Cuts 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 tap Cut. Tap 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 iPhone, like everything else. • Ask "where do I talk about the price?" and the film goes there. • When it isn't sure, it shows the closest places and lets you pick. • A cut by subject is like any other: the words stay in the transcript, struck, and a tap brings any of them back. • The Editor has its own button beside the dock, and the conversation opens out of it. Requires iOS 17 or later. Written asks and cuts by subject require iOS 26 and Apple Intelligence.

Cuts 2.9 lets you tell the Editor what you want, and it runs on the iPad. • Tap the caret at the start of the dock and write what the film needs: "cut the ums", "black and white and square", "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. Without Apple Intelligence the Editor still reads direct ones, like "remove the ums" or "make it vertical". • Cuts runs on the iPad: the Library beside the editor, a hardware keyboard, Files, drag and drop, and Apple Pencil. Strike a word to cut it, underline words to select them. • On a wide window the editor and its inspector sit side by side. • 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 shrinks to fit instead of ending in "…". • Copy, paste and the arrow keys follow the Timeline's order. Requires iOS 17 or later. Written asks, Cut to length and the Editor's reading of the film require iOS 26 and Apple Intelligence.

Cuts 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. Save your own settings as a style and it sits beside the six. • Import a video and the Editor offers its cut as soon as the words land. One tap to take it, or Later. • The five tabs show their names when the row opens, and Export opens on "Post to". • Every pause has a line of its own and draws its own sound, so you see what a cut takes. • Every sticker is redrawn as a flat, illustrated set, and fourteen word stickers join the catalog. • The app moves: the film grows out of its tile into fullscreen, the export lands on Share, and precision scrub shows the frame under your finger. • Fixed: VHS and Glitch no longer tear with black rows, a B-roll cutaway covers every frame it spans, and an audio-only export writes its .srt file. Requires iOS 17 or later. Cut to length and the Editor's reading of the film require iOS 26 and Apple Intelligence.

Cuts 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 in Refine › Cuts, or tap the mark between two pieces on the timeline to give that cut its own. Pick a length, and a direction for the styles that travel. • A transition never changes how long your film runs. The transcript shows a mark at every styled cut. • Captions no longer lose the last word before a pause you removed. That covers burned captions, the .srt file and the Subtitles preview. • A project you reopen keeps its cuts where they were. They used to shift a few seconds after opening, and the running time with them. • Trimming a piece to end right after a word no longer strikes that word on the page. Requires iOS 17 or later. Cut to length and AI refinement require iOS 26 and Apple Intelligence.

Retakes and the words you keep, fixed. • When you redo a line, Cuts now drops the earlier attempt and keeps the one that landed. The "let me try that again" between the two goes with it, every word is struck on the page and counted, and Keep brings any of it back. • A word you keep stays in the film. Cutting a short word no longer takes its neighbor with it, a pause no longer opens inside a kept word, and a short word between two cuts still plays. • At Fillers MAX, every cut word shows struck in its place, with no empty lines on the page. • Trimming a piece ticks when it reaches the end of its footage. Requires iOS 17 or later. Cut to length and AI refinement require iOS 26 and Apple Intelligence.

Small follow-up to 2.6. • The About sheet now reads "Edit with words." — the line the app has always been about. • Three labels that stayed in English on a Portuguese iPhone now follow the language: the overlay sheet's Text / Stickers / Emoji tabs. Requires iOS 17 or later. Cut to length and AI refinement require iOS 26 and Apple Intelligence.

Cuts speaks Portuguese. Set your iPhone to Brazilian Portuguese and the whole app follows — every tab, verb, dock level, readout, help sheet and export receipt. English stays the default everywhere else. What's new: • Brazilian Portuguese, across the app. The transcript is still your take, in whatever language you spoke; the interface around it is now yours too. • Look names stay as they are — Portra 400 is Portra 400 in any language. Requires iOS 17 or later. Cut to length and AI refinement require iOS 26 and Apple Intelligence.

Cuts 2.5 adds an editor that reads the film. Tell it how long the cut should be and it proposes the cuts, on your iPhone, with Apple Intelligence. Nothing is applied until you say so. What's new: • Cut to length. Open the Editor (¶) and pick a target — 0:15, 0:30, 1:00, 2:00 or any length. Apple Intelligence reads the transcript and proposes which stretches to drop; the proposals arrive as marks you review, undo and accept. Long films queue and finish in the background, with a notification when they land. Requires an iPhone with Apple Intelligence turned on; without it the Editor stays visible and says what it needs. • AI refinement for filler and retakes. On iPhones with Apple Intelligence, the filler and retake marks get a second pass from it; the vocabulary pass still shows immediately. Switch it off in Settings if you prefer the plain vocabulary. • One editing surface. Lane, both or text — swipe between them and the surface morphs under your finger. The verbs live in a glass dock; menus point at what they act on; Add and Edit share one drawer with a vertical trim. • A new sticker collection. All 36 stickers redrawn in one language — dimensional, die-cut, one silhouette each. A sticker picks up under your finger: it lifts, grows a tenth and casts a shadow while you carry it, the way a strip does on the Timeline. A selected sticker no longer wears a frame; the film shows through. • The Timeline lane, finished. The sticker column trims on the lane, two stickers at the same time get two columns, and the sticker's mark sits on its own chip. The music bed's Replace is back on its card. Improvements: • After transcription, the app suggests a filler cleanup when it finds a lot of filler — one tap to try it, undo stays available. • The Library shows what each export gave you. • The dock's buttons answer a 44pt finger; a lit toggle reads as a pill. • The project's name in the top bar stops before the buttons instead of running under them. • The preview: a dot-matrix letterbox, bigger thumbnails, tap play to expand, pinch a sticker to resize it. • Zoom marks no longer cut the film, and "yes" and "no" are not filler. • Trimming, splitting and moving on the lane got a round of visible fixes on both lanes, and the lane's axis stopped re-measuring while you scroll. Requires iOS 17 or later. Cut to length and AI refinement require iOS 26 and Apple Intelligence.

Cuts 2.4 rebuilds fullscreen editing as one surface. The transcript and the film stop being two panes you switch between: the Timeline lane sits beside the words, each piece's filmstrip stands as tall as the text spoken over it, and a cut is simply the gap between two pieces. What's new: • The unified fullscreen editor. Enter fullscreen and the transcript and the Timeline lane share one scroll. Each piece's filmstrip is drawn as tall as the lines it carries, so you can see which frames a paragraph owns without hunting for them. A removed stretch is not hidden — it is the gap. • The playhead rides the spoken line. While the preview plays, the line being spoken stays with the picture. Scrub the film and the text follows; edit the text and the film follows. • Pinch to scale the type. A pinch — or the ± controls — sets the transcript's size in fullscreen, from a working close-up to a whole page at a glance. • Edge to edge. The editor's content runs to the physical edges of the screen. A legibility band under the chrome keeps words readable over the film instead of capping the picture with a bar. • Stickers are placed on the film, in fullscreen. Drag a sticker onto the picture and it lands on the frame, not on a separate canvas. Two stickers alive at the same time are drawn as two ribbons side by side, not one pile. • The music lane is the selected bed's own surface. It appears when a bed is selected and goes away when nothing is. • The fullscreen verbs — close, undo, and the overflow menu — moved into the band beside the Dynamic Island, and the project's name left that surface. The film gets the screen. • Fullscreen arrives by fading rather than growing. Improvements: • A pinch on the lane can no longer reorder a piece by accident — the scale gesture stands the lane's drags down. • Dragging a piece takes the verb bar down with it, whichever verb it is. • Trim handles sit on the piece's own edge, with a grab area wider than the handle you see. • The "+n" overflow badge steps aside for a drag instead of hiding under it. • A sticker's card hangs off the ribbon you can actually see. • Press and hold a music bed to pick it up — holding no longer puts the lane away. • Starting playback no longer strands a sticker or B-roll placement mid-placement. • VoiceOver announces the Marked band's words as removed. • Crowded ruler ticks thin out instead of piling up, and the lane stops remounting while the transcript measures itself. Requires iOS 17 or later.

2.3 is a new face and a steadier hand. THE LOOK. Cuts is drawn like an instrument now: paper and ink, one grey ramp in light and dark, mono labels, square buttons — and one wordmark, the same on the icon and in the app. Color is spent only where something is live: the caret, the playhead. The footage tint that 2.2 painted the pages with is gone; the pages are paper again. THE TRANSPORT. Play, the waveform and the tabs share one glass pill at the bottom. Hold the waveform for a precision scrub. Tap the preview to go fullscreen and keep editing there. Scroll and the preview folds into a corner thumb so the words reach the top; tap the thumb to bring the film back. Under the film, a reading: how long the take was, how long the cut is, what came out. STICKERS AND TEXT. Drop stickers, emoji or a line of text on the film. Drag to move, pull a corner to resize, or set the size on the card — the card also trims, fades, replaces and copies. The transcript, the Timeline and the film now agree about every one. MUSIC. Lay a bed under the film — more than one, moved and trimmed on the Timeline lane, mixed under the voice. EXPORT. Source, 4K, 1080p, 720p or 540p; H.264, HEVC or ProRes; audio only; GIF; the frame rate you choose. Presets live in the Library beside your projects, and the current one is marked. LIBRARY. Projects sort by what you touched last — and opening one no longer counts as touching it. PRO. Cuts is free to start and Pro is one purchase; the app says so now. A welcome, a short tour that points at the real controls, a Pro page that shows exactly what it unlocks, one paywall. Also: Reduce Motion is honoured everywhere; haptics report the hand's work; the Timeline's dock sits on the pill and fits any phone; VoiceOver reaches the stickers on the lane and in the text.

A film look no longer has to cover the whole film. In Refine there is now an All clips / This clip switch: pick one clip, give it its own look, and everything else keeps the project's. And what you see is what you get — a look scoped to a single clip used to be honored in the preview and quietly dropped at export. It reaches the file now. The Timeline grew hands. Drag a piece by its edges to trim it, long-press a piece for its verbs, pinch to zoom the lane, scrub frame by frame — and undo now covers reorder and split, not just the words. 720p means 720p. The export frame used to be set by whichever clip happened to sit first, so a three-second insert could shrink an entire film and crop it to its shape. The frame now follows the clip that owns most of the film, so the resolution you ask for is the resolution you get. Also in 2.2: each project takes a color from its own footage and the editing pages carry it, with a switch in Settings; color and framing edits autosave, so a crash can no longer take a grading session with it; exports use less memory, because no preview keeps running behind a render; and the app clears out the temporary files it used to leave behind — hundreds of megabytes of them.

Film looks are now a drawer of vintage film cards — flick through, tap to apply. Subtitles got the same care: eleven styles, each on its own collectible card. Also in 2.1: preview and export keep the correct orientation, crop and face tracking across mixed portrait and landscape footage; audio stays in sync at different speeds; unavailable media is handled more safely; and VoiceOver and Reduce Motion support got better.

· Projects — the library now holds folders of takes; drop a batch in and cut it as one transcript. · Faster on-device transcription and smoother preview scrubbing. · Fixes and polish throughout.

Cuts 1.2 brings multi-clip projects, voice cleanup at export, and full background processing — start a long transcription or render, switch apps, and Cuts finishes the work for you and saves your edit to Photos when iOS lets it. What's new: • Multi-clip projects — add more clips into an existing project from the library, reorder paragraphs across all of them, and mix portrait + landscape clips in the same edit (each one renders upright, landscape clips center-crop into the portrait frame). The new clip transcribes in the background with a progress row inline in the transcript. • Voice cleanup on export — two new toggles in Effects. "Noise reduction" strips background hum with the RNNoise model; "Equalize voice" runs a high-pass + presence bell + soft compressor so the voice sits at a consistent level. Both apply to the exported audio. • Background processing — kick off a long transcription or render, leave the app, get a notification when it's done. Works for the initial import too. • Speed picker — a Speed card in the transcript footer opens a dropdown with multipliers from 0.5× to 2×. The chosen value is applied at render. • Per-clip preview frame in Effects — when a project has more than one clip, pick which clip's still the Effects pane previews. Filter, grading, and enhance apply to whichever clip you choose. • Karaoke word highlight — the currently-spoken word is highlighted in the transcript while the edit preview plays. • Library clip preview — selecting a source file in the Project tab plays it raw in a preview tile above the file list. • Brightness slider in Grading replaces Tint. Improvements: • Tap a project row to open it — no more "Open" button; the active project's row is shaded so you can spot it at a glance. • Launches straight into your most recent project (Transcript tab); the import hero only shows when the library is empty. • Transcript footer scrolls horizontally so the new Speed card fits without shrinking the others. • Custom rename and delete confirmation cards replace the system popovers that used to point at nothing, matching the rest of the app's flat look. • Renaming a project no longer reverts other projects' names on the next save, and renaming a clip now reflects in the Effects clip picker immediately. • The Effects still preview now loads when you reopen a saved project (it used to be blank until you re-imported). • A corrupt or missing source clip no longer freezes the preview on "Preparing preview…" — the build skips the bad slice and plays the rest. • Switching projects mid-build no longer drops the previous project's composition into the new one's preview. • The preview tile pauses when you switch tabs so audio doesn't keep playing under the new tab. • Multi-clip preview now plays every clip on device — was silently dropping the second clip when its codec format differed from the first. • The "N clips" count on the library row, the file list, and the transcript header always agree now. • Reorder badges correctly label paragraphs from the second clip onwards in multi-clip projects. Requires an iPhone running iOS 16.4 or later.

Cuts 1.1 brings a live edit preview, an inline word-level editor, and background renders that survive switching apps. What's new: • Live edit preview — see exactly how your cut will look before you commit to a render. Silence trims, captions, color filter, and Smart Zoom apply in real time as you adjust the preset. • Inline transcript editor — the full transcript now sits on the home screen. Tap any word to mark it for removal; long-press to scrub the preview to that moment. Your selection is saved per video so you can come back later. • Background renders — long edits that exceed the foreground time limit now finish in the background. A notification fires when your edit lands in Photos so you don't have to keep the app open. • Transcription bundled in the app — no model download on first launch. Pick a video, tap once, and the cut starts immediately. • Brand-new app icon, redesigned for iOS. • Refreshed brand palette — Cobalt, Swiss Red, Golden, and Forest tints make silence, filler, retake, and zoom marks instantly readable. • IBM Plex Mono typography for a cleaner read on the transcript. Improvements: • Foreground render cancel now propagates cleanly to the export pipeline, so backgrounding the app mid-render no longer leaves the export task spinning. • Three-dot menu and the reorder side panel both got UX polish — smoother slide-in, cleaner drop shadow, tap-outside to dismiss. Requires an iPhone running iOS 16.4 or later.