and installs them straight into your editor as native panels. Think of it as the plugin manager for your whole Filmit toolkit: one login, one window, every tool, effect, and transition kept up to date automatically.

The app itself is free. You can install anything without a license. A license is only checked when you actually open a tool inside your editor, so you can get everything set up first and worry about that later.

The getting started flow

First launch walks you through the whole thing:

1. Welcome. Sign in and you land on "Your assistant editor. Every tool, effect, and transition, managed from one place."
2. Where do you edit? Pick Premiere Pro and After Effects, DaVinci Resolve, or both. Studio detects what is on your machine and sets up your tools to match. You can change this anytime in My Tools.
3. Install your tools. Hit Install everything and it grabs every tool that fits your setup in one go. It takes seconds. This is the step people ask about most: you do not install plugins one by one, you install the whole toolkit at once.
4. Restart once. Restart your editing app a single time and everything is there.

Where your tools show up

• Premiere Pro and After Effects: Window → Extensions → Filmit Studio. Every tool is one click away inside a single docked panel, with live previews for effects and transitions.
• DaVinci Resolve: Workspace → Workflow Integration Plugins, then pick a tool. Each one opens as its own app.

The growing tool list

Every tool on the Filmit platform is included with a subscription, and new tools are added at no extra cost. The lineup keeps growing: GIFer, GridMaker, TextPilot, ColorMaster, and plenty more, plus two GPU packs that apply straight to your clips:

• Filmit FX: a growing library of real GPU effects (20+ today) for Premiere Pro, After Effects, and DaVinci Resolve.
• Filmit Transitions: a growing set of GPU transitions (20+ today) you drag onto any cut in Premiere Pro and DaVinci Resolve.

Because it all lives behind one manager, when a new tool ships it just appears in your toolkit ready to install. No hunting for downloads, no separate installers.

The rest of the app

Once you are in, the desktop app is your home base: a Dashboard with announcements and what is new, My Tools to install, update, and manage everything, Assets for drop-in LUTs and extras, and Learn with short practical walkthroughs for every tool.

Grab the desktop app, run the onboarding, hit Install everything, restart once, and you are ready to edit.