Every button, explained in plain words. Nothing here assumes you have edited video before.
Left is your stuff — pictures, videos and songs you brought in. Middle is the big picture, showing what your video looks like right now. Bottom is the timeline, where your video is laid out from left to right like a train.
The timeline has four lanes. Each one has a job, and what you put where decides what ends up in the video.
| Lane | What belongs there |
|---|---|
| T1 Titles | Your words on screen — subtitles and titles. |
| V2 Overlay | Things that sit on top: a logo, a badge, an end card, a second picture. |
| V1 Main | Your main picture. Most of your video lives here. |
| A1 Music | Your song. |
Each lane has a row of controls next to its name:
Anything you put on V2 Overlay covers the whole picture, exactly like V1 — a logo, an end card, a second video. If you want it smaller, scale it yourself in the Inspector; nothing shrinks it for you.
A video on V1 or V2 is not silent by default — whatever sound is inside that file gets mixed into your export alongside your song. Usually that is what you want for an end card with a voice or a sting.
When it is not what you want — silent AI footage that happens to carry room tone, or a logo whose jingle fights your bhajan — press M on that lane. V1 in a normal music video is almost always muted.
This catches people out, so it is worth being plain about:
So to put a logo on V2 at the four minute mark: drag it from the left panel and release it on the V2 row at four minutes. Dropping is the only way to choose both the lane and the time.
These five change what happens when you drag a clip. Most of the time you only need the first two.
Picks things up and moves them. If you are unsure, use this.
Cuts one clip into two where you click. Use it when you want to throw away the boring middle bit.
You have two clips touching. Roll drags the join between them: one gets longer, the other gets shorter by the same amount. The video stays exactly the same length.
The clip stays in the same place and stays the same length — but you change which part of the video plays inside it. Like sliding a photo behind a picture frame.
The clip keeps its own length but moves along, pushing into its neighbours. They shrink to make room.
Imagine your clips are books on a shelf, side by side.
Turn it on when you are cutting things out and do not want silences. Turn it off when a clip must stay at an exact time.
When you drag a clip near another clip, a marker or the red line, it jumps the last little bit and sticks — like a fridge magnet. That is Snap. It keeps everything lined up with no tiny gaps. Turn it off if you need to place something very slightly off on purpose.
Drops a little flag at the red line so you can find that moment again later. Good for "the chorus starts here".
This is the biggest time-saver in the whole app. Use it for long songs.
Once more than one is picked, a purple bar appears with these:
Put your song on the audio row and your pictures on the video row, then press this. VoidCut listens to the song, finds the drum beats, and moves every picture so it changes on the beat — spread across the whole song. This is what makes a bhajan video feel professional instead of homemade.
If you recorded your voice at home, the recording has the room in it too — a fan, a laptop, the hum from the wall, the hiss of a cheap microphone. Pick the audio clip, open Audio in the Inspector, and press Clean This Clip.
It works by listening to the quietest moments of your own recording — the gaps between words — to learn exactly what the background sounds like, then turning that down everywhere while leaving the voice alone. Nothing is guessed, and nothing is sent anywhere: it all happens on your computer.
Cut low rumble below 80 Hz removes the deep thumps that come from knocking the table or the desk fan, and is on to begin with. Turn it off if the clip is music rather than speech, where that low end is part of the sound.
Cleaning does not change your original file. It puts a new (cleaned) copy in the media bin and points the clip at it, so the original is still sitting right there. ↩ Back to original puts the clip back on it whenever you want, and the clip stays exactly where it is on the timeline either way.
The message afterwards tells you how far the noise actually came down, measured on the finished audio — not an estimate.
The cleaned copy is saved uncompressed, so it is a large file — roughly 10 MB per minute. That is fine for a voiceover. For something an hour long VoidCut will tell you the size, and if it is too big to keep for next time it will say so, so you can export before you close the tab.
This turns down steady background noise. It cannot pull a voice out from behind music, and it will not remove a dog barking or a door slamming — those are one-off sounds, not a constant background, so there is nothing steady for it to learn. Voice Isolate in the AI Tools list is the one that separates a voice from music, and it needs the Desktop app.
For a video clip, press Detach Audio first and clean the audio clip that appears. A video clip carries its picture as well as its sound, so it cannot simply be swapped for an audio file.
Click an effect and it lands at the red line. Click it again and the next one lines up after it, not on top. So you can tap a few times and cover the whole song quickly.
The Color tab makes a picture warmer, brighter or richer. Auto Grade guesses good settings for you — a safe place to start.
Open Color Wheels in the Color tab and you get three of them: Shadows, Midtones and Highlights. Each one only touches its own part of the picture — the dark parts, the middle, or the bright parts.
Drag out from the middle towards whatever colour you want that part of the picture to lean towards. The further out you go, the stronger it gets. Straight back to the middle means no change at all, and double-clicking a wheel puts it back there.
This is how a proper colour grade is done, and it is much quicker than it sounds. The classic cinema look is one drag each:
The dark parts go cool, the skin and the lamps stay warm, and the picture suddenly looks like a film rather than a photo. For a devotional video, pulling the Highlights gently towards gold makes a diya or a temple lamp glow without making the whole frame yellow.
The slider under each wheel is luminance — it makes just that part of the picture lighter or darker, without changing its colour. Lifting the shadows a little is the usual way to get that soft, faded look.
A still picture can slowly push in or drift, so it feels alive. Auto Cinematic does this for every picture at once.
Pendulum Swing is the gentlest one: the picture leans a little to one side, then back the other way, like a temple bell on a rope. It tilts as it goes rather than just sliding, which is what makes it look like it is really swinging. You will find it in the movement list, and the Living Poster template turns it on for you.
You can type or paste Devanagari straight in — हर हर महादेव, राधे कृष्ण, joined letters like क्ष and श्री, and matras all come out correctly.
Templates build the entire thing in one press. They live in two places.
Whatever a template builds is ordinary clips on the timeline afterwards — move, trim or delete any of it.
For when you have a whole record — say ten songs — and want one long video of all of them.
Bring in your songs and one picture, then press Create Album. Every song is placed one after the other, your picture sits behind all of them, and a list of the songs appears beside it.
The list follows the music. There are three looks, not two, so you can see where you are and how much is left:
| The song… | Looks like |
|---|---|
| playing right now | bright white and bold, with a little ▶ next to it |
| already finished | dimmed, but you can still read it |
| not started yet | grey |
The names are taken from your files and tidied up on their own — the file ending goes, the number at the front goes, and underscores turn into spaces:
| Your file | Shown on screen |
|---|---|
| 01_Shivoham.mp3 | Shivoham |
| 02 Om Namah Shivaya.wav | Om Namah Shivaya |
If a name is not right, open Rename tracks & group them into acts on the card and type the names you want — one per line, in order. Leave a line blank and that song keeps its file name.
You can break a long record into named parts — an act, a chapter, a mood. Put a number in front of every song, and write the heading on its own line above the songs it covers:
ACT I – उत्सव 1. आज ब्रज में उत्सव है 2. आज नंद के आँगन कान्हा आए रे 3. कान्हा आ गए ACT II – आनंद 4. नाचे रे ब्रज सारा 5. नाचो रे गोपाल
That is the whole rule: a line with a number is a song, a line without one is a heading. Blank lines are only there to make it easier to read — they change nothing.
Now two things light up, not one. The song that is playing, and the act it belongs to:
| While song 2 is playing… | Looks like |
|---|---|
| ACT I (song 2 is inside it) | lit in your colour |
| song 2 | bright white and bold, with a ▶ and a soft plate behind it |
| song 1 | dimmed — already finished |
| song 3 | grey — not started |
| ACT II, III, IV, V | grey — not reached yet |
When song 4 starts, ACT I goes dim and ACT II lights up instead. The numbering keeps running 1, 2, 3 … 12 straight through, it does not start again at 1 inside each act.
As you type, the small line under the box tells you how many titles and acts it read, and warns you in orange if that does not match the number of songs you brought in.
Click the tracklist in the preview, then double-click the song whose name is wrong. A box opens on that line with the name already in it. Type the right one and press Enter. Changed your mind? Press Esc.
The list does not have to be plain text. Pick a look in Design in the Clip panel:
| Design | What you get |
|---|---|
| Royal Gold (normal) | gold frame with corner jewels, a gold rule under every song with small diamonds at the ends, and a flute along the bottom — the classic devotional record sleeve |
| Temple | the same frame, but each rule carries a little keystone in the middle like a temple arch, and a lotus closes the list |
| Fine Line | no frame, just clean thin rules — quieter, good over a busy picture |
| Plain | text only, nothing drawn around it |
The heading across the top shows how many songs in a small plate, then a line of writing you choose. Change it in the Title box — for example SOULFUL DEVOTIONAL SONGS, श्री कृष्ण जन्माष्टमी, or your own channel name.
Once you have the list looking the way you want — the design, the colour, the size, where it sits, the title — you do not have to build it again for the next album.
Saved looks live outside the project, so they are still there in a brand new album, and 🧹 Start Fresh does not delete them — that button clears your project, not your designs.
Changed a look by mistake after applying it? ⌘ Z puts the old one back.
Looks are kept in this browser on this machine. To carry them somewhere else — a second computer, a new laptop, or a colleague — use the two buttons next to 🎨 Save this look:
The file holds designs only — no songs, no audio, no pictures — so it stays tiny and is safe to send to someone else. Anything in it that is not a real setting is ignored when reading it back.
Click the tracklist in the preview so it is selected, then drag one song onto another. The two swap places — drag song 10 onto song 1 and song 1 goes down to slot 10. Everything in between stays exactly where it was.
Act headings belong to the slots, not to the songs. ACT I is always "the first three", so a song dragged into slot 1 joins ACT I. Got it wrong? ⌘ Z puts it back.
With the tracklist selected, three round purple buttons appear around it:
| Button | Where | Drag it to… |
|---|---|---|
| ✥ | top left | move the whole list anywhere on screen |
| ↔ | right side | make the list wider or narrower |
| ⤢ | bottom right | make the writing bigger or smaller |
The same things are in the Clip panel on the right as sliders, if you would rather type than drag. The buttons are only there while you are editing — they never show up in the finished video.
Click anywhere away from the list and it is no longer selected — the handles and the outline go, so you can look at your artwork without editing furniture on top of it.
To pick it up again, click it, or double-click it. Either works, anywhere inside the area it occupies. Clicking a gap between two songs does not put it down — that is still a click on the list.
Once it is selected, double-clicking a song renames that song, as before.
In the Clip panel, Row spacing runs from 70% to 250%. It changes the gap from one track to the next — and so where the lines between them fall — and nothing else. The writing, the numbers and the width of the list all stay exactly as they were.
This is the one to reach for when you are lining the names up against artwork that already has its own rows. Text size would change the gap too, but it makes the writing bigger as it goes; Row spacing leaves the type alone.
A forty-minute record that asks at the start asks nobody. The people who would have acted on it arrived twenty minutes in, by which time the sticker is long gone.
On the Album / Jukebox card, open Repeat Subscribe + Listen on through the record and tick Bring them back every few minutes. Each round is your chosen call to action, and then the Listen on badge a set time later:
| Setting | What it means |
|---|---|
| Which call to action | any of the Social CTA stickers — Subscribe, Like, Follow and the rest |
| How long it stays on screen | 2 to 60 seconds. 4 is a glance; 30 is hard to miss. It is your video — a devotional record and a gaming channel do not want the same answer |
| Every | minutes from one round to the next. 5 on a forty-minute record is about seven rounds |
| Then Listen on after | how long after the call to action the platform badge appears. Keeping them apart is the point — they are never on screen together |
The Listen on badge uses the services you already chose in Available On, at the rhythm you set there. If you have not chosen any yet it uses a default set and says so when it builds — open Available On in the Asset Library, pick yours, and build again.
Set the call to action longer than the gap and the badge simply waits for it to finish rather than appearing underneath — the two are never on screen together whatever numbers you put in. When that happens it says so when it builds, so you know the gap you typed was not the one used.
One artwork held for fifty minutes is a still picture with music over it, and that is a hard watch on YouTube. The FX tab is where you fix it — snow, rain, god rays, bokeh, embers, sparkles and the rest.
At the top of the FX Library, set Length to Whole project before you click an effect. It is laid over everything from the first frame, on an overlay track of its own, so a second effect layers under or over the first rather than following it — snow and god rays together for the whole record.
| Length | When |
|---|---|
| Whole project (normal) | atmosphere that runs all the way through — this is the one for a jukebox |
| Match selected clip | an effect over one song only. Select that song first |
| 10 seconds / 5 seconds | a moment. These still lay end to end, so clicking one repeatedly walks it along the timeline |
Text size scales everything at once and List width only goes sideways. When what you want is the same list, spread further down the frame, use List height.
It runs from Auto to 100%. Set it to 62% and the list is 62% of the frame tall, with the songs spread evenly to fill it — the writing, the numbers and the width do not change at all. This is the one that lands nine names beside nine numbered badges your artwork already has: set the height to match their span, then Down to line the middle up.
A name wider than List width used to be drawn straight off the edge of the frame. Long names decides what happens instead:
| Choice | What it does |
|---|---|
| Shrink to fit (normal) | that name alone is set smaller until it fits. It will not go below 60% of your chosen size — anything still too wide after that is cut with a … rather than let out of the box |
| Wrap onto two lines | breaks it at the word split that leaves the two halves most even, at full size. Every row gets taller, not just the wrapped one, so the list stays evenly spaced |
| Let them run over | the old behaviour, if you want it |
Song text size sets the names on their own, from 50% to 200%, without touching the numbers or the title band — so you can match the type in your artwork and leave the rest alone.
A lot of covers are made elsewhere and already have the numbered badges, the ruled lines and the title band painted into the picture. Drawing them again on top is the last thing you want.
Every part of the list can be turned off on its own. In the Clip panel, under What to draw:
| Untick | What goes |
|---|---|
| Title band | the whole line above the list — the count and the words together. The space it took goes too, so the songs move up |
| Count in the band | only the boxed number (the 9). The words stay and slide left into its place |
| Track numbers | the 01, 02, 03 down the left. The names then sit flush left, so they can line up against numbers already in your picture |
| Lines between tracks | the ruled separators and their ornaments |
| Outer frame | the gold box around everything |
| Closing ornament | the flourish under the last song |
To remove the words only and keep the number, leave the band ticked and clear the Title field instead. An empty title draws no line.
Titles only does all six at once and clears the shade behind the list, which is the whole "my artwork already has everything" case in one press. Show everything puts it all back — note that it resets all six, so if you have a particular combination set up, change the individual ticks rather than pressing it.
You do not have to build the album first and correct it afterwards. On the Album / Jukebox card, open What the tracklist draws before pressing Create Album. The same six ticks are there, along with the title above the list and the row spacing, and the album is built exactly that way.
Whatever you set stays set for the next album you build in the same session, so a run of records in one style is one decision rather than one per record. To keep it across projects, save it as a look — see Saving a look above.
Gold and bright artwork swallows grey text. So the list now sits on a shade that darkens the picture just behind the words, and every line has a soft shadow. In the Clip panel, Behind list gives you:
| Choice | What it looks like |
|---|---|
| Soft shade (normal) | a dark patch that fades away at the edges, so it never looks like a box stuck on the picture |
| Solid panel | a proper card with a thin coloured border — best over very busy artwork |
| None | no shade at all, just the shadow on the letters |
The Shade box next to it sets how dark it gets, as a percentage. Turn it up if your picture is very bright, down if the words already stand out.
Set Shade to 0 and the shade becomes completely see-through, so your poster's own colour comes through behind the names instead of a grey patch. That is what you want when the artwork already has a dark panel there — a blue background stays blue. Choosing None in the box above does the same thing.
A video works as the background too — a short clip just repeats until the last song ends, with its own sound switched off.
Tell people the song is also on Spotify, YouTube Music, JioSaavn, Wynk, Gaana and the rest — the same badge the big music labels run under their videos.
Open the Assets tab and find Available On. Clicking a set does not add anything straight away — it opens a tick-list titled “Where is your song?”
The three sets are just starting points for the tick-list — Indian platforms, Global platforms and Everywhere. Untick anything you are not on, tick anything missing, then press Add badge.
You release through the same distributor every time, so your list of services rarely changes. VoidCut saves what you ticked and uses it as the answer for every future video — so the second time it is one click, and it is already right.
Changed distributor, or a new song went to fewer places? Just tick differently next time — the new answer is remembered from then on.
This is the part that saves you the work. Real music videos do not show every logo together — one appears for a few seconds, goes away, and a different one comes back later. VoidCut does that from a single clip: switch on one after another and it works through your services by itself.
Two settings control the rhythm:
| Setting | What it does |
|---|---|
| On screen for | how long each service stays — normally 4 seconds |
| Then rest for | how long the screen is completely clear before the next one — normally 5 seconds |
Both numbers sit in the “Where is your song?” box, right under the services, so you set the rhythm at the same time as the list. As you change them it adds up a full turn for you. 4 seconds on, 5 seconds resting is a good starting point, but it is only a starting point — put 8 and 20 if you would rather the badge showed up rarely, and VoidCut will use that from then on.
The panel adds it up for you — five services at 4s + 5s is 45 seconds for a full turn — and warns you in orange if the clip is too short for every service to get its turn.
| Arrangement | What appears |
|---|---|
| Listen on… (one badge) | a white rounded badge with the service's mark and name — reads clearly over any footage |
| Now playing on… | plain words on the picture: NOW PLAYING ON, then the service name in its own colour |
| All on a dark strip | every service together on one dark bar — good for the end of a video |
| All as floating pills | every service together, no bar behind them |
| All in two rows | the same, stacked — best when you have six or more |
Change the words in Wording — Listen on, NOW PLAYING ON, अभी सुनें, whatever suits. Badge colour switches between each service's own colour and plain white, and Size and the position buttons place it.
The badge sits low and in the middle — which is exactly where subtitles go, so the two can land on top of each other.
Just drag it in the preview, the same way you drag a subtitle. Click the clip first so it is selected, then drag. The pointer turns into a cross when you are over it.
Your song may be somewhere that is not in the list — a regional store, your distributor, or your own label. Press + Add your own and a proper window opens with everything on one screen:
| What you set | How |
|---|---|
| The name | Type it as your listeners should read it — your label, your channel, अपना संगीत, anything. |
| The colour | Click one of the ten colour circles. No codes to type. If you want an exact shade, the small square next to them opens your computer's colour picker. |
| The logo | Press Choose file… and pick your logo. A PNG with a see-through background looks best. Skip it and the name alone is shown in your colour. |
Press Add service and it drops straight back into the tick-list, already ticked. From then on it behaves like any built-in service — it joins the rotation and is there in every future project. The 🗑 button beside it in the Clip panel removes it for good.
Most services show their real logo — Spotify, YouTube Music, Apple Music, Amazon Music, TIDAL, Gaana and JioSaavn. They are built into the editor as shapes, not pictures, so they stay perfectly sharp whether you export at 720p or 4K, and they work with no internet.
Where a logo is the brand's name written as a logo — gaana, JioSaavn, amazon music — the badge shows the logo on its own, so the name is not printed twice.
You can do the same for any service if a distributor asks you to use one exact official file — your file always wins over the built-in one.
Your artwork stays on screen for the whole song and sways gently, like something hanging from a string, while snow or embers or sparkles drift over the top.
Pick a mood from the little menu, then press Create Scene. Each mood is two effects stacked, so it has depth instead of one flat layer:
| Mood | What gets layered on |
|---|---|
| Ember & Ash | Fire Ash + Mystic Glow |
| Snowfall | Snow Fall + Light Leak |
| Divine Flare | Lens Flare + Bokeh |
| Fireflies | Fireflies + Sparkles |
| Temple Mist | Mist + Floating Particles |
That one press fills in four rows of the timeline for you. For a 7:44 song with the Ember mood you get:
| Row | What is on it | How long |
|---|---|---|
| V1 | your artwork, swinging | the whole song |
| V2 | Fire Ash drifting over it | the whole song |
| V2 | Mystic Glow on top of that | the whole song |
| A1 | your song | the whole song |
Nothing is locked in. Every piece is a normal clip afterwards, so you can change the mood, swap the artwork, or delete a layer you do not want.
YouTube, Spotify and Instagram all quietly turn every upload up or down to the same loudness. If your video is louder than they want, they turn it down — and that also squashes the punch you mixed in. If it is quieter, it just sounds weak next to everyone else.
Open ⬆ Export and press Measure loudness. It listens to your whole timeline and tells you where you stand:
| What it says | What it means |
|---|---|
| Loudness in LUFS | How loud the whole video feels. This is the number the platforms care about. |
| Peak in dBFS | The single loudest instant. Above 0 is distortion. |
| The verdict line | Plain words: how far off you are, and which way. |
Pick who it is for — YouTube · Spotify · Instagram (−14), Apple Music (−16), or Broadcast (−23) — then tick Match the target on export and VoidCut fixes it while exporting. Your project is untouched; only the exported file changes.
Nothing to set up: measuring changes nothing on its own, so you can check as often as you like.
Above the preview are four buttons. They set the shape of the whole project — and each platform wants a different one.
| Button | At 1080p that is | Use it for |
|---|---|---|
| 16:9 | 1920 × 1080 | YouTube, and anything watched on a TV or computer. The normal one. |
| 9:16 | 1080 × 1920 | Reels, Shorts and TikTok. Fills a phone held upright. |
| 4:5 | 1080 × 1350 | Instagram feed. Instagram asks for this one — it takes about 78% of a phone screen, more than square and far more than landscape. |
| 1:1 | 1080 × 1080 | Square posts. Safe everywhere, strongest nowhere. |
| Custom | anything you type | A true cinema master, an ultrawide banner, a client asking for an odd size. See below. |
The resolution you choose in Export is the quality, not the shape. Pick 4K with 4:5 and you get 2160 × 2700 — still 4:5, just bigger.
Press Custom and type a width and a height. A little grey box shows you the shape you are about to get, and tells you the ratio in plain numbers — type 2560 by 1080 and it says “that is 64:27”. There are one-press buttons for the sizes people ask for most:
| Preset | Size | What it is for |
|---|---|---|
| Scope | 2048 × 858 | A true cinema master at 2.39:1, with no black bars in the file at all — the picture is the whole frame. Use this when a festival or a cinema asks for a Scope file. |
| Flat | 1998 × 1080 | The other cinema standard, 1.85:1. |
| Ultrawide | 2560 × 1080 | 21:9 — wide monitors, and video walls at events. |
| 4:3 | 1440 × 1080 | An old-television look. Good for archive footage and retro devotional films. |
| 2:3 poster | 1080 × 1620 | Taller than Instagram feed. Print-shaped, for a moving poster. |
Here is the problem. You built an eleven minute video in 16:9. You now want it as a Reel. Everything gets squeezed into a tall frame, and because a tall frame is narrower, the left and right of every picture is cut away. If your deity, your singer or your Devanagari title happened to sit off to one side, it is now outside the frame — gone from the video entirely.
✥ Conform fixes that in one press. It looks at every picture and video clip in the project, works out where the interesting part actually is, and crops around that instead of blindly around the middle.
How to use it
When it helps most
What it will not do. It cannot invent picture that was never there — if your subject is right at the edge, it moves the crop as far as it can and stops at the edge rather than showing black. It does not move your subtitles or badges; those are placed by you and stay put. And it leaves clips alone when a frame is genuinely flat, like a plain sky, because there is nothing to aim at.
Watch a Bollywood music video and you will see a black strip across the top and the bottom. That is not a mistake and it is not the player — it is painted into the video. The file is an ordinary 16:9 upload; the picture inside it is simply wider. It is the single easiest thing that makes a video read as film rather than YouTube clip.
Above the preview, next to the shape buttons, there is a box that starts on No bars. Change it and the bars appear straight away in the preview and in everything you export.
| Choice | How wide | Where you have seen it |
|---|---|---|
| Scope | 2.39:1 | Most Hindi film songs. The cinema standard since 1970 — everyone still calls it “2.35” out of habit. |
| CinemaScope | 2.35:1 | What Scope really was between 1958 and 1970. Almost identical to the eye. |
| Univisium | 2.00:1 | Gentler. A lot of streaming series. |
| Flat | 1.85:1 | The other cinema standard. Only a hint of a bar — very subtle. |
A second box appears once bars are on, because there are two honest ways to fit a normal picture into a wider shape:
This is the control that makes cropping safe, and it is what professional editors reach for. By default the bars take an equal slice off the top and the bottom. That is rarely what you want: a mountain peak sits high in the frame, a deity's face sits high, a reflection sits low.
Slide Framing and the bars stay the same total height but move as a pair — up to save the sky, down to save the ground. Nothing is squeezed or stretched; you are choosing which 2.39:1 slice of your picture becomes the film.
Your words on screen move with the bars. A subtitle sitting near the bottom stays inside the picture instead of hiding behind a black strip, and dragging it still follows your mouse exactly.
Open ⬆ Export. VoidCut asks where to save before it starts, then writes the video straight to that file as it works — so a long 4K export never has to be held in memory.
The row of buttons at the bottom — YouTube, Instagram, TikTok, Twitter, Cinema — sets everything for you in one click:
| Preset | Sets | Why |
|---|---|---|
| YouTube | 1080p, 30 fps, Auto | The safe choice for long videos. |
| 1080p, 30 fps, Auto | Reels. | |
| TikTok | 1080p, 30 fps, Auto | Vertical, short. |
| 1080p, 30 fps, 8 Mbps | What X asks for. Free accounts stop at 2 min 20 s and 512 MB; longer needs Premium. | |
| Cinema | 4K, 24 fps, Auto | 24 frames a second is the film cadence. Big files. |
The button lights up on its own when your settings match it, and moves to Custom the moment you change something by hand — so it never claims a preset you are not actually using.
Bitrate is how much data each second of video is allowed. Too little and the picture breaks into blocks, especially where there is fast movement or fine detail. Too much and you wait longer for a file nobody can tell apart.
The important part: the same number means different things. 10 Mbps is generous for 1080p and only a quarter of what 4K needs. So every choice in the list tells you what it means for the resolution and frame rate you have picked right now — recommended, below recommended — soft detail, far too low — expect blocking, and so on. Change the resolution and the same numbers are judged again.
24 is the film look. 30 is normal. 60 is for genuinely fast movement, and needs more bitrate because there are twice as many pictures to pay for. Whatever you choose, the exported file is exactly that rate, evenly spaced — which matters if you ever join your video to another one, or hand it to a broadcaster.
On a long video, chapters let viewers jump straight to the part they came for — and YouTube shows them as named segments under the player. For an eleven minute aarti that is the difference between someone scrubbing blindly and someone finding the chorus.
How to make them
You get a list like this:
| 00:00 Invocation 01:35 Aarti begins 05:00 Chorus 09:00 Closing prayer |
Chapters are ordinary markers with their type set to Chapter, so they sit on the timeline like any other marker and you can drag, rename or delete them the same way. Changing a marker's type to Chapter puts it in the list; changing it to something else takes it out.
Before an export starts, VoidCut asks where to save the file. That question is not politeness — it decides whether the video can be made at all.
Both ways of exporting behave the same here — the frame-exact encoder and the realtime recorder each write straight to your chosen file.
While it encodes, the line under the bar tells you how far along it is and roughly how much longer it will take — measured from how fast your machine is actually going, not guessed from the length of the video. It waits a few seconds before showing a figure, because an estimate made in the first moment is worthless, and it is deliberately rounded so it does not jitter.
If the number climbs rather than falls, something else on your computer is competing for the machine. Closing other apps will bring it down.
Measured on an 8 GB M2 MacBook Air, for a video around eleven minutes long:
| Export | Roughly how long | File size at Auto |
|---|---|---|
| 1080p 30 | about 10 minutes | ~650 MB |
| 4K 30 | about 20 minutes | ~3 GB |
| 4K 60 | about 40 minutes | ~4.7 GB |
Open the Export window and look at Before you export. It opens by itself when there is something to read and folds away to a single green ready when there is not. It checks the things that used to be discovered only after the render had finished and the time was spent:
Copy report puts all of it on the clipboard as plain text, along with the export settings and the time of the check. Worth pressing before a long render: if something turns out wrong afterwards, that note says what the export was going to be, which is far easier than remembering. It is written to be pasted somewhere else, so it names neither your project nor the files in it — only what the export was set to do and what the check found.
The format, size and frame rate are always in front of you. Everything else — presets, audio, shapes, which encoder will run — is one row each, with a chevron on the right. Click the row to open it; click it again to close it. A closed row still tells you what is inside it: YouTube · balanced, repair normal, 2 files. Rows you open stay open for the rest of the session.
VoidCut used to hold one project at a time. Everything you work on is now kept in a library — open it with 📁 File ▼ → 🗂 Projects….
Each row shows the name, how many clips, how long it runs and when you last touched it. Click one to open it; the one you were on is put away first, with everything as you left it. New project starts a fresh one without disturbing anything else, and each row can be renamed, duplicated or deleted.
Duplicate makes a second project pointing at the same media rather than copying the files, so it costs almost nothing. Deleting a project removes only the media nothing else is using — anything another project still needs is kept.
🧹 Start fresh now clears only what is open in the current tab, along with media no project in the library needs. It used to delete the media cache outright, which with a library would have left every project listed and every clip inside them missing.
Your existing project was moved into the library the first time you opened this version — it is the first row, under whatever name it already had. 💾 Save and ⤓ Open a file… still work exactly as before, for moving a project to another computer or sending it to someone.
New project now asks two things: a name, and where to keep it.
| Choice | What happens |
|---|---|
| In a folder you choose (normal) | Press Choose folder… and pick a place — your Documents, or an external drive. VoidCut makes a new folder there named after the project, holding the project itself and a Media folder with a copy of every clip you import. None of it goes onto your computer's own disk. |
| In this app's storage | Kept inside VoidCut on this computer, as before. Handy for something quick — but a clip over 600 MB is not kept there, and has to be found again after you reopen the project. |
The folder looks like this, and is complete on its own:
| My Project/project.voidcut.json My Project/Media/interview.mp4 My Project/Media/music.wav |
In a browser, VoidCut has to ask your permission to open the folder again each time you come back — press Allow access at the top of the media bin. Folders work in Chrome, Edge and the desktop app; Safari and Firefox cannot write to folders, so there new projects are kept in the app and the New project box says so.
Opening a project file (⤓ Open a file…) while a folder project is open opens it as a separate project, so it can never be saved over the folder's own project.
Click the name at the far left of the bar along the bottom — or 📁 File ▼ → ✎ Rename project… — and give the project a name. The exported video is named after it, and the chapters file sits beside it with the same name:
| My Bhajan Album_140926112047.mp4 My Bhajan Album_140926112047_Chapters.txt |
The number on the end is the date and time, so exporting the same project twice never quietly overwrites the first one. Hindi, Marathi and anything else non-Latin is kept as you typed it — only the handful of characters a computer genuinely cannot put in a filename (/ \ : * ? " < > |) are replaced.
Never named the project? Nothing changes: the export is still named after the first song on the timeline, as it always was.
A jukebox upload needs two things: the file, and the block of timestamps that goes in the description. Producing one and then going back for the other is how the second gets forgotten.
At the top of the Export window, Chapters decides what you get:
| Choice | What you get |
|---|---|
| Video + chapters .txt (normal) | the video, and …_Chapters.txt beside it |
| Video only | just the file |
| Chapters .txt only | the timestamps on their own, in a second — nothing is encoded, so this is worth using while you are still editing |
The file looks like this, ready to paste:
| 00:00 पहला भजन 04:05 दूसरा भजन 08:20 तीसरा भजन 12:25 चौथा भजन |
When several shapes are ticked you get one chapters file, not one per shape — the timestamps are the same in every shape, because the timeline is.
Every timestamp is read from where that song actually sits on the timeline. It is never worked out by adding the song lengths together — an intro, a gap, a transition or a clip you trimmed afterwards all move everything below them, and a running total would be quietly wrong from that point on while still looking plausible.
The names come from your tracklist, so renaming a song there renames its chapter. If there is no tracklist, the songs on the music track are used instead, named after their files.
Chapters you placed by hand always win: if there are any chapter markers on the timeline, those are used and nothing is generated over the top of them.
When the export finishes, a Copy YouTube chapters button appears under the progress bar. Press it and the block is on your clipboard — paste it straight into the description box without opening the .txt at all.
Most videos here go out twice: wide for YouTube, tall for Reels and Shorts. That used to be two exports with a canvas change in between, and a wait each time.
In the Export window there is now a Shapes to export row. Tick the shapes you want and press Export Now once — VoidCut changes the canvas for each one, exports it, and puts your project back the way it was. Each file is named with its shape, so ..._16x9_... and ..._9x16_... do not get mixed up.
When every shape has finished, the window says so and then counts down and closes itself — long enough to read, so a long export you walked away from is not still sitting open when you come back. Touch the window at any point and the countdown stops: reading the report, ticking another shape or changing a setting all keep it open. It only does this when everything succeeded; if a shape did not finish, the window stays put so you can see which.
VoidCut has two ways of making the file. Nearly always it uses the fast one, which encodes frame by frame as quickly as your machine allows — that is what the times above are measured on, and every frame lands exactly where the timeline says.
Occasionally that one cannot start, usually because the browser has run short of memory. VoidCut then falls back to recording the preview as it plays, and says so before it begins. That works, but it takes about as long as the video itself: an eleven minute aarti takes eleven minutes. Leave the tab open and in front while it runs — if you switch away, VoidCut pauses the recording rather than let frames go missing, and picks up again when you come back.
In the Export window, under Faster export (experimental), tick Decode sources in order instead of seeking. Instead of jumping to each frame it needs, VoidCut reads your clips straight through from start to finish — much faster on long projects made of long clips.
Now and then a browser fails to read a file part-way through an export. VoidCut tries again — three times in all — and usually that is the end of it. If the file still cannot be read, the export stops and says which file, rather than finishing a video with frames in the wrong place and calling it done. No half-made file is left behind.
A clip whose file is genuinely missing is different: that has always shown as a grey card, and the export still finishes and tells you how many clips had no picture — exactly as before.
Pressing Stop while it is trying again stops straight away, and nothing is written.
A project made of twenty video files is hundreds of megabytes of video. Whether that video lives inside your project file is the difference between a file of a few kilobytes and one of a few hundred megabytes.
| Size | Use it when | |
|---|---|---|
| 💾 Save | tiny — kilobytes | Normal working. Your video files stay where they are on your disk; the project just remembers which ones it uses. Fast to save, fast to open. |
| 📦 Package | large — as big as all your media | Sending the project to somebody else, or moving it to another computer. Every file travels inside it, so it opens anywhere with nothing else needed. |
Final Cut Pro works the same way, for the same reason.
Every project saved before this change carries its video inside it. That is why some of them reached hundreds of megabytes, took a long time to open, and could fail outright once they grew past a certain size.
Converting one is a single step:
From then on that project opens quickly, saves instantly, and cannot hit the size limit. Keep the original big file until you have opened the new small one once and seen your clips — then you can delete it.
The obvious answer is 📦 Package, and for a small project it is the right one. For a real video project it usually is not: a two hour edit packages into something measured in gigabytes, and the person opening it has to hold all of that in their browser at once. On an ordinary laptop that is exactly where things fall over.
Send it the way an editor would instead:
It is more robust as well: if one file is wrong or missing, they are told exactly which one, instead of a multi-gigabyte download that either works or does not.
If you name your files so they sort — 01_sunrise.png, 02_evening.png, 03_temple.mp4 … 999_afternoon.png — the running order is already written down. Adding them one at a time is an hour of clicking for something the names say completely.
Import them, and a Place N in order button appears at the top of the Asset Library. Press it once. Every numbered picture and clip goes onto the main video track end to end, in number order, however jumbled the import was. Stills get four seconds each; video keeps its own length.
| Filename | Read as |
|---|---|
| 01_sunrise.png | number 1 |
| 7-temple.jpg | number 7 — a hyphen, a dot, a bracket or a space all work |
| 012.evening.png | number 12 — leading zeroes are fine |
| IMG_0042.jpg | not numbered. That is a camera counter, not your running order, so it is left in the library |
| take 3.mp4 | not numbered. The number has to be at the front |
The number must be at the start of the name and followed by a separator. Anything without one is left alone, and the button tells you how many that was, so nothing is guessed at.
A file numbered 99999 — 99999_outro.mp4, say — is treated as your end card rather than clip number ninety-nine thousand. It goes onto the V2 overlay track, finishing exactly when everything else does, so it plays over the end of the video instead of being queued up after it.
The tick underneath the button turns that off. With it off, a 99999 file is just a very high number and joins the queue at the end like anything else. The choice is remembered across projects.
The Asset Library is a narrow column, and a narrow column shows three thumbnails a row at about the size of a postage stamp. That is fine for a dozen clips and no use at all for ninety.
Press ↗ at the top of the Asset Library, next to +. The media bin opens in its own window — five or more columns instead of three, names you can actually read — and you can drag that window anywhere and pull its corner to resize it.
It is the same bin, not a copy of it. Everything works exactly as it does in the side panel: drag a clip straight from the window onto the timeline, double-click to add it at the playhead, search, filter by type, remove. Import something new while the window is open and it appears there. The timeline stays visible and usable the whole time, which is why this is a window and not a full-screen panel.
The side panel shows “The media bin is open in its own window” while it is away, with a Put it back here button. Pressing ↗ again, or × on the window, does the same thing.
A 💾 Save project finds its video again by itself, as long as you are on the same computer and browser. If you open it somewhere else — or clear your browser data — the media bin marks the missing files ⚠ Needs relink and the preview shows a grey card instead of the picture.
To fix them all at once, press ⚠ at the top of the Asset Library and choose the folder your files are in. Everything matching by filename is reconnected in one go, and remembered, so the next time you open that project it just works.
It looks inside subfolders too, so you do not need one folder per file or even one folder per type. If your video sits in Project/video and your songs in Project/audio, pick Project once and both are found. Folders starting with a dot are skipped.
If some files live somewhere else entirely, it tells you how many are still missing and you press ⚠ again for that folder. Two presses for two locations — never one per file.