更新履歴 · Snip0

September 22, 2026

Added

Tube, in Distort: the picture on a curved screen. Each axis is pushed out by how far along the other one it sits — nothing at the middle of an edge and strongest at the corners — so the frame’s own straight lines are what bow, and the corners leave the picture. Curve is measured against the shorter side so a portrait frame is not bent harder one way, Corner runs from a domed tube to a flat screen with only its corners pulled, and Fill covers the corners the bend opened. Past the edge is the dark inside a bezel rather than the rim colour smeared over it.
Bezel: a frame on the finished canvas rather than on one item, beside Look and applied last of everything. An item’s own frame is drawn before its placement, so it rides every zoom the clip is given — right for a card lying on the canvas, wrong for a screen the film is playing on. A Tube and a frame on a clip make a CRT, and the CRT used to zoom along with the footage.
Margin on a frame, which is the one setting border, radius and the two shadows could not stand in for: CSS’s padding. It covers the band rather than fitting the picture into what is left.

Improved

The preview magnifies with the fingers nothing else was using. With nothing selected a drag pushes the picture about and a pinch takes it to eight times, clamped at the picture’s own edges and redrawn at a higher density, so going closer shows more of the source instead of bigger pixels of the preview. A tap on the background deselects and the same finger carries on into the move, and a drag with nothing to place no longer pauses playback — a way of looking stops nothing. It is floored at the fit, so the corner dots own the room below it and the fingers the magnification above it.

September 21, 2026

Added

Light: up to four lamps standing in the picture of a clip, a layer or a photo, each with a colour, a place, a depth and a size. A lamp is dragged on the canvas and may be dragged off the edge — one below the bottom is an uplight, one behind the left edge a hard side key. Its Depth decides whether it stands in front of the subject or behind it, and a lamp behind is what makes a rim: the silhouette catches and the face does not.
The scene the four of them light has two knobs of its own. Ambient is how much of the light the room already had survives — at 0 the picture is dark except where the lamps reach, which is the whole difference between lighting something and laying a colour over it. Relief is how much shape the depth is read as having.
Putting a lamp down starts nothing. The panel has Analyze, the same pass the lens runs and writes beside the same file, so an item already analysed for a lens lights the moment a lamp lands. A photograph is one frame and relights at once.
Glow takes Pro Mist and Black Mist on its option — the two diffusion filters, which differ in how much haze they lay through the shadows.
Adjust takes four knobs for detail: Brilliance, Definition, Dehaze and Denoise. Brilliance and Dehaze read a shared blurred guide, so both work on the picture locally rather than as one curve over the whole of it.

Improved

The modes that magnify the preview for their own reasons — Track, Subject, Mask, Lens and Light — pinch out past the fit as well as in, from a quarter up to eight times. At the fit the picture fills the pane, which left nowhere to put a finger that was not already on the picture: a puck in a corner sat under the pane’s own edge, and a lamp standing off the frame could not be dragged to at all.

September 20, 2026

Added

The preview plays at 0.5× to 4×. Holding the play button opens the rates — a tap still plays and pauses — and any rate but 1× is written beside the glyph so it is readable at a glance.
A finger held still on a playing preview doubles that rate until it lifts, and sliding while held steps along the same ladder, a rung every 40 pt with a tick at each one. The transport reads the rate out, and lifting selects nothing.
The rate is a way of looking rather than a setting: it is not on the document, not undoable, never exported, and back to 1× on the next visit.

September 18, 2026

Added

The placement scale runs to 10000%, a hundred times the aspect fit where it stopped at ten — room for a punch-in on one detail of a shot, or a zoom through something into the next one. The pinch, keyframes, a tracked subject’s scale and Auto scale all read the one range, and keyframes ease it in log space, so a zoom that long still reads evenly.
The Style tab’s Size slider reads the font size out beside it, 80 by default and 6000 at the top.

Improved

A caption is rasterised at the size it is shown rather than the size its font asks for. A caption pinched large was a bitmap laid out for the reference canvas and then magnified; the placement’s scale reaches the rasteriser now, so it stays crisp however far it is taken. Shadows and glows scale with it.

Fixed

Every piece of an animated caption is drawn whole and the caption is composited once, where each piece used to be a crop of one shared bitmap cut at the letter’s own advance. An outline, a shadow’s offset and a script font’s tails reach past that line, so as soon as the letters moved apart each carried slices of its neighbours’ decoration and lost part of its own — worst on white text with a thick black outline, which is the standard Japanese caption.
A per-letter loop like Wave or Bounce no longer shows a hairline seam where two crops abutted, which it did for as long as it ran because it is never at rest.
Layer settings land on the caption rather than on each piece: letters at half opacity no longer darken each other where they overlap, and a bloom no longer haloes each letter and stops at its edge.
A letter typed by the Typewriter arrives whole instead of with its right edge cut flat.

September 16, 2026

Added

Lens: the aperture and the focus, chosen after the shot. A Lens button on a clip, and on a layer with a movie or a photograph in it. The panel has one control — the aperture, read in stops from ƒ1.4 to ƒ16 — and while it is open, a tap on the picture is where the lens focuses. Everything else goes soft by how far it stands from the tapped thing in depth and by how wide the aperture is; the tapped thing stays exactly as it was shot.
On a movie a tap is a focus mark at the playhead, drawn as a dot on the item’s lane. Focus holds on its target until the next mark and then pulls to the new one over half a second — the rack focus. A tap on the person in the shot follows them; a tap anywhere else holds that spot of the frame. A photograph is the same with one mark and no lane.
Audio, From Assets: a shelf of music and sound effects inside the editor. Music is filed under its genre and sound effects alphabetically, search matches a title, a tag or an aisle, and the chips are the tags the open shelf actually carries. A row is heard by tapping it and used by its +, so auditioning something never commits it.
Everything on both shelves is CC0, and the sheet says so beside the search: usable for anything, commercial work included, with no permission, no fee and no credit.
A sound longer than ten seconds is trimmed before it lands — the same range picker a video is picked with, so the part that is wanted arrives instead of the whole file.

Improved

Audio FX is heard while it is turned. Touching a dial plays the clip from the playhead through the effect as it is, round and round for as long as the finger is down; letting go writes it into the file as before. Until now the sound arrived a moment after every turn, which made a room or an echo something to guess at rather than listen to.
A fade in or out runs to three seconds rather than ten, so the sliders spend their width on the lengths a fade actually has.
That moment is shorter too: only the setting the dial stopped on is written, not every value it passed through, and an effect on a cleaned clip no longer re-cleans the whole file first.
Playback starts every audio and video layer together. All the streams are prerolled and anchored to one host time, where before each began when it was ready and the layers drifted apart at the start.
Sources and renditions load at the same time as each other rather than one after another, and the transport shows a spinner when play is pressed before they are ready instead of doing nothing.
Pinching the timeline out stops where the project fills the track, instead of letting a short one shrink away to nothing.

September 15, 2026

Added

Cut out works on a photograph, not only on a movie. A still is read as a file of one frame, so the subject is taken from the picture itself and held there — there is no pass to run and nothing to wait for.
iPad, and landscape on both. The top bar and the timeline arrange themselves for the layout they find, rather than assuming a phone held upright.

Improved

A picture drawn larger than it was shot is resampled up to the canvas’s own density and then sharpened, where it used to be four bilinear taps taken at the destination whatever the factor. A phone photograph on a 4K timeline was a blur with a grid in it; at 1:1 nothing changes.
Track measures backwards from where it was aimed as well as forwards and joins the two legs, so the part of a clip before the aim is tracked rather than left bare. Aiming at the shot you can see no longer costs you everything in front of it.
Crop is its own stage again rather than something that reads as an effect, and the overlay holds one background while a corner is dragged instead of changing under the hand.
The projects list centres on the screen rather than inside the safe area, so the rows no longer sit low under the toolbar’s inset.

September 14, 2026

Added

Smoothing on a recorded motion path — Off, Light, Medium, Heavy, on the tracking settings. It fits a line to the readings on either side of each frame rather than averaging them, so a pan keeps its shape instead of being dragged towards its own middle, and the ends of the path stay where they were measured.

September 13, 2026

Added

Seven more shapes — arrow, double arrow, chevron, cross, heart, speech bubble and bolt — on top of the five there were. The Round slider takes their corners off the way it does a polygon’s, and an arrow’s shaft and its head have widths of their own.
Duplicate, in a project’s menu: a copy with its own files from the moment it is made, so nothing done to it reaches the original.
The project’s cover is drawn at the head of the timeline, and follows the frame chosen for it.

Improved

Swipe a project to reveal Delete, and it is gone only after a dialogue that says the deletion cannot be undone. The row animates out.
The projects list takes its ground from the colour scheme, so the rows read cleanly in the dark as well as the light.
The editor’s top bar takes a touch surface that overhangs its glass, so a thumb reaching for the back button lands on it.

September 12, 2026

Fixed

The colour key reads a colour by its lean on the key’s hue rather than by its distance in the chroma plane. Every grey sat about as far from a key colour as a shadowed fold of the screen itself did, so a tolerance wide enough to kill an unevenly lit green took the hair, the shirt and the teeth in front of it with it. Neutral is exactly zero on the new scale, whatever its brightness.

September 11, 2026

Added

Path: a clip or a layer travels along a curve drawn with a finger, instead of along the straight lines between its keyframes.
Text, Curve: a caption’s words run along a line traced over the preview. A stroke that comes back on itself is a ring, and the words go round it until it is full.
Sound, on four effects at once — Pitch a dial twelve semitones either way, Radio with four characters to drive the sound into, Echo, and Reverb across six rooms. Nothing to add and no stack to order: turning a Mix up is the whole of turning one on, and the tab of an effect that is doing something is drawn in the audio accent. All four take keyframes.
Move: Wiggle, Sway and Punch — the whole picture shifted, turned or scaled as one rigid thing, where every other effect bends a part of it.
Sync, Motion: a movement turns a knob, the way a sound already did. It reads the tracking an item already carries — the subject from Track or the camera from Steady — on Speed, Zoom, Spin and Shake, either as a level that follows it or as a hit that pulses and decays.
Auto, on the speed panel: a ramp written from the item’s own movement, and an ordinary ramp afterwards that a hand can edit.
A grid over the preview that draws the feed’s own interface, so nothing is put where the buttons will be.

Improved

The preview draws the canvas at 100, 75 or 50% of its pane, and the margin that leaves is the same plane under the same gestures — which is how a keyframe that flies in from off screen gets somewhere to be dragged to.
Output settings reach further, on sliders: 360p, 480p and 540p, and frame rates from 8 to 60 including the NTSC ones.
The caption panel’s Background tab is Fill, which is what it was always called anyway.

September 10, 2026

Added

The font shelf: sixty-three families off the CDN, in the picker beside the device’s own, every row already set in its own typeface before anything has been downloaded. A caption redraws itself when its font lands.
Effect lanes reorder by dragging them up and down the timeline.

Improved

The action bar and its long-press menu draw one set of glyphs between them, so an action looks the same wherever it is reached from.
The text panel comes in three heights, and the font browser wraps instead of scrolling sideways, so a panel pulled tall puts far more families in view at once.
The effect action bar says Up and Down where it said Earlier and Later.

September 9, 2026

Added

Face: a retouch that follows a face through a clip or a layer. Opening it measures the frame the playhead is on and draws the mesh over the picture, so the clip can be scrubbed to see whether the face is found at all; Beautify then measures the whole file and the retouch rides the face from there.
Skin, on three knobs — Smooth for the texture and the lines under it, Skin tone from whiter to browner across the face and the neck below it, and Blush on the apple of each cheek.
Contour: no sliders, the face drawn from the front with nine points on it and dragged by hand — the bottom corners in for a V-line, the bottom middle down for a longer chin.
Camera: shoot a photo or a video without leaving the editor, beside the library and the files.
A line shape, with a thickness of its own.
Audio, From Video: take the sound off a movie in the photo library without bringing its pictures into the project.

Improved

A still exported from a frame carries the face retouch too.

September 8, 2026

Added

Look: an effect stack on the finished canvas, with the panel, the lanes and the keyframes an item’s stack already has. It is not the same as putting one effect on every clip — a grain reseeds at every cut and a vignette rides the clip it is on, where a look belongs to the output. The export carries it.
Knockout: a layer lays a colour over everything its shape does not cover, so a caption or a logo reads as a hole cut in a card. Half a sheet dims the picture under it rather than covering it.
Plain or Glass for the preview canvas, in Settings.

1.0.0In review

Added

Timeline editing: layers, trimming, reordering and keyframes.
Speed curves, for slow motion and ramps.
Motion tracking, to pin an effect or a title to something moving in the shot.
Subject masks and depth, computed on the device.
A stack of GPU effects that render live in the preview.
Sound, with per-clip volume and fades.
Export straight to the photo library.