Where it opens
Studio is not a separate mode you go looking for. It sits behind the moments you would want it.
After a live stream
The end card offers Edit beside Save. Cut the dead air, keep the good minutes, save the result to your clips while the audience is still there.
In the clip composer
Record or pick a video and open it in Studio before it posts. The clip's length limit is respected, so what you see is what goes up.
Stories and posts
A story or a post with video takes the same editor. Same tools, same look, whichever surface you are on.
The cutting room
A stage on top, a filmstrip under it with a fixed playhead, and a tool rail that follows what you tap. If you have used any phone editor, your hands already know it.
Trim, split, reorder
Several segments on one timeline. Trim handles in place, split at the playhead, delete, duplicate, drag to reorder. Photos sit on the timeline as timed segments too.
Speed and speed curves
Slow a segment down or run it fast, or draw the curve yourself so a moment eases in and snaps out. Presets for the shapes people reach for most.
Transitions
Cross dissolves, dips, wipes and slides between segments, with the overlap done correctly so a transition never eats a frame you meant to keep.
Motion
Keyframes for position, scale and rotation, Ken Burns presets for stills, and real motion blur so a fast move looks shot rather than slid.
Collage, text, stickers
Grid layouts for more than one video at once, text laid over the picture, emoji stickers. Portrait, square or landscape canvas, your choice.
Templates and drafts
Start from a cut template or save your own. Leave the editor and come back: the project and its sources wait in drafts, several of them.
Colour, like a colourist
The same grade you see in the preview is the one in the file. One render pipeline serves both, so the screen cannot lie about the export.
Primaries and curves
Lift, gamma and gain, plus the familiar sliders: exposure, highlights, shadows, contrast, saturation, warmth, tint, sharpness, vignette. RGB and per-channel curves when a slider is not enough.
Your own LUTs
Import a .cube file and grade with the look you already use. No built-in pack pretending to be a style; your LUT, applied to your footage.
Scopes
Waveform, parade, vectorscope and histogram, on the phone. The difference between thinking it looks right and knowing it does.
Film effects
Gaussian, directional and radial blur, glow, halation, grain and chromatic aberration. What "shot on film" actually means, as adjustable stages rather than one filter.
Keying and cutout
Chroma key for a green screen, luma key for a bright or dark one, and person cutout with no screen at all. Masks to grade one part of the frame and leave the rest.
Sound and words
Music, cut to the beat
Lay a track under the film with its waveform in view, duck it under the voice, and let Studio find the beats and split your cuts on them.
Voice
Per-segment volume and mute, voice effects, denoise for a room that was not quiet, and text spoken aloud as a voice-over line on the timeline.
Auto captions
Studio listens to the cut and writes the captions for you, timed to the speech. Edit a word, keep the timing.
Honest limits
Some things a desktop suite does are not real on a phone yet, and we would rather say so than ship a button that pretends. Frame interpolation for synthesised slow motion and true stabilisation are not in Studio today. When they can be done properly, they will be.
