Video editor with transitions, titles and music

Merging puts videos one after another and stops there. Here the timeline stays editable: a clip can be moved, trimmed by its edge, split in two, sped up, joined with a transition and captioned, and any change can be undone — all of it goes into one export.

Press “9:16” in the “Frame” row. By default a landscape clip fits whole with bars above and below; “Fill” crops the sides, and “Blurred background” puts a blurred copy of the clip underneath — the bars disappear and everything you filmed stays in the frame.

Yes: a photo goes on the timeline as a 4-second clip, and its length changes with the slider or by dragging its edge. iPhone photos in HEIC open too. The same transitions work between photos and videos.

Yes, but first it is converted to H.264 because the browser does not play such files. The conversion runs on this computer and takes time — the timeline shows how many percent are done. MP4, MOV and WebM files go on right away.

The limit is not the number of clips but the browser’s memory: no more than two are decoded at once, so usage barely grows with the length of the timeline. In practice dozens of clips build fine.

It means this browser has no H.264 encoder. Instead of refusing, the edit goes to VP9 in a WebM container — the file works, it is just in another container.

Yes: the volume of clips and tracks, fade-ins, fade-outs and transition cuts are computed by the same timeline model for both the preview and the export.

Press “Hide” — a three-second area appears on the timeline. Put it over the plate on the preview frame and resize it by the bottom-right corner. If the car moves, scrub to where the plate is somewhere else, move the area and press “Add keyframe”: the position between keyframes is worked out for you. On export the hiding is burned into the frame.

For text — a plate, an address, a document — pixelate. Gaussian blur is reversible: with a known radius part of the image can be recovered, and for a ten-character plate that is sometimes enough. Pixelation averages a block into one value, and there is nothing left to recover.

Press “Overlay” and choose a PNG or JPG — it goes onto the track above the video, in the top right corner, until the end of the video. Drag it in the preview frame and resize it by the corner; in its properties you can snap it to any corner with one click and change its size, opacity and entrance. A PNG with a transparent background stays transparent.

Yes: drop an .srt, .vtt or .ass file together with the video, or press “Subtitles”. Each line becomes its own title with its own timing at the bottom of the frame, and you can edit it like any title. Subtitles saved in older encodings such as windows-1251 are read without garbled characters.

No: titles, images, hidden areas and audio sit on the frame beneath them, not on a second of the timeline. Trim the start of a clip and the title over it moves with its frames; move a clip and its title moves along. Anything that starts at the very beginning of the video or runs to the very end stays that way.

Select a clip and put the playhead on the moment you need: the camera button inserts that frame as a 2-second photo, splitting the clip. “Detach audio” in the “Sound & speed” tab turns the clip audio into its own track, so you can move, trim or duck it separately from the picture.

Press “Overlay” and pick a video — it goes on top of the frame in the bottom-right corner. If both videos are already on the timeline, select the one you want and press the “Picture-in-picture” icon in its properties. In the overlay properties choose the “Circle” shape and, if you like, a white border; the edges of its bar on the timeline trim it, and its sound has its own volume slider.

Select an overlay shot on a green or blue background and turn on “Remove background (chroma key)”: the “Auto” button takes the background color from the frame edges. “Strength” decides how close to the background a shade must be to turn transparent, “Edge softness” smooths the outline, and the green fringe on hair is toned down automatically.

Select the item, put the playhead where the motion starts and press “Add keyframe”. Then move the playhead to where the motion ends and drag the item to a new spot or change its size — a second keyframe appears, and the item moves between keyframes on its own, smoothly or at an even pace.

Yes: in the video clip properties, on the “Sound & speed” tab, press “Reverse”. The clip segment is re-encoded backward, sound included, and “Play forward” restores it as it was — without encoding it again.