Twelve kinds of footage.
Each one edited its own way.

Cuts retakes, abandoned attempts and pauses, and keeps the last good take. Numbers become counting cards, lists become checklists or pills, comparisons become before/after cards. Punch-ins on long face stretches, word-highlight captions, a hook on frame one of a reel and an end card with your link.

One continuous recording is fine — retakes are cut for you. A script makes names exact. Pictures and b-roll named by what they show are placed on the words that mention them.

The episode, or a vertical reel, plus shorts. Audio runs through an adaptive voice chain with a 10 ms crossfade at every cut, at −14 LUFS.

Reel format is 9:16 with a hook on frame one and the end card carrying your link. A number card in the opening sentence pops in whole with its label, from the first frame, instead of counting up from zero.

A reel-length recording, or a long one plus “make 5 shorts”. Shorts are asked for at upload, from the finished video, or in the chat — one to ten at a time.

A short is picked for standing on its own, 20–58 seconds, opening on a question or a strong line and ending when the thought ends. Each one is a full vertical reel with captions, a hook and the end card.

No zoom-ins, because the camera already moves and a zoom on moving footage looks shaky. Fewer cards, because the footage is the visual. A 9:16 cut of landscape footage keeps the whole picture on a blurred fill, so scenery is not cropped off and nothing jumps when you leave the frame.

Clips in order, or one assembled recording. Clips without speech are placed by their file names on the words that mention them — “temple.mp4” lands on “temple”. Music goes in as a music file and is ducked under speech.

Where nobody speaks for long stretches the video keeps its own pictures and sound; silent or mixed clips get the Studio's own music bed so the sound does not come and go between cuts.

A question of ten words or fewer is shown whole on a card, exactly as it was asked, and the answer stays on the face with captions. With an interviewer present, the conversation rules apply instead.

The whole session, unedited. Then ask for shorts — “make 8 shorts” — and each short opens on its question and ends when the answer ends.

Often this is the best use of the type: one short per answer. In an interview, a question and its answer score as one story, which is why the shorts open on the question.

Each picture and clip is placed on the words that mention it, cuts in on its own word, and then the face comes back. Prices and percentages become counting cards; pros and cons said as a list become a checklist.

Name the product files by what they show — “battery.jpg”, “unboxing.mp4”, “price list.png”. That name is how the Studio knows which sentence the file belongs on.

The review with the product arriving when the story earns it, not at the top. A rating card is drawn only when you say a rating out loud.

No transcription stage is queued at all. Each clip gives its best moments — six frames a second scored for sharpness and steady motion, with the first 0.6 s and last 0.4 s of a take left out. A clip over 12 seconds gives a second shot, over 24 seconds a third. Anything filmed at 90 fps or more plays at half speed.

Your clips and pictures, and a track you have the rights to. With an example video, the shot length, the hard or soft cuts, the total length, the colour and the loudness all follow that example.

Shots go round-robin through the clips for variety. When the talk is replaced or you ask for a story, one frame of every clip is labelled people, place, detail or product, and the shots follow that order — people first, the product at the end.

Nothing is assumed. The footage is measured — faces, flat screen-like frames, scene changes, shape — and the first rule that matches decides how it is read.

Whatever you have. If the frames are unclear the project type settles it: a “tutorial” project counts a 30 % screen share as a screen recording, and a “travel” project counts unclear footage as a vlog.

The same eight stages, with only the stages that apply. An unknown project type becomes “something else” quietly rather than failing the upload.