Cutting to music
Cut to the beat, without doing the whole pass by hand
Sixty clips in the bin and a three-minute track. You chop to the beat, play it back against the music, nudge the cut, play it again — and the next project starts from nothing and you do all of it a second time. The cutting is not the hard part. The pass before it is: deciding, one beat at a time, which take goes where.
Beat detection can mark the beats. Scene detection can split the shots. Both are real and both stop in the same place — neither one decides which take belongs on which beat. That choice is still yours, and it is where the pass actually goes.
PimCut opens the project already cut. Verses hold on a take. Choruses move. Every cut lands on a beat, and the same take never runs twice in a row. It opens in Premiere, Final Cut or Resolve as a timeline you can play.
That is the selection step — which take, on which beat — the one the tools above leave to you.
Two things it does not do. It does not judge a performance: whether a take is the good one is your call, and the software has no opinion about it. And what it hands you is a first assembly, not a finished edit — you open it in Premiere, Final Cut or Resolve and cut it the way you were going to anyway.
Your footage never leaves your machine. No frames and no audio are uploaded, which is the difference between working on a client's material under an agreement and not being able to touch it.
Your first week is free, no card. Drop a song and your takes, and see what it opens.