Your camera and the video sit together on the track at the bottom. It has no gaps, it is always snapped, and it cannot be removed. That is deliberate: the one thing that must never come apart is the pairing you spent step 2 getting right.
Step 5, in fullThe reaction video editor
The reaction video editor
behind the automatic cut
The cut is where ReactionCut starts, not where it stops. Once the cuts are placed you are on a timeline: the camera and the video on one main track, a lane for text and one for pictures and shapes above it, and one for music below. All of it in the browser, on your machine, and none of it costs another credit.
Before you touch anything
You arrive with the cuts already made
Your microphone track decides where they go: red where you are quiet, green from the moment you speak, gold at the start and the end where your camera is alone. That is most of an edit, done before you touch anything.
introquietyou speakyou speakquietquietoutro
while you're quiet from the moment you speak start & end, just you optionalplaced automatically from your voice
The timeline
Four lanes, one kind of thing each
The lanes are always there, and an empty one says what goes in it. Two things of the same kind at the same time stack as layers inside their lane. Each lane can be hidden, muted, locked, and told whether to snap.
text
Title cardChapter 2
pictures
meme.pngspoiler box
main
introquietyou speakquietyou speakoutro
sound
a transition on any cut titles pictures, clips and shapes your own music the picture follows the playhead
Every title you add lands on the text lane. Start from one of 56 ready styles or pick from almost 150 fonts, then fill the letters with one colour, a gradient, a glow or a pattern. A box behind them keeps them readable on a busy frame.
Pictures, GIFs, a second clip and shapes, laid over the cut: a meme, a logo, a box over a spoiler. Crop it, shape it, give it a border. One shape at half opacity over the film is the quickest way to show less of it.
Your own music and sound effects under everything, with their own volume and fades. The camera and the video keep theirs, so nothing has to be mixed before you import it.
Per clip
What you can do to a clip
Click a block on the timeline, or the thing itself in the picture, and the panel on the right becomes about that one block.
Split, join, duplicate and delete, from the right-click menu or with Ctrl+B, Ctrl+J, Ctrl+D and Del. Drag an edge and the neighbour gives up exactly what this clip gains, so the total length does not move under you.
A clip marked “you’re quiet” becomes “you speak” or the intro look with one click, or the keys 1, 2 and 3. Nothing is rendered again and nothing is charged, so a cut you disagree with is a five second fix.
When a moment has two or three versions from step 3, every clip shows which one it wears. Swap it from a poster, or say how often each version comes up and the timeline deals them again without moving a cut.
Put a transition on any cut and set how long it takes. A cut can stay a hard cut, or become a dissolve as slow as you want.
Nine ready filters (punch, warm, cool, faded film, black and white, sepia, night, vivid, dream) or brightness, contrast, saturation and warmth by hand. It lands on the clip you picked, not the whole video.
Twenty-two of them in five families: blur, colour, distort, keying and stylize. Stack a few on one clip, set their numbers, and switch one off without losing them.
Titles, pictures and shapes can slide, pop, spin or fade in and out. Each one writes ordinary keyframes, so you can take it from there and change any of them.
Push into a reaction or drift across a still. Set where it starts and where it ends and the editor moves between them, so a motionless shot gets motion without another take.
Volume and fades on each block, and a whole lane can be muted. The waveform is drawn under the picture, so a quiet stretch is something you see before you hear it.
Copy a clip’s style and paste it onto another, all of it or only the parts you tick, such as the transition, the crop or the sound. Each part says what it holds before you choose.
Drop a marker at the playhead, click it to land exactly on it, drag it to move it. A thin line runs down every lane, so there is something to line a title or a cut up against.
Every change is reversible, sliders included. A drag is one step, not forty, so undo after a drag puts the clip back where it was rather than halfway.
If you disagree with it
And if the automatic cut is not cutting the way you want
Seven sliders and one switch, and the timeline redraws under them as you move. You are not guessing at a setting and re-rendering to see the result.
Where the line sits
How loud counts as talking. Move it up on a noisy room, down if you are softly spoken.
Breaths are pauses too
How long a gap has to be before it counts as one, so a breath mid-sentence does not become a cut.
Your clip a little longer
Two sliders start your talking clip a moment before your voice and keep it on a moment after, so no word or reaction is cut short.
Trim pauses, or keep it all
Cut the silence out, or keep the full length and only switch look. Both are one switch.
A long quiet stretch shrinks
How much of a long silence stays on screen once it is trimmed, so a minute of you watching becomes a few seconds instead of vanishing.
How the video opens and closes
How much of the start and the end stays on your camera alone.
Too short to see
Clips under this length are swallowed by their neighbour, so you never get a fragment of a frame.
Every one of them is reversible, and re-cutting a video you have already generated is free.
No lock-in
Or take it somewhere else entirely
Nothing here locks you in. Every generation also hands you the full-length files it was built from, one per look, and a timeline you can open in a professional editor.
- EDL, read by practically every editor there is
- FCPXML, for DaVinci Resolve and Final Cut, which link the media by name
- OTIO, for passing a timeline between tools and scripts
- CSV, a plain cut list for a spreadsheet
The look files are ordinary MP4s at your source resolution, so this exact cut can be rebuilt frame for frame somewhere else, at no extra cost.