Cuts Studio 2.10 cuts a part by what is said in it. • Ask the Editor for a part by its subject: "cut the part about the price", "take out the dog story". It finds the passage, shows it struck in the conversation, and cuts only when you click Cut. Click a sentence to keep it in. • It finds the part by meaning, not only by the words: ask for "money" and it finds where you talked about the price, even in another language. The model that reads the meaning runs on your Mac. • Ask "where do I talk about the price?" and the monitor goes there. • When it isn't sure, it shows the closest places and lets you pick. • The Editor has its own circle beside the deck, and the conversation opens out of it. Requires macOS 14 or later. Written asks and cuts by subject are read by Apple Intelligence (macOS 26).

Cuts Studio 2.9 lets you tell the Editor what you want. • Click the caret in the deck and write what the film needs: "cut the pauses", "square for Instagram", "it feels slow". The Editor makes the change and shows what it did, with an Undo for each answer. When it isn't sure, it asks before it touches anything. • Shortcuts above the field cover the common asks, and More options opens the Editor's drawer. • The welcome plays a real take, cut and uncut. • Fillers and retakes are read more carefully. A word that is also content stays, and "let me start over" is caught in the middle of a line. • A long burned caption fits its box instead of losing its last line. Requires macOS 14 or later. Written asks are read by Apple Intelligence (macOS 26); without it the Editor reads direct asks, like "remove the ums" or "make it vertical".

Cuts Studio 2.8 has an Editor that cuts the film for you, and a new icon. • Pick a style and the Editor edits: Clean, Pop, Editorial, Educational, Conversation or Vlog. Each one sets the pauses, the ums, the zooms and the captions in one step, and one Undo takes it all back. • Say where the film goes, from TikTok and Reels to YouTube or a podcast, and the Editor suggests the style and the shape for it. Your saved styles get a row of their own. • Every pause has a line of its own in the transcript and draws its own sound. • Every sticker is redrawn as a flat, illustrated set, and fourteen word stickers join the catalog. • The app moves: a launch opens on the monitor, the monitor never blinks, a cut draws its blade, and the export window writes the film and flies the frame to Reveal. Hold a click on the monitor, or ⌥, to see the film as shot. • Try a look from the Refine crate and see it on the monitor at once. • Fixed: VHS and Glitch no longer tear with black rows, a B-roll cutaway covers every frame it spans, a reopened project keeps its chapters, and opening a project is no longer an undo step. Requires macOS 14 or later. The Editor's reading of the film runs on Apple Intelligence (macOS 26) or on an optional model you download in Settings.

Cuts Studio now has transitions. • Seventeen cut styles, including Dissolve, Wipe, Push, Flash and Dip to black. Thirteen are free. Whip, VHS, Glitch and Film burn come with Cuts Pro. • Set one style for every cut under Refine › Cuts, or click a cut on the timeline strip to give it its own. Pick a length, and a direction for the styles that travel. The preview and the export render the same thing. • A transition never changes how long your film runs. The transcript shows a mark at every styled cut. • In Hybrid, a row no longer loses its last word when the pause after it is removed. • Coming back from Timeline, the transcript no longer slides under the sidebar. • A project you reopen keeps its cuts where they were, and the first reopen of an import no longer analyses its audio again. • Trimming a piece to end right after a word no longer strikes that word in the transcript. Requires macOS 14 or later. The Editor requires macOS 26 and Apple Intelligence.

The words you keep stay in the film. • A short word standing between two pauses is no longer dropped, and a pause no longer opens inside a word you kept. • Cutting a short word no longer takes the word next to it. • Move a piece on the timeline and it plays the same words it played in place, with its captions in sync. Requires macOS 14 or later. The Editor requires macOS 26 and Apple Intelligence.

Small follow-up to 2.6. • The About window now reads "Edit with words." — the line the app has always been about. • On a Mac in Portuguese, the subtitle style names (Moderno, Clássico, Mínimo…) and the size chips (P / M / G) now follow the language. • Close the window and Window ▸ Cuts Studio (⌘1) brings it back. Requires macOS 14 or later. The Editor requires macOS 26 and Apple Intelligence.

Small things that make the editor feel right. • Clips in the Hybrid and Timeline lanes light up under the pointer. • Right-click menus and the ⋯ menu close on any click outside them. • B-roll and sticker thumbs in the transcript grow a little on hover. • Dragging a clip into another lane previews exactly where it will land, at the clip's size. • Moving music and B-roll blocks no longer stretches them under the pointer. • Pause markers between paragraphs no longer hide behind the inspector in the Hybrid view. • Dragging a file from the library shows the clip's frame, and the transcript previews the words a B-roll will cover — also when moving a B-roll you already placed. • Switching Timeline → Hybrid keeps the lane on screen.

Cuts Studio 2.5 stands the film up. A vertical Timeline beside the transcript, an Editor that reads the film and proposes the cuts, and a workspace that keeps the monitor for the picture. What's new: • Timeline and Hybrid. The film as a vertical lane — each piece's filmstrip as tall as what it says, with music, B-roll and sticker columns beside it — on its own (Timeline) or next to the transcript (Hybrid). Trim on the edges, move by dragging, right-click for the verbs. Switch lenses in the header of the editing surface. • The Editor. Click ¶ in the deck: Apple Intelligence reads the transcript and proposes contextual cuts to the length you ask for. You review; nothing is applied on its own. On a Mac without Apple Intelligence, or when it fails, an optional on-device model takes over — Gemma 4 E2B, a 3.6 GB download you start yourself in Settings. Either way the film never leaves this Mac. • Your takes live in the Library. Open a project and its files unfold under it, in the order the film plays them: drag to reorder, drag onto a word to place a cutaway, rename or remove with a right click. The Media mode under the preview is gone — the monitor only ever shows the film. • A calmer chrome under the monitor. One line for the monitor (what was cut, where the playhead is), one header for the surface (which lens, at what scale). Zoom the surface with ⌘+ and ⌘−, ⌘0 to reset, a pinch, or from the ⋯ menu. • A new sticker collection. All 36 stickers redrawn in one language — dimensional, die-cut, one silhouette each. On the lane a sticker's mark sits on its own chip and its edges trim like a music bed's. • The control deck sits on Liquid Glass on macOS 26. Fixed: • Cancelling an export no longer races the reader. • The preview's window is a fixed 16:9 frame on a dot-matrix ground; it no longer changes shape with the material or the window. • The music waveform on the lane is drawn against the bed's real extremes. • A round of visible fixes on both lanes: trims ripple live, silent beds are shown, the active piece is highlighted, a pasted piece lights its own occurrence. Requires macOS 14 or later. The Editor requires macOS 26 with Apple Intelligence, or the optional Gemma download.

Cuts Studio 2.4 is a stability release for the preview monitor and for the on-device cleanup passes. Fixed: • The preview monitor no longer goes black. Toggling filler removal or editing the transcript could leave the monitor parked past the last frame the composition can actually draw — a black picture with a running clock. Playback and scrubbing now stop at the last renderable picture, and pressing Play there replays the film instead of running out into the black tail. • A grey or unpainted frame no longer reaches the monitor. When the compositor has to fall back — a source that is still loading, a gap between clips — it now paints the fallback frame instead of handing the player an uninitialised buffer. • Remove filler and Remove retakes keep their marks. The on-device language model refines what the heuristic marked, but an empty answer — no model installed on this Mac, a session that failed, a transcript with no filler in it — used to arrive looking like a real refinement and wiped every word the pill had just painted: the strike-through vanished and the film came back uncut. An empty refinement is now refused, and so is a partial one, so the marks you see are the marks that render. Requires macOS 14 or later.

2.3 is one room, drawn like an instrument. ONE WORKSPACE. The five tabs are gone. The Library sits on the left, the film and its words in the centre, Refine and Subtitles in the inspector on the right — Export opens in its own window when you ask for it. Nothing changes room while you work. THE LOOK. Paper and ink, one grey ramp in light and dark, mono labels, square buttons, one wordmark on the icon and in the app. Color is spent only where something is live. The footage tint that 2.2 painted the pages with is gone; the pages are paper again. THE SCRUBBER. The waveform under the monitor is an instrument: it draws the film's own energy, follows the playhead, and reads to VoiceOver as a timecode. LIBRARY. Projects sort by what you touched last, and opening one doesn't count. A hairline separates projects from presets, and a row's actions appear over the name without moving it. EXPORT. The window keeps its chips on one line at any width, and Export sits level with the Pro button. PRO. Free to start, one purchase for Pro — with a welcome, a guided tour that points at the real controls, a Pro page in the app, and one paywall. Also: Reduce Motion is honoured everywhere; hover and press feedback throughout; every card, chip and label follows the same grammar.

The resolution you ask for is the resolution you get. The export frame used to be seeded by whichever file was imported first, so a three-second insert could cap an entire film and crop it to its shape. The frame now belongs to the clip that owns most of the film — a short portrait card can no longer turn ten minutes of landscape on its side. Your project brings its own color. Cuts Studio reads a palette from the footage when a project is imported and tints the pages with it; Projects and Refine stay neutral, and Settings has a switch. Also in 2.2: the Export button stays put instead of scrolling out of a small window; a clip's action bar stays inside the window near the end of the lane; the reframe sliders move smoothly instead of snapping to whole numbers; undo reaches the timeline, paste works again and the transcript follows the playhead; the timeline is quicker to drag and reorder; and the Library counts each file once, instead of once per appearance.

Film looks are now a drawer of vintage film cards — scroll through, click to apply. Subtitles got the same care: eleven styles, each on its own collectible card. Also in 2.1: timeline paste and reorder are more reliable with real media; preview and export stay aligned for subtitles and effects; key controls work better with keyboard navigation, VoiceOver and Reduce Motion; and purchases are more dependable.

· Projects — Cuts Studio opens to a library now. Each project holds a stack of related clips, transcribed in parallel. · Subtitle styles preview live on your footage. · Fixes and polish throughout.

Cuts Studio 1.2 gives every clip its own look — and cleans up your voice. What's new: • Per-clip Effects — projects with two or more videos now edit each clip individually. A new Clips column on the left of the Effects tab lets you pick a clip and tune its filter, grading, rotation, enhance, and the new voice filters just for that one. The preview shows only the clip you're editing, so there's no scrubbing through the whole timeline to find your changes. • Equalize — a one-click voice equalizer in the Effects footer. Drops rumble, lifts presence, and runs a gentle compressor so your voice sits at a consistent, broadcast-ready level. • Noise Reduction — an on-device RNNoise denoiser that strips background hum, fans, room tone, and keyboard clatter from your voice. No upload, no account, no internet. • Voice filters in the live preview — Equalize and Noise Reduction now play back in real time on the preview, not just at export. You hear the processed voice while you edit. • Preview pauses when you switch tabs — no more audio playing in the background while you're looking at Subtitles or Export. • Cleaner Library preview — removed the Play icon overlaid on top of file thumbnails. The transport bar below is the single source of truth. • Refined sidebar in dark mode — the tab rail sits a touch lighter so the app reads more flat and modern. • Topbar icons — File, View, and Effects menu items in the macOS menu bar carry small symbols for faster scanning. Improvements: • Renaming a source file no longer blacks out the live preview. • Multi-clip preview is resilient to a single bad clip. One unreadable source no longer aborts the whole composition; the rest of the timeline plays through. • Switching projects while a preview is still building no longer leaves a stale build interfering with the new project.