cuttingfloor

Take an effect off. Returns the edit result (see the server instructions).

Change an effect's params (merged) or turn it off and on. Returns the edit result (see the server instructions).

Stop a job, queued or running, within seconds: its engines are killed and its slot goes to the next job. Finished jobs are left as they are.

Status, progress and, once completed, the result of long-running calls (media.import, media.analyze, create.*, export.video, qa.check). Same record as tasks/get. status_message says what it is doing, or where it stands in the queue; for names the media or timeline. wait_seconds (up to 50) answers when any job asked for finishes, fails or is cancelled, or when the wait runs out (then with its progress), so one call waits instead of many polls. seconds_left and starts_in_seconds come only when progress so far allows. job_ids reads many and answers {jobs, not_found}, each result in brief (result_summary: lists cut to their first items, with what was cut) unless result is full; result summary does the same for one job. A job whose progress stops for minutes ends with a stalled error, freeing its slot.

Your recent jobs, newest first, each with its status, progress and for (the media or timeline it is for), filtered by status, tool or media_id. Results are left out unless you ask (result summary or full); job.get reads one.

Ask TypeSafe Jev, a fast judgment model (preview), your questions about a state you give, and get typed answers back in about a second. Jev sees exactly the state: each entry under its name, and your questions refer to entries by name in backticks ("in `passage`"). An entry is text (a string, or a JSON object or array of related facts) or a picture: {media_id} for an imported image, {media_id, at_seconds} for the frame of a video at that time, {timeline_id, at_seconds} for a frame of an edit as it renders (to judge a grade or a layout you made). Mix them freely. Each call stands alone, so put everything a judgment needs into its state. Choose the type by the answer you need. noul: yes or no, answered as noul, the probability of yes from 0 to 1 (0.5 or more reads as yes). choice: one of options you name, answered as choice plus probabilities and confidence. score: a degree on levels you order, answered as score (0 is the first level) plus confidence. box: where one thing is in a picture, answered as box {x, y, w, h} in fractions of that picture plus confidence. Write each question as one thing, worded so yes means it is there. Open with what the state is ("`passage` is a transcript of someone speaking off the cuff"), and give a noul criteria {true, false} with an example of each: Jev answers most accurately from examples. To locate, name the one thing so only it fits ("the yellow headline 'Get started' at the top of `shot`") and ask a noul whether it is there; trust a box with high confidence. One call answers many questions about one state at once, so judge many items together: put the shared text in state once, and give each item its own question carrying its own marked copy. Filler words: state {passage: "So basically the way this works is"}, and per word a noul "`passage` is a transcript of someone speaking off the cuff. With one word marked: "So [[basically]] the way this works is". Is the marked word filler, so the sentence says the same without it?" with crit…

Find what is in imported media, or in the sound of an edit, as data for edits. transcript: every word with its time (whisper.cpp on the CPU; the model downloads once). For English the word edges are then aligned to the sound (wav2vec2 forced alignment): a word starts and ends within about 0.05 s of where its letters sound, and an end on a soft consonant (s, t, k, f) or a breath can ring on up to about 0.1 s more; timing_confidence says how clearly each word was heard. Other languages keep whisper's own times, up to about a second off. Short ums and uhs are often left out of the words; kind speech still hears them. from_seconds and until_seconds transcribe just that stretch. beats: tempo, beat and downbeat times, and strengths: each beat's onset strength, 0–1 of the strongest (the hardest hits, the drop). faces: face boxes over time, e.g. to reframe to 9:16 with clip.set_transform keyframes. track: follow a region you give from a moment on, a box for each sampled time (found false where the subject was lost); to make a title, sticker, arrow or mask follow the subject, turn the boxes into clip.set_transform (or clip.set_mask) keyframes, no tracking of your own needed. look: your own typed questions about what is on screen, answered on every sampled frame (to find where something happens from plain words, media.seek). silence: stretches quieter than threshold_db for at least min_seconds. scenes: times the picture changes by more than threshold (0–100; hard cuts between ordinary shots score about 10 to 30, see threshold), with each cut's score. speech: the probability that someone is speaking, every 32 ms (Silero VAD), and the spans where it is at least your min_probability; it hears speech, not noise or music, so a cough or a door is not speech. loudness: integrated loudness (LUFS), true peak (dBTP), loudness range (LU), RMS level and noise floor (dBFS) over the whole media or from_seconds to until_seconds. To line up two recordings, media.correlate. sounds: what can…

Find how far one recording sits from another: the sync offset of b against a, by cross-correlating their sound, with how strongly they match. Use it to line up a camera with a separate microphone, two cameras of the same moment, or a re-recorded line against the original. Each side is imported media or an edit's mix (timeline_id), over its own from_seconds to until_seconds, so you can match a short stretch of b against a longer stretch of a. offset_seconds: b's moment t lines up with a's moment t + offset_seconds, each in its own seconds. To line them up on a timeline, place b's clip so it starts offset_seconds later than a's (earlier when negative), source starts being equal. strength is the correlation of the overlapping sound at that offset, -1 to 1: near 1 the same sound, near 0 unrelated; next_best is the best offset outside the winning peak, and a strength close to it means the match is unclear (repetitive sound, or not the same moment). Offsets are searched up to max_offset_seconds either way, where at least half of the shorter sound overlaps the other. Up to 600 s read from each side. A side with no sound in its range (no audio stream, a range past its end, or digital silence) fails with no_audio, naming which side. Short reads answer at once; longer ones return a task or job.

Delete a media for good, so an old or wrong version stops turning up: its file here, proxy, mezzanine and media.analyze results go, and its room comes back to the storage cap. A path import leaves the original in its folder; exports made from it stay. Timelines that use it keep their ids and edits but no longer render (media_offline names it, as for expired media): replace those clips with clip.replace. Importing the same file again makes a new media_id.

Status, where it came from (origin: the import source, the export of which timeline_id and preset, or the create.* tool and the media it was made from), a signed download url for the file (media is kept 7 days after last use: save the file from it to keep it, and media.import it again later) and a page_url that plays or shows it in any browser (to give a person), its format (extension and mime_type, read from the file, not its name), everything the probe read (probe: the format and every stream, e.g. pix_fmt, colour space, primaries, transfer), duration, frame rate, conform reasons, integrated loudness and summaries of media.analyze results under analyses (counts only: analyses.transcript.words is how many words). While it is importing or being made, job names the job doing it and its progress. include returns those results at the top level, e.g. include ["transcript"] gives transcript.words, the list of words with times. For long media, read them in pieces: from_seconds and to_seconds keep what overlaps that stretch of the media, offset and limit page through what is left, and pages says, per analysis, the index of the first item returned in the whole list (for transcript words, the index clip.add source {words} takes), how many matched and next_offset for the next page (null at the end).

Import the user's own video, audio, image or font to edit with or place as is: probe, fingerprint, conform if needed (VFR, rotation, HDR → BT.709), 540p proxy and integrated loudness. A reference image to recreate needs no import: rebuild it with create.motion or create.still. Long-running: returns a task, or {job_id, media_id} for job.get. The media_id is usable in edits as soon as the job reports processing, so with many files, start every import first and edit while they finish. Sources: an http(s) URL (Dropbox and Google Drive share links work as they are), {upload: {name, bytes}} for a file you send yourself (the answer is the new media with upload.url: PUT the file there, curl --fail -T file '<url>', and it imports once the last byte arrives, with no base64 in a message; a broken PUT resumes as media.upload says), the upload_id of a file sent through media.upload, a small file as a data: URI (up to 8 MB, with its sha256 so a garbled copy is refused), the job_id of a completed export.video (its render becomes media), or still: one frame of a video (media_id) or of an edit (timeline_id) as a PNG still at full size, to place as a picture, cut out or reuse. A URL is fetched once, when the import starts: it only has to work until then (a short-lived signed link from the user's own storage is enough), and the copy stays here 7 days after last use. A file the user attached in the chat comes as file, when the client passes it. Importing the same file again returns the same media_id.

What the user has here: imported and created media, and files they sent that aren't imported yet (through media.upload, or dropped on their account page at cuttingfloor.ai/account), with names, sizes and when each expires, plus the account's storage used and its cap. When the user mentions a file they sent or dropped ("the interview I uploaded"), find it here by name and media.import {source: {upload_id}} it; complete says it is all in. Listing does not count as a use, so nothing here lasts longer for being listed.

Find when something can be heard in a video or audio file, or in an edit as it plays, from what you describe in plain words, so you go straight to it instead of listening to it all: laughter, applause, a cough, a door slamming, a phone ringing, a dog barking, music starting, someone typing, a car passing. Name each sound and say what it is; you get back the stretches of time where each one can be heard, with the moment it is clearest. Use it to: - Find reactions and moments: where the crew or the audience laughs, where people clap or cheer, a gasp, a scream. - Find trouble to cut or cover: a cough, a sneeze, a phone going off, a door, a siren, wind on the microphone, a click or a bump. - Find sound to cut on: a clap, a bang, a hit, the music starting or stopping. HOW IT WORKS. FlexSED, an open-vocabulary sound detection model (local, on the CPU; about 15 to 20 times faster than real time), listens to every 40 ms of the sound and gives each description the probability that it can be heard there. Describe the sound itself, briefly, as you would caption it ("laughter", "a crowd cheering", "glass breaking"), not the scene or a judgment; it is asked as "The sound of <your words>". Short, common sound names work best; put each sound you want in its own entry, up to 16 a call, all listened for at once. LIMITS. Inside music it hears "music", not drums, instruments or single hits (for hits in music, media.analyze beats). A short sound can score higher over a short from_seconds to until_seconds around it. READING THE RESULT. matches gives, per sound, each run of frames at or above min_probability (default 0.5) with its start, end, peak_seconds and frame (for render.frames; media frames for video, timeline frames for an edit). peaks gives the highest probability each sound reaches, and scores every probability (step_seconds apart), for your own cut-off. A sound whose peak stays well under your cut-off is most likely not there; one hovering near it is worth a listen or a lowe…

Find the moments in a video, or in an edit as it renders, that match what you describe in plain words, so you go straight to them instead of watching it all. Name each criterion and say what a matching frame shows; you get back the stretches of time where each one holds, with the time and picture of the best frame in each. Use it to: - Check quality: find frames that are too dark or blown out, out of focus, black or blank (a gap in an edit), with a microphone or crew in shot, with text cut off at the edge, or with a caption over a face. With timeline_id it checks the edit as it renders, titles, effects and gaps included. - Watch efficiently: looking through a whole video costs you a picture for every moment. Seek judges the frames for you and says where things are, so you look only there: where the demo starts, where the speaker holds up the product, where the second location begins. - Pick shots: B-roll or a thumbnail moment that fits a description ("a wide shot of a city street at night", "she smiles straight at the camera with her eyes open"). - Find changes: with with_previous, where the slide changes, someone walks in or the camera angle switches ("`frame` shows a different slide from `previous`"). - Find room or trouble for overlays: where the lower third stays empty for a title, or where a logo, a licence plate or a face appears that needs a blur. HOW TO WRITE CRITERIA. TypeSafe Jev, a fast judgment model (preview), judges each sampled frame on its own, as a picture named `frame` (about 512 px on its long edge; with with_previous also `previous`, the frame sampled before), and gives each criterion the probability that it is true. A criterion is a statement or a question about how the picture looks. Keep one judgment to a criterion, and say what shows rather than a verdict: not "bad lighting" but "the faces are too dark to make out their eyes"; not "a good thumbnail" but "a person looks straight at the camera with eyes open and mouth closed". Criteria that n…

A signed URL to send one of the user's files to this server, for files on their machine that the server can't read: PUT the file there (curl --fail -T interview.mp4 '<url>'), then media.import {source: {upload_id}}. The URL needs no other credentials and works for a day. A broken upload resumes: HEAD the url for Upload-Offset (the bytes received), then PUT the rest with Content-Range: bytes <offset>-<last>/<total>. Large files can go in parts the same way. Without a way to send it yourself, give the user the url: opened in a browser it is a page to drop the file on, which sends it and resumes on its own. media.import says whether the file is all in yet.

Measure the rendered timeline: gaps in the picture, offline media, rendered against expected frame count, integrated loudness (LUFS) and true peak (dBTP), plus black and silent stretches when you give their settings. With speech {min_probability}, every cut is listed with speech facts: the speech probability of the mix just before and after it (Silero VAD), whether it lands while someone is speaking, the seconds without speech each side, and, per clip edge, the transcript word it cuts through and how much of that word is lost (from the media's transcript, when it has one). Facts only, no verdicts. A timeline up to 20 s is checked within the call (which waits its turn for a render when the server is busy); longer ones return a task or job.

Remove everything in a frame range on the given tracks (default all unlocked, so a picture range takes the sound under it too: lock a track with track.set or name track_ids to keep it) and close the gap. For cutting out silences, filler words or mistakes across all tracks at once. changed lists each clip removed or cut, with its track; a warning says when sound went with the picture. Returns the edit result (see the server instructions).

Remove everything in a frame range on the given tracks (default all unlocked, so a picture range takes the sound under it too: lock a track with track.set or name track_ids to keep it), leaving a gap. changed lists each clip removed or cut, with its track; a warning says when sound went with the picture. Returns the edit result (see the server instructions).

Look at a timeline (or a media file): up to 16 frames as one contact-sheet image (layout grid) or one image each (single). Media frames are numbered at the media frame rate; a picture that can be see-through (alpha or a palette) is shown over a light checkerboard, so transparency shows as checks and a background baked into the file as itself. size full: up to 4 frames at the sequence (or media) size from the original media, for thumbnails and stills to keep. format webp (default), png or jpeg, with quality for webp and jpeg. Each image comes inline and with a signed download url.

The whole skill as Markdown: when to use it, what it needs, numbered Steps naming the tools to call, a decision table and the rules to keep. Follow the Steps in order.

Find step-by-step instructions for a common job, written for you to follow with these tools: cutting the pauses, ums and restarts out of a talking video, for one. Search in the user's words; every skill comes back best first with its score (roughly 0 to 1). Below 0.1 is unrelated; a real fit usually scores 0.15 to 0.45, lower for a short or general ask, and an unrelated skill that shares words can score as high, so read the description of each one above 0.1 to judge the fit. Read one with skills.get, then follow its Steps.

Change a title's or caption's text, or restyle many at once (clip_ids, or every one on track_id). The style is merged; null turns an outline, shadow, box or highlight off (and max_lines back to all lines). spans (one clip) restyle part of its text. Fonts: video://catalog/fonts, or an unknown font is refused with the close matches. Returns the edit result (see the server instructions).

Start an empty timeline. Returns its timeline_id and its tracks (ids for track_id). Timelines are immutable: every edit returns a new timeline_id, and older ids stay valid for 24 hours after last use. For work longer than a day, keep the timeline.get document on your side and restore it with timeline.load.

Which clips, tracks and settings differ between two timelines.

The full timeline: tracks, clips (frames, end exclusive), link groups and the media it uses. The server keeps a timeline 24 hours after last use: for work longer than a day, save this document on your side (it is the edit) and restore it with timeline.load.

The chain of edits that made this timeline, newest first. To go back, keep using an older timeline_id.

Restore a timeline from the document timeline.get returned, e.g. after it expired (24 h after last use). Its media must still be here: media expires 7 days after last use, so import saved files again with media.import and swap them in with clip.replace.

Change resolution, frame rate or audio format. Clip times are kept in time, so they survive a rate change. Each picture is refitted to the new shape by its fit (contain by default, which leaves bars where the shapes differ); the result warns how many clips no longer fill the frame, and clip.set_transform {fit: "cover"} fills it. Returns the edit result (see the server instructions).

Text on a video track, over the tracks below: styled with font, size, colour, outline, shadow and box, placed by x/y, revealed with a typewriter or word animation. A style field you leave out takes the published default (video://catalog/text: bold white Inter at 9% of the frame height, centred, with a soft shadow); timeline.get shows the full style. spans style part of the text (words first_word to last_word, from 0: one word in yellow or bold). It is a clip, so transforms, masks, animations and transitions apply. Returns the edit result (see the server instructions).

Add an empty video or audio track. New video tracks go on top. Returns the edit result (see the server instructions).

Remove a track and its clips. Returns the edit result (see the server instructions).

Rename, mute (audio), hide (video) or lock a track. Returns the edit result (see the server instructions).

Transition at the cut after a clip, into the clip that touches it (video://catalog/transitions). Linked audio gets a crossfade at the same cut. kind crossfade is sound only: on a video clip it crossfades the linked audio and the picture cuts hard (use mode handles for that). mode overlap (default) overlaps the clips and moves later clips earlier; handles uses source past the cut and moves nothing. changed lists each transition added, with its track and kind. Returns the edit result (see the server instructions).

Remove a transition; the cut becomes a hard cut. Returns the edit result (see the server instructions).

Change a transition's kind or duration. Returns the edit result (see the server instructions).