What's new.

A usability release built from one long session of real editing — every complaint that session produced is fixed here, and the keyboard now matches what your hands already know.

Keys you already have in your fingers

• Q and W ripple-trim the clip under the playhead back to the playhead — the fastest trim there is.
• Ctrl+K splits, D selects the clip under the playhead, E extends the selected edit to the playhead.
• Ctrl+C / Ctrl+X / Ctrl+V copy, cut and paste clips. Paste drops the clip at the nearest edit point.
• Ctrl+D puts a crossfade on the edit point, and the timeline marks it so you can see it.
• \ fits the whole cut in view, + and − zoom around the playhead, Shift+I and Shift+O jump to your in and out points.
• X now marks the clip under the playhead, as it does everywhere else. Clearing in and out moved to Ctrl+Shift+X.

Fixes

• Space plays and pauses again after you adjust a slider or a checkbox.
• Zooming stays on the playhead instead of jumping off somewhere else.
• Graphics on the timeline stretch from both ends, and a double-click opens one for editing.
• A graphic you delete leaves the picture immediately.
• The graphics and audio buttons no longer make their track disappear, and graphics can only be adjusted in the graphics workspace.
• A clip cut from a long recording can now be extended to the full length of the file, not just the piece the cut started from.
• Preview clips are prepared while your library is being indexed, so opening a cut no longer leaves you waiting.

Preparing your library

• Preparation restarts itself if it stops responding, instead of stalling out of sight.
• The time estimate is measured from real progress instead of guessed.
• Balanced power now genuinely runs at about half speed — it used to be far slower than that, which made preparing a big library take much longer than it should.

Projects

• Deleting a project no longer removes the library of other projects kept inside its folder.

• Ask the chat for a mechanical change — *"cut the first three seconds"*, *"remove clip 4"*, *"trim the start of clip 2"*, *"move clip 5 to the front"* — and it now happens instantly on the timeline, with no re-cut and no credits spent. Every change is undoable like any other edit. A full AI re-cut only runs when you ask for real creative work ("make the opening punchier"), and it tells you before spending anything.
• Fixed: music you generate is now filed under music in your library, so the automatic music picker finds it when drafting. Before this, a generated track only worked if you placed it on the timeline yourself.
• Model names in the generate view no longer describe outdated pricing.

A security and usability release — recommended for everyone.

Security

• Every installed program file is now code-signed, uninstaller included, and self-update verifies the installer's signature and publisher before running it.
• Closed a vulnerability found in our own security audit: the local editor's file service could be read without signing in.
• The AI models the app downloads are now pinned to exact versions and checksum-verified.

Editing

• Edits made through the chat now appear on the timeline instantly.
• New: generate music from a text prompt in the Audio panel — instrumental by default, from 3 seconds up to 10 minutes.
• Sound-effect length is now adjustable.
• Fixed: the end frame you pick for video generation is now actually honored.

Workspaces

• Graphics, audio and editing are now focused workspaces — using the timeline no longer bounces you out of the view you were in.
• The graphics workspace gets a big canvas with a compact timeline, and you can edit text directly on the picture with a double-click.
• Titles and subtitles are now separate tabs, so burned-in graphics and speech captions never mix.

Installation

• IT departments can now deploy Endroll machine-wide with a fully silent install.
• Fixed a conflict that could break auto-start when two installs existed on the same machine.

The editor now opens directly from the Endroll app on your machine, so the new local-network restrictions rolling out in Chrome and Edge no longer get in the way. Signing in and remote use through app.endroll.ai work as before.

• Markers on the timeline: drop, remove, click to jump.
• Three-point editing: mark in/out on a source take and insert or overwrite at the playhead with keyboard shortcuts, just like in the editors you grew up with.
• Speaker name plates are generated automatically from the screenplay — editable and removable on the timeline.
• The script view now flags scenes that have no footage yet, and offers to generate a shot or pull free stock right there.
• The whole interface is now in English.

• Speech clips now snap to sentence and word boundaries on both edges — no cut opens mid-sentence or ends mid-word.
• Interview jump cuts get proper flash-cut transitions.
• Open any single take on its own timeline straight from the media library — including free subtitle (SRT) export.
• Assorted stability and data-integrity fixes; a draft can never overwrite your screenplay.

• Your volume slider now reaches the finished film 1:1 — automatic loudness leveling works underneath your manual levels instead of overriding them.
• The opening and closing cards a draft creates are now normal graphics elements on the timeline: edit them, move them, delete them.
• Subtitles follow the voice: when a voice-over stretches across b-roll, its words now carry into burned captions and exported subtitle files.
• The cutter no longer cuts sentences in half, and single-camera interviews get real b-roll cutaways over their jump cuts from the very first draft.
• Home/End keys work on the timeline.

• Face analysis now works reliably on every machine, and libraries affected by an earlier analysis bug repair themselves automatically — no re-indexing needed.
• The app now tells you when it is cutting with incomplete analysis instead of quietly producing a confident-looking draft, and reports its analysis coverage as it works.
• Missing or failed pieces of library analysis are found and repaired automatically in the background.
• Diagnostics became more dependable, so we can fix problems without asking you for log files.

• The app now downloads, verifies and runs every local AI model entirely by itself — nothing for you to install, ever, and it works behind strict corporate firewalls.
• Interviews with speech on a secondary audio track now transcribe correctly: all audio tracks are heard, not just the first.
• Transcriptions that failed or went missing are detected and redone automatically.
• Updates got more careful: downloads are verified before install, and a failed update can no longer leave the app down.

• The Subtitles switch is real now: it controls the preview and the render alike, and every caption style control follows it.
• The editor stays responsive, always — media prepares itself in the background while you keep working, and our render test round went from over ten minutes to about one on the same machine.
• "Write the script for me" and cutting are now two separate acts, and a retry never re-bills work that already completed.
• Timeline export (FCPXML) brings a matching subtitle file on the same clock, so every cue lands on its cut in Resolve or Premiere.
• Numbers read like numbers in captions and exports (no more "6 ,000").
• If this device is signed out from your account page, the editor now says so clearly — everything local keeps working.
• First-run preparation shows one honest combined progress with live activity, and the tray icon shows what the app is doing.

• On-brand animated end cards and lower thirds, generated with your text.
• An indexed project can never vanish: whatever happens late in indexing, the work is kept and the project appears.
• Startup problems now explain themselves with recovery steps instead of failing silently.

• Seed control for video generation: same seed, same prompt, (nearly) the same video — every result remembers its seed, and one click reuses it.
• Vary subtle and Vary strong on every result card.
• A where-in-the-film strip shows your whole cut with the generation anchor glowing, so you always see where the new clip lands.
• A draft's cost readout now counts every billed step, not just the biggest one.
• A draft never silently degrades: if AI services are unavailable, drafting stops with a clear message instead of quietly producing a lesser cut.
• Screenplays with dialogue written inline after action lines now parse correctly, so the tail of a film keeps its scenes.

• Ask the chat for whole-film changes and they just happen: "remove the subtitles", "captions in social style at the top", "music quieter". Applied instantly — versioned and undoable, no recut.
• Re-cut from this script now cuts your screenplay exactly as written: no rewriting, no trimming, and your music and graphics cues survive.
• The script and the cut can no longer silently disagree — a clear banner appears whenever the screenplay has changes that are not in the cut yet.
• Free music for drafts: search a public-domain and Creative-Commons archive and import straight into your library, license records included.
• If the app ever goes down unexpectedly, it now brings itself back up.

• Video generation gets its own full view: a curated model picker with per-model credit prices shown before you generate, your own reference images, a library of 19 camera moves, negative prompts, a motion-strength slider, and one-click "use in cut".
• The AI screenwriter is now grounded in your footage: every dialogue line is locked to the exact words of a real take, and scenes with no matching footage are dropped instead of invented.
• Every screenplay version is kept, and every timeline remembers which screenplay it was cut from.
• The preview plays instantly anywhere in any take — no more waiting after a trim.
• Typical draft cost came down roughly 40% with no change to the cut itself.
• Self-update verifies its download before installing, and source footage's own slates and clapperboards are excluded from b-roll.

• B-roll cutaways now bridge risky cuts and give long speech runs room to breathe, with the speaker's audio continuing underneath.
• The editor learned the classics: J- and L-cuts, reaction cuts, and restrained emphasis punch-ins.
• An editorial review pass critiques every draft and prunes stretches that fall emotionally flat.
• Duration targets are honored honestly: dialogue plays to the end of the sentence, and when the material genuinely runs short, the film stays shorter with a clear note — never padded with silent filler.
• Image-to-video: animate a frame from your own footage.
• Generated takes always appear in your library, marked and sorted where you expect them.

• Signed-in drafts are now cut by the cloud AI editor: your script, transcripts and shot descriptions travel to the cloud — your footage never does — and the AI makes the editorial decisions on take choice, order and pacing.
• Screenwriter-first drafts: before any cut, your brief becomes a complete screenplay grounded in the real footage, and the cut is made from exactly that script.
• The app updates itself: it checks quietly, waits politely if you are indexing or rendering, and most fixes arrive as a small download within minutes of release.
• A long run of stability work: update deadlocks, port conflicts and project-isolation issues found in live beta use, all closed.

• One installer sets up the Endroll Node: the editor runs in your browser, paired automatically, and your footage never leaves your machine — the browser is just the screen.
• First indexing shows a full preparation view: live counters for videos, shots and spoken lines, a measured time estimate, and a power control so you can keep using the machine.
• Clip Factory: one command turns your footage into ranked social clips, each on its own 9:16 timeline.
• Free b-roll: search public-domain film collections and pull picks straight into your library, license records saved alongside.
• Reference video by link: paste a YouTube or Vimeo URL and Endroll mines its cutting rhythm as a pacing target — only the rhythm, nothing is downloaded.
• Every render is verified before it is presented, the chat shows an estimated cost before you spend, and Render first shows a contact sheet of every cut for one last look.
• GPU acceleration sets itself up, and the local AI is sized automatically to the machine it runs on.

The first Endroll beta for Windows: local AI analysis and rendering bundled in one install, with the promise that carries through everything since — your footage never leaves your machine. The first days of real installs brought quick fixes to sign-in, updates and first-run polish.