Reference

Start here, in every conversation. The project in one page: the people and their roles, every source (camera, mic) with its length and sync (and, when its frames are captioned, what a camera shows), which index layers are built, talk time per person, the outline when there is one, the edits and…

In the guide: Start here: How a cut is made

Read what is said, as sentence lines [00:12:03.40–00:12:07.90] Name (s.id): text {flags}, a page of at most ~4k tokens at a time; the answer says whether there is a next page. from and to take a clock time, a sentence, word or outline id. words: true lists every word with its id, the pause…

In the guide: Directing: What the director reads

Find where something is said: sentences with every word of the query, best first (whole phrases score highest), top 20, with sentence ids and times. Optionally one speaker and a range. Use it to find a story, a name, a repeated line, instead of reading everything.

In the guide: Directing: What the director reads

Repeated attempts at the same line, ranked best first with reasons (no fillers, stumbles, pace, level). Give a group id, or a point to list the groups near it. Keep the best take unless another has something it lacks, and say which and why.

In the guide: Directing: What the director reads

Who holds the floor when, as compact spans with overlaps marked, and talk time per person, for a range or the whole recording. Use it to plan camera switches and J/L cuts at changes of speaker.

In the guide: Directing: What the director reads

Record who a voice found on shared audio is, by its id from speakers_timeline (speaker_2): a project person, a new person with their name, or nobody (no one the project lists). Written to cutwright.json and committed; the next index run gives its words and turns that name.

In the guide: Directing: Voices on a shared mic

Non-speech sounds with times: laughter and applause (protect them and the beat before), breaths, silence and room tone (safe places to cut), coughs, noise and clipping (damage). Optionally one type and a range.

In the guide: Directing: What the director reads

How each source sounds and looks: loudness, range, peak, noise floor, clipping, sharpness, exposure, and the words heard with low confidence (check those before you quote them). Optionally one source.

In the guide: Directing: What the director reads

After reading the transcript, write the outline layer of the index: chapters (topic sections), and inside them beats, quotes worth keeping, tangents that could go, cold-open and clip candidates with scores. Each item spans from one sentence id to another; code works out the times.

In the guide: Directing: What the director reads

Movements in the cameras' pictures, for cutting on action where nobody speaks: each with its id, when it starts, peaks and settles, its strength, where in the frame and whose, what the camera shows there (when frames are captioned), and its view from each other camera at the same moment, with how…

In the guide: Cutting: Cutting on action

Look closely before you commit to a cut: give cut (a segment's in or out point, in an edit or a proposal) or at (a word, sentence, movement or clock time, optionally to; or a Reelwright insert, insert.<slug>, or one of its shots, insert.<slug>/<shot>, optionally to another of its shots, for its…

In the guide: Directing: What the director reads

Candidates for shorts: the recording's strongest self-contained moments, scored in code from the index.

In the guide: Dressing the show: Shorts

The project's graphics packages and the templates you can place with overlay_add: lower thirds, title and chapter cards, callouts, pull quotes, charts, diagrams, sketched marks over the picture, turning 3D objects, end credits (rolled or as cards), and the person's own artwork as a corner bug or…

In the guide: Dressing the show: Graphics

A graphics pass for a cut, scored in code from the index and drawn by the engine before you see it: a lower third for each person at their first sustained speech (name and title from the project), a chapter card at each outline chapter, a pull quote for each outline quote (word for word, whole…

In the guide: Dressing the show: Graphics

When a cut is done and the person wants to post it: what it needs, laid out from the index.

In the guide: Dressing the show: The publish kit

An edit's publish kit for the Publish panel, as data: chapters, titles, description, caption and hashtags as they post, the thumbnail's frame without words, and the ranked thumbnail frames.

In the guide: Dressing the show: The publish kit

Captions and chapters in another language. Without language: the cut's lines to translate, its captions as the source rules group them, each with the first and last word id a translation line cites, and the outline chapters it plays, by id.

In the guide: Dressing the show: Captions and chapters in other languages

The project's Reelwright inserts: rendered stretches of cartoon episodes you can cut into the program as cutaways with insert_place, or, those with alpha, draw over it as covers while the footage goes on.

In the guide: Dressing the show: Cartoons from Reelwright

Find B-roll to lay over the program by what it shows: give query in plain words (a whiteboard, hands on a remote).

In the guide: Dressing the show: B-roll

The project's music tracks, which music_add lays under the program: each with its length, its loudness and the licence the person stated (or that none was). With edit, that edit's music cues too: where each comes in and goes, where it plays in the program and how often it ducks under speech.

In the guide: Dressing the show: Music

The person's own artwork (their logo, a sponsor's mark) the project holds, which the bug and sponsor_card templates draw: each with its id, size, how light or dark it is, whether it has a transparent ground, the licence or permission stated (or that none was), and how far it stands from each…

In the guide: Dressing the show: Your logo and a sponsor's card

Propose changes to one edit as operations by id, each with your reason: edit_create (first, for a new edit), segment_add (from and to anchors: word_start or word_end of a word id, or a shot), segment_remove, segment_move, segment_trim, words_remove and words_restore (first and last word ids of a…

In the guide: Directing: How a proposal reads

The edits (segments, about how long, locks) and the change sets: what waits for the person's decision, what was applied lately. With edit: that edit's cut list in order, with locked segments marked.

In the guide: Directing: How a proposal reads

One change set in full, a page at a time: its operations and reasons, the cut list after it, the changed segments as they play with ~~struck~~ words and how they were before, its flags, the self-reviews run on it, and its history.

In the guide: Directing: How a proposal reads

Render a cut so it can be heard and checked: an edit, or the edit as a proposal leaves it, with its graphics baked first and composited as the person would get them. A preview from the proxies by default (preset h264 or prores for the full picture), with a stem per mic for the words check.

In the guide: Directing: It checks its own cut

Check a cut before you report on it, for an edit or a proposal: every anchor resolves, every removed span is inside its segment, every cut has a pause to snap into and nobody talking across it, the length against the brief, and then the render itself: when this version has no render it makes a…

In the guide: Directing: It checks its own cut

The critic pass on your own cut, for an edit or a proposal: measured findings with times (pauses kept, pace per segment, thoughts cut short, hard cuts on a change of speaker, cuts before laughter, fillers kept, lesser takes, long holds, chapters dropped, the story's share of the picture) and the…

In the guide: Directing: It checks its own cut

Apply a proposed change set to its edit: the edit is checked once more against the index, written at once or not at all, and committed in the project's git repository as the person's own git identity. Returns the applied change and its commit.

In the guide: Directing: Your decisions

Decline a proposed or stale change set; the edit is untouched and the proposal stays in the history as rejected. Only call this after the person has explicitly asked for this decision in their own words; never on your own judgment, and never to tidy up.

In the guide: Directing: Your decisions

Undo an applied change set by applying its inverse as a new change set and commit (history is never rewritten; the edit comes back byte for byte). Undoing an undo re-applies the change it undid. Refused when the edit has changed since.

In the guide: Directing: Your decisions

Lock a segment of an edit (segment given) or the whole edit (no segment). Nothing changes a locked segment, or anything in a locked edit, until the person unlocks it; a segment's lock follows it when other segments move. Applied at once as its own change set and commit, so it can be undone.

In the guide: Directing: Your decisions

Remove the lock on a segment (segment given) or the lock on the whole edit (no segment), so it can change again. Applied at once as its own change set and commit, so it can be undone.

In the guide: Directing: Your decisions

Compile an edit (edit.…), or the edit a proposal would leave (chg.…), into its frame-exact timeline in the project's cache, with every graphic placed in program frames. Writes only derived files.

In the guide: The Studio: Its panes

Export an edit (edit.…), or the edit a proposal would leave (chg.…), as cutwright export does: OpenTimelineIO, Final Cut Pro 7 XML or a CMX 3600 EDL for an editing app, or SRT or WebVTT captions (the source's, or a translation's with language), into the project's cache (.cutwright/exports/).

In the guide: The Studio: Its panes

Start a new, empty edit (the change set's edit id); add segments after it.

In the guide: Directing: How a proposal reads

Rename the edit.

In the guide: Directing: How a proposal reads

Set the captions: none, broadcast (sentence captions) or word_by_word (the captions people post: one to three words a line, the spoken word lit), and whether they are burned into the picture.

In the guide: Dressing the show: Captions people post

Fix one word of the captions, by its word id: its spelling (a name the transcript got wrong), its emphasis, or both. It changes only what the captions show; the index and the sound are untouched. Say text or emphasis again to change it; emphasis none takes the emphasis off.

In the guide: Dressing the show: Captions people post

Set how the render cleans the sound of every dialogue mic before the mix: off, gentle (the default) or strong. Each setting is applied per mic with its own measurements: a high-pass for rumble, noise reduction, de-essing, a gentle EQ and gentle compression.

In the guide: Cutting: Sound

Add a segment: the recording from one anchor to another. Without after or before it goes at the end.

In the guide: Cutting: On words and pauses

Add a generated segment: picture that is not footage, for the credits, a title card standing alone, or a beat of black between the story and what comes after it. fill is black, a colour role of a graphics package, or a still; length is a duration (durationMs, to the nearest frame) or fit graphics…

In the guide: Dressing the show: Credits, title cards and black

Change a generated segment: what is given (its fill, its length, its sound) replaces its value; what is not stays.

In the guide: Dressing the show: Credits, title cards and black

Take a segment out of the program.

In the guide: Cutting: On words and pauses

Move a segment to right after or right before another (exactly one of after and before).

In the guide: Cutting: On words and pauses

Move a segment's start (from), its end (to), or both, to new anchors. Removed spans that fall outside it afterwards are dropped.

In the guide: Cutting: On words and pauses

Cut words out of the middle of a segment, first and last inclusive, on one source: fillers, a stumble, a repeated phrase. Only that source's words go: what other people say on their own mics in that stretch stays, and the cut is made around it.

In the guide: Cutting: On words and pauses

Put removed words back: every removed word from first to last inclusive plays again.

In the guide: Cutting: On words and pauses

Set how a segment joins the one before it: hard, j (its sound leads its picture), l (the previous sound trails over it) or dissolve.

In the guide: Cutting: Transitions

Set which camera a segment shows.

In the guide: Cutting: Following the speaker

Turn punch-ins on or off for the whole edit: where the picture stays on one camera across a cut that took time out (a jump cut), the pieces either side are framed wide and punched in on the speaker's face in turn, so each cut reads as a cut. auto (the default): on when the project has one camera,…

In the guide: Cutting: Punch-ins over jump cuts

Set how punch-ins frame one segment: auto (wide and punched in turn at each jump, as the edit's punch-ins say), wide (every piece wide: the frame's edges matter, such as hands, a product or a second person; its jumps stay) or punch (it opens punched in, for emphasis, and alternates from there,…

In the guide: Cutting: Punch-ins over jump cuts

Put a graphic over the program: a template of the project's graphics package, its fields filled by the names the package declares (graphics_list shows them), up from start and gone by end. The package decides every colour, size, place and move; you choose the template, the words and the moment.

In the guide: Dressing the show: Graphics

Change a graphic: the fields given replace those fields' values (the others stay), and start, end or layer move it.

In the guide: Dressing the show: Graphics

Take a graphic off the program.

In the guide: Dressing the show: Graphics

Cut a Reelwright insert into the program as a cutaway, right after one segment or right before another, or draw it over the program as a cover from a word (one of after, before or cover): inserts_list shows the project's inserts, their shot ids and which have alpha. from and to trim it to a run…

In the guide: Dressing the show: Cartoons from Reelwright

Change a placed insert: its trim (from, to), where it plays (after or before as a cutaway, cover over the program), its transition, its sound or its gain. What is not given stays.

In the guide: Dressing the show: Cartoons from Reelwright

Take a placed insert out of the program.

In the guide: Dressing the show: Cartoons from Reelwright

Say how the edit matches its cameras' colour to one another (Edit.colour, ADR-0016): the compiler corrects each camera to look as the reference does, from the same skin and light the colour layer measured on both at the same instants, and only where the correction brings it closer on instants it…

In the guide: Cutting: Cameras matched in colour

Correct which part of a camera's frame is picture (its active picture), when the contact sheets show a strip or a bar ingest left in, or real picture it cropped: area detected goes back to what ingest found, whole shows the whole frame, and custom shows the rectangle x, y, width, height, in…

In the guide: Cutting: Picture that is not the scene

Lay music under the program: a track of the project (music_list shows them and their licences) from where it comes in to where it has gone, named by what is in the program there: program_start, program_end, a segment's segment_start or segment_end, or the word_start or word_end of a word the…

In the guide: Dressing the show: Music

Change a music cue: what is given replaces its value (a new start or end, fades, loop, levels, another track); what is not stays.

In the guide: Dressing the show: Music

Take a music cue out of the program.

In the guide: Dressing the show: Music

Lay B-roll over the program while its sound runs on: a shot of footage (broll_find finds it by what its frames show; inspect on the shot id shows it) from start to end, words of the program. The picture cuts away to it and back; the dialogue never stops; graphics stay above it.

In the guide: Dressing the show: B-roll

Change a B-roll: what is given replaces what it had (its shot, frame or through shot, where it starts or ends, its sound, its dissolve); the rest stays.

In the guide: Dressing the show: B-roll

Take a B-roll off the program: the picture under it shows again.

In the guide: Dressing the show: B-roll

Set the cut's publish kit (Edit.publish): titles to choose from, the description's own words, the quotes they cite, a short's caption, hashtags, and the thumbnail (a frame publish_suggest ranked, and the words set over it). What you leave out keeps its value.

In the guide: Dressing the show: The publish kit

Add the captions and chapter titles in a language the edit has no translation in yet (a BCP 47 tag: es, pt-BR).

In the guide: Dressing the show: Captions and chapters in other languages

Change a translation: each line given replaces the lines of that language that share a word with it (so a line is retranslated by giving it again over the same words, and two lines are joined by one over both), and each chapter title given replaces that chapter's. What you leave out stays.

In the guide: Dressing the show: Captions and chapters in other languages

Take lines out of a translation (lines: a word of each, by id), or the whole translation (no lines).

In the guide: Dressing the show: Captions and chapters in other languages

What this cut is for, in the person's words and the director's reading of them.

In the guide: Directing: Say what the cut is for

The program, in order. Each segment plays a stretch of the recording from one anchor to another, minus any removed word spans, or is generated: black, a colour or a still (since 1.7).

In the guide: Cutting: On words and pauses

None; broadcast: sentence captions; word_by_word: the captions people post, lines of one to three words broken by phrase, each word lit as it is said (karaoke), set by the graphics package's captions template (since 1.3).

In the guide: Dressing the show: Captions people post

How the render treats the sound. Absent means the defaults.

In the guide: Cutting: Sound

Music under the program: each cue a track of the project (a source ingested with role music) placed by what is in the program where it comes in and where it has gone, never by a timecode.

In the guide: Dressing the show: Music

B-roll: other footage laid over the program while its sound runs on (a product shot, the room, a screen, a clip shot another day), each from a shot of a source over a stretch of the program named by its words. The picture cuts away and back; the dialogue never stops; graphics stay above it.

In the guide: Dressing the show: B-roll

What the person has locked: a segment, by its id wherever it sits, or the whole edit when no segment is named. Only the person locks and unlocks. No change may alter or remove a locked segment, or change anything while the whole edit is locked; moving other segments around a locked one is allowed.

In the guide: Directing: Your decisions

Graphics over the program, each a template of a graphics package filled with data and anchored like a segment.

In the guide: Dressing the show: Graphics

Reelwright episodes cut into the program, each an Insert of the project (inserts/) placed by id.

In the guide: Dressing the show: Cartoons from Reelwright

Corrections to the active picture ingest found for a camera (Source.picture), one per source: the rectangle of its frame this edit shows instead, where ingest left a strip or a bar in or cropped real picture. A source not listed shows what ingest found, or its whole frame.

In the guide: Cutting: Picture that is not the scene

Digital punch-ins, which turn jump cuts into cuts. Where the picture stays on one camera across a cut that took time out (a jump), the compiler frames the pieces either side of it alternately wide and punched in, a window scale times tighter on the speaker's face, so each cut reads as wide to…

In the guide: Cutting: Punch-ins over jump cuts

How this edit matches its cameras' colour to one another: each camera is corrected to look as the reference camera does, from the skin and the near-neutral surfaces the colour layer measured on both at the same instants, and only where that correction, tried on patches it was not fitted to,…

In the guide: Cutting: Cameras matched in colour

What goes with the cut when it is posted: titles to choose from, the description's own words, the post's caption and hashtags, and the thumbnail.

In the guide: Dressing the show: The publish kit

The captions and chapter titles in other languages, one translation per language.

In the guide: Dressing the show: Captions and chapters in other languages

Picture and sound cut together.

In the guide: Cutting: Transitions

This segment's picture starts later than its sound (the picture before holds over its first words).

In the guide: Cutting: Transitions

This segment's picture starts earlier (it shows under the last words before).

In the guide: Cutting: Transitions

A cross-dissolve. J and L move only the picture: the sound cuts where the segments meet either way, so neither brings back a word the cut clips.

In the guide: Cutting: Transitions

The compiler chooses, showing whoever holds the floor on a camera the faces layer finds them in (never an empty chair), a beat into each turn, the wide for crosstalk, laughs and chapter starts, another angle over a join that would jump, and the rule for each switch in the cut list.

In the guide: Cutting: Following the speaker

One camera throughout.

In the guide: Cutting: Following the speaker

Explicit angle changes at anchors. source and switches are pins, kept as written.

In the guide: Cutting: Following the speaker

In the guide: Dressing the show: Credits, title cards and black

A colour role of a graphics package (night, the ground of its full-frame cards, unless another is named).

In the guide: Dressing the show: Credits, title cards and black

A picture from the project's media store, fitted to the frame.

In the guide: Dressing the show: Credits, title cards and black

A name and a line under it.

In the guide: Dressing the show: Graphics

The show or episode title, full frame.

In the guide: Dressing the show: Credits, title cards and black

A numbered section title.

In the guide: Dressing the show: Graphics

A short note with a leader to a point in the picture.

In the guide: Dressing the show: Graphics

A line someone said, large.

In the guide: Dressing the show: Graphics

A few numbers as bars, a line or one big figure, built on the beat.

In the guide: Dressing the show: Graphics

Labelled boxes joined by arrows, laid out by the engine and revealed a step at a time.

In the guide: Dressing the show: Graphics

Marks drawn on over the picture as if by a pen (an underline, a circle, an arrow, an icon, a drawing from paths).

In the guide: Dressing the show: Graphics

A lit object turning in three dimensions (a globe, a microphone, a title in relief).

In the guide: Dressing the show: Graphics

The captions people post, lines of one to three words lit word by word as they are said, drawn from the whole program's words (the core hands over the lines; its fields are a look and a position).

In the guide: Dressing the show: Captions people post

The end credits, headings, roles with their names and plain lines, as a roll scrolling at a reading speed the core works out or as cards page by page, usually over a generated segment.

In the guide: Dressing the show: Credits, title cards and black

The video's thumbnail, a few words set large over a frame of the program for the publish kit, never over the program itself.

In the guide: Dressing the show: The publish kit

The person's own artwork (a logo, a sponsor's mark) small in a corner of the picture, for the whole program or a stretch of it, on the package's plate or straight on the picture.

In the guide: Dressing the show: Your logo and a sponsor's card

A sponsor's artwork full frame on the package's ground, with a kicker over it and a line under it.

In the guide: Dressing the show: Your logo and a sponsor's card

Make a project folder with its own git history.

cutwright init <dir> [--name <name>] [--rate 30000/1001] [--size 1920x1080] [--no-git]

In the guide: Start here: Getting started

Probe, hash, proxy, extract audio and sync each original; progress as JSON lines.

cutwright ingest <project> <file or folder...> [--role <role>] [--person <slug>]
    [--proxy-encoder auto|h264_vaapi|h264_videotoolbox|h264_mf|mjpeg]
    [--no-sha256] [--no-commit]

In the guide: Start here: Getting started

List the project's sources and their sync.

cutwright sources <project> [--json]

In the guide: Start here: Getting started

Place a source by hand: on another source's clock, or at an offset on the project clock (method manual, with the reason).

cutwright sources sync <project> <source> (--same-clock <source> | --offset-ms <n>)
    [--drift-ppm <x>] [--reason <text>] [--no-commit]

In the guide: Start here: Getting started

The voices found on shared audio: who each is, and how known.

cutwright speakers <project> [--json]

In the guide: Directing: Voices on a shared mic

Name a voice (speaker_2 is laura), or say it is no one listed; the next index run applies it.

cutwright speakers name <project> <voice> (<person> [--name <name>] | --nobody) [--no-commit]

In the guide: Directing: Voices on a shared mic

What is said, a sentence a line, with who says it.

cutwright transcript <project> [--from <clock>] [--to <clock>]

In the guide: Start here: Getting started

Check documents: strict JSON, then the schema their kind names.

cutwright validate [--schemas <dir>]... <file...>

In the guide: Render and export: Check

Build the footage index; progress as JSON lines.

cutwright index <project> [--layers <a,b>] [--force]

In the guide: Start here: Getting started

Say which index layers are missing, current or stale.

cutwright index status <project>

In the guide: Start here: Getting started

Compile an edit into a frame-exact timeline.

cutwright compile <project> <edit>

In the guide: Render and export: Render

Render H.264 MP4 (or ProRes MOV, or a proxy preview); --stems also keeps a stem per mic for the words check.

cutwright render <project> <edit> [--preview | --prores] [--segment-frames <n>] [--stems]

In the guide: Render and export: Render

Write an interchange file or captions.

cutwright export <project> <edit> --format otio|fcpxml7|edl|srt|vtt [--out <file>]

In the guide: Render and export: Files for your editing app

Measure a render against its timeline (the words one mic at a time; --mix-words hears the mix instead).

cutwright check <project> <edit> [--preview | --prores] [--barcodes] [--goldens <file>] [--mix-words]

In the guide: Render and export: Check

Write the publish kit: chapters (YouTube, WebVTT, MP4 markers), titles, description, a short's caption, the thumbnail drawn and the ranked candidates, the MP4 with chapters when rendered.

cutwright publish <project> <edit> [--out <dir>] [--count <n>] [--every-package]
    [--renderer lavapipe|gpu|desktop]

In the guide: Dressing the show: The publish kit

Serve the project's director tools over MCP on stdio, for Claude Code on your own plan (cutwright claude connect sets it up).

cutwright mcp <project>

In the guide: Start here: Getting started

Serve the project to the Studio: its director tools, jobs, live events and the in-app director (on your ANTHROPIC_API_KEY) as JSON-RPC 2.0 on stdio, one message per line.

cutwright serve <project>

In the guide: The Studio: On the desktop and in the browser

Is Claude Code installed here and signed in with a Claude plan (it is asked; none of its files is read)? With a project: is Cutwright set up for it, running this checkout?

cutwright claude status [<project>] [--json]

In the guide: Start here: Getting started

Set Claude Code up for the project, so cd <project> && claude directs it on your own plan. project (default) writes .mcp.json and .claude/settings.local.json into the project; local and user go through claude mcp add. Again changes nothing.

cutwright claude connect <project> [--scope project|local|user] [--json]

In the guide: Start here: Getting started

Take it out again.

cutwright claude disconnect <project> [--scope project|local|user] [--json]

In the guide: Start here: Getting started

Check an edit's overlays: typed fields, contrast, reading time, text that does not fit, the safe areas, cuts under a graphic.

cutwright check-overlays <project> <edit> [--instance <id>]

In the guide: Render and export: Graphics as files

Draw the edit's overlays as straight-alpha frames and file each as ProRes 4444 and an FFV1 cache in the media store. Run it through tools/heavy.sh. The renderer is lavapipe, the canonical one, from a checkout, and desktop (this machine's GPU) in an installed app, whose Studio draws them.

cutwright bake-overlay <project> <edit> [--instance <id>] [--renderer lavapipe|gpu|desktop] [--keep-frames]

In the guide: Render and export: Graphics as files

Write a package's template as an EBU OGraf v1 graphic (manifest, module and fonts) that Resolve 21 keeps editable.

cutwright export-ograf <project> <package> [--template lower_third|title_card|chapter_card|pull_quote] [--out <dir>]

In the guide: Render and export: Graphics as files

Render a Reelwright episode (its scenes first to last) as an insert of the project: snapshot, compile, render, check every frame, conform to the project rate, encode with Cutwright's LGPL FFmpeg; writes inserts/<slug>.json. --alpha renders it with straight alpha, to cover the program: its set…

cutwright insert add <project> --show <dir> --episode <ep.id> [--scenes <first>..<last>]
    [--name <slug>] [--alpha] [--gpu] [--no-commit] [--keep-work]

In the guide: Dressing the show: Cartoons from Reelwright

Say whether each insert is current, stale or missing.

cutwright insert status <project> [<insert>]

In the guide: Dressing the show: Cartoons from Reelwright

Render an insert again from its show as it is now.

cutwright insert refresh <project> <insert> [--gpu] [--no-commit]

In the guide: Dressing the show: Cartoons from Reelwright

Download the pinned Reelwright release (or install it from an archive already here), check its SHA-256, and unpack it into the user cache. Only when you run it.

cutwright reelwright fetch [--from <archive>]

In the guide: Dressing the show: Cartoons from Reelwright

Say which Reelwright Cutwright would run.

cutwright reelwright which

In the guide: Dressing the show: Cartoons from Reelwright

Add the person's own picture (a logo, a sponsor's mark) for the bug and sponsor_card templates: its picture by hash in the media store, measured by the engine; a licence stated is recorded, none is warned about wherever it is used.

cutwright artwork add <project> <file.png|file.svg> [--name <name>]
    [--licence <terms> [--attribution <credit>] [--licence-url <url>]] [--no-commit]

In the guide: Dressing the show: Your logo and a sponsor's card

The project's artwork, measured, and its licences.

cutwright artwork list <project>

In the guide: Dressing the show: Your logo and a sponsor's card

Check that Cutwright is whole: its resources, an LGPL ffmpeg, ffprobe, parakeet-cli and the speech model, and where each was found. --report writes the same as JSON.

cutwright doctor [--report <file>]

In the guide: What it needs: Is it all there?

Print the Cutwright version.

cutwright version

In the guide: What it needs: Is it all there?

Show this help.

cutwright help

In the guide: What it needs: Is it all there?

In the guide: The Studio: Space

In the guide: The Studio: J K L

In the guide: The Studio: J K L

In the guide: The Studio: J K L

In the guide: The Studio: ← →

In the guide: The Studio: ← →

In the guide: The Studio: Home End

In the guide: The Studio: Home End

In the guide: The Studio: I O

In the guide: The Studio: I O

In the guide: The Studio: B

In the guide: The Studio: A

In the guide: The Studio: + −

In the guide: The Studio: + −

In the guide: The Studio: + −

In the guide: The Studio: + −

In the guide: The Studio: + −

In the guide: The Studio: 0

In the guide: The Studio: Esc