A cutting room in a tab
The parts of an edit that used to need a desktop suite, and the parts that used to need a subscription to somebody’s servers. Video and photographs share the engine, the colour pipeline and the promise — they are two rooms, not two products.
Moving pictures
Cut out a subject
Lasso around it, brush to add or remove, and watch the selection follow through the clip. Wrong on a frame? Fix it there and the fix carries on from that point.
Replace the background
Blur it, darken it, drop in a colour, or make it see-through so another clip shows behind. Hair keeps its own colour instead of a fringe of the old room.
Remove a logo or object
Box the thing in your own footage. Each frame is rebuilt from the frames around it, and where the camera never moves, from the picture beside it.
Captions, on the machine
Speech is transcribed here, not sent anywhere, and arrives as text on the timeline you can restyle or rewrite.
Colour, properly
Wheels, curves, scopes and your own LUTs, computed in floating point on the graphics chip, with dithering so gradients stay smooth.
Steady, trim, speed
Take the shake out of handheld, crop and reframe on the picture itself, ramp speed, and cut silences out of a talking take.
Split at shot changes
One press finds every cut and fade in a montage and splits there, so the rest of the work happens shot by shot.
Sound that travels
Level automation, fades, a voice cleaner, and a stereo or 5.1 mix rendered with the picture.
Export where it is going
Reels, squares, wide, up to 4K, encoded by your own hardware — and 10-bit for footage that has it.
Still pictures
Grade it properly
Exposure, contrast and white balance, three-way colour wheels, per-channel curves — and scopes that measure the picture rather than trusting the screen you happen to be on.
Adjust one part of it
Brush it in by hand, drag a gradient across it, or select a range of brightness or colour. The subject and the sky can be found for you.
Backgrounds, on stills too
Blur it with a lens-like bloom, put it on a colour, drop another picture behind it, or take it out altogether for a transparent PNG.
Take out a blemish
Click it, and somewhere nearby that matches its surroundings is found and blended in — with sharpening, texture, clarity and dehaze alongside.
Make it bigger than it was
A super-resolution model on your own machine works out the detail for twice the size: for a print, or a crop that went further than the pixels allowed.
Ask for it in words
“Warmer and a bit brighter.” It shows what it would change before changing anything, says so when it does not understand, and one undo puts it all back.
One look, every photograph
Save what you did as a preset and replay it across a folder of pictures. They come back as one zip, edited on this machine.
Camera RAW
CR2, CR3, NEF, ARW, RAF and DNG open through the full-size preview the camera wrote inside them. Reading the sensor data itself is being built next, and the editor tells you which one you are looking at.
The same colour engine
The wheels, curves, LUTs and scopes are the ones the video side uses, computed in floating point on the graphics chip. A look you build for a clip is a look you can put on a photograph.
The footage stays with you
Not a policy. A consequence of where the work happens: the decoding, the models, the grade and the encoding all run in your browser, on your own processor and graphics chip.
No upload, no wait
A 4K clip starts editing as soon as you drop it in. Nothing is copied to a server first, so nothing is queued behind anybody else's render.
Nothing to leak
Unreleased footage, client work, a face that has not consented yet — none of it is on our machines, because it never arrives there.
Works offline
Once the page and the models are loaded, the editor keeps working with the network off. Your project is saved in the browser, on your device.
The AI models are downloaded once from a public model host and then cached. After that they run where your footage already is.
How it differs
The others are good tools. They are also somewhere else: your footage goes up, the work happens on their machines, and the bill follows the minutes you render.
| Showfinch Studio | Cloud editors | |
|---|---|---|
| Where your footage goes | Stays on your device | Uploaded to their servers |
| Waiting to start | None — it plays as you drop it | Upload, then a queue |
| AI cut-out | Included, runs locally | Usually a paid tier or credits |
| Cost per render | None | Often metered by minute or credit |
| Works offline | Yes, once loaded | No |
| Needs an install | No — a browser tab | No, but a login and a plan |
A general comparison with browser-based cloud editors, not a claim about any particular product’s current plan.
For the fussy ones
Scopes that tell the truth
Waveform, parade and a histogram, measured on the frame rather than judged on whatever screen you are using.
Your own LUTs
Import a .cube and place it before or after the grade, at any strength.
Masks and keys
Shapes that follow what is under them, a screen key with spill control, and secondary colour by hue.
10-bit, where it exists
Footage shot in 10-bit VP9 or AV1 is graded and exported at 10 bits, HDR sources included.
What it is not
Better to read it here than to find it out on your first export.
- AI work takes minutes, not seconds
- A cut-out on a ten-second clip is a couple of minutes on a recent laptop, because the model runs on your machine rather than on a rack of them. It shows progress and can be stopped.
- It asks something of the machine
- A recent browser with graphics acceleration. It has been built and tested in Chrome on a Mac; other browsers are expected to work and are not yet verified.
- 10-bit export is WebM
- The browser will only encode 10-bit as VP9 in WebM — fine for YouTube and the web, awkward for apps that insist on MP4. Footage from an iPhone is handled as 8-bit.
- Long films are not the point
- It is built for the clips creators actually post: seconds to a few minutes. An hour-long timeline will strain the browser's memory.
- Removing marks is for your own footage
- The object removal is there for a logo you own, a date stamp or something that wandered into shot — not for taking somebody else's watermark off their work.
Open it and drop a clip in
The Studio lives in your Showfinch Workshop, alongside the page your audience lands on and the numbers that say which post sent them.
Create a free accountAlready have one? Open the Studio.