What's new.

• In the preview, a caption line no longer lingers for a sixth of a second after the next line's first word — the preview matches the rendered film.
• When a shot cannot be described, the diagnostics say why.
• The index now records where the faces are in every described shot; existing libraries fill this in by themselves.

Windows and Mac update themselves to 0.2.17 in the background.

• On a Mac, Endroll now shows in the menu bar while it runs, with Open and Quit.
• A calmer start: shot descriptions wait for the AI engine instead of failing in its first minute.
• When this computer's sign-in is no longer accepted, Endroll stops retrying in the background until you sign in again.

Windows and Mac (0.2.15 or newer) update themselves to 0.2.16 in the background.

• On a Mac, 0.2.13 and 0.2.14 could not update themselves. Install 0.2.15 once from your account page; from then on Endroll updates itself.
• A refused update is no longer downloaded again and again.

Windows updates itself to 0.2.15 in the background.

• Endroll runs on Macs with Apple silicon (M1 or newer, macOS 13+): download it from your account page.
• MXF camera originals (and MTS/M2TS, MPG) are indexed as footage — open the folder again to pick them up.
• The first start on a Mac says it is setting up instead of minutes of nothing on screen.
• Endroll no longer stops another program that listens on its ML port.

Endroll updates itself to 0.2.14 in the background.

• No jump cuts in drama or documentary: two shots of one camera setup are never cut together, and the mid-take zoom that used to disguise one is gone.
• Dialogue plays master first: a scene opens on the wide or the two-shot and keeps rolling through the short replies, cutting to close-ups when a line has weight.
• Action lines find the scene's own shots by what the frame shows — the right character, no slate in picture.
• Documentary: a sit-down interview runs as voice-over under B-roll chosen by the words; interviews filmed in the world stay on screen.
• Montage tempo from the writing: a run of short action sentences becomes a drumroll of short shots.
• Length comes from the material, never from stretching shots.

Endroll updates itself to 0.2.13 in the background.

• The first draft follows your screenplay scene by scene: shots stay in the scene they were filmed for, lines play in the screenplay's order, and a scene with no picture is left out and named instead of faked.
• Every filmed line is in and none is heard twice — short replies like "Yeah." and "Really?" survive, and a line stops where it ends instead of running into the next speaker.
• Action lines cut to the thing they name, and documentaries get B-roll breathers in long interview runs.
• Credit top-ups for subscribers (1,000 credits €19, 5,000 credits €79) from Get credits; they never expire.
• No more console window flashing while the node works.

Endroll updates itself to 0.2.12 in the background.

The Endroll panel for Premiere Pro is on Adobe Exchange. Install it from Creative Cloud: Stock & Marketplace › Plugins, search for Endroll, Install. It works in Premiere Pro 25.6 and later, with Endroll running on the same computer.

• Find a shot by what was said or what is in the frame. Click a result and its in and out are set on the source.
• Other takes of this lists every other take of the selected line.
• Mark dialogue puts the transcript on your timeline as markers.
• Captions to bin drops captions from the transcript into a bin.
• Index this project prepares the footage of the open Premiere project, on your computer.
• Cut it describes the video and puts a cut on your Premiere timeline. It shows its price first.

• Scroll back to an earlier moment and press play: the timeline now runs on from there, together with the preview. Before, it jumped to where the last playback had stopped.

Endroll updates itself to 0.2.11 in the background.

A new account now starts a free trial: the whole editor for 14 days with 300 credits — enough for a first cut from your own footage. No card, nothing to cancel.

Free trial

• Sign in with your email and the trial starts by itself. It ends on its own and turns into nothing until you subscribe.
• After it ends, your projects still open and exports still work; the AI waits for a plan.
• The top bar and your account page show the days left.
• One trial per person and per computer. Trials come in limited numbers — if they are full, you are on the list and we email you when a spot opens.

Endroll updates itself to 0.2.10 in the background.

Shot it on more than one camera? Endroll lines them up by their sound, cuts between them, and hands every angle to your editor.

Multicam

• Footage recorded at the same time — two cameras on an interview, eight angles of a performance, a separate sound recorder — lines up by itself while Endroll prepares the folder. No clap, no timecode, nothing to set.
• Drafts cut between the angles of a long answer at its pauses, with the sound running on underneath.
• A recorder's sound replaces the cameras' own microphones in the cut, and is never offered as music.

Premiere Pro, DaVinci Resolve, Final Cut

• Every other camera arrives on its own track over the same moment, switched off. Turn one on to swap the angle.
• Premiere Pro opens the cut linked on Windows — no Link Media dialog for every clip.
• DaVinci Resolve finds footage whose camera wrote a start timecode.
• 23.976 fps footage no longer drifts in the exported timeline.

Endroll updates itself to 0.2.9 in the background.

A whole new cut now waits for your yes, reference links work again, and alternative takes are really takes.

Re-cuts

• Ask the assistant or the prompt for something that needs a new cut — "make it shorter" — and you get ↻ Re-cut with its price, and Not now. Nothing starts on its own.
• Re-cut from this script shows its price on the button.

Reference pacing

• YouTube links work again. When a link really can't be fetched, you read why.

Takes and generation

• Alternative takes of a spoken line are takes of that line; for a picture, other moments of the same setup.
• Prefill from context writes a prompt you can read and edit.
• Premiere hand-off finds media stored under long Windows paths.

Endroll updates itself to 0.2.8 in the background.

Every paid action shows its price before you press it, and a finished draft tells you what came out in plain words.

Prices

• Music, sound effects, Rewrite with AI, the Titles prompt, "Change it" on a graphic and Make clips show their price before the click.
• The default video option uses Kling, as the menu says, and charges the price the button shows.

Drafts

• After a re-cut you see shots, length and the lines still without footage — no engine notes.
• The assistant's summary of a new cut reads like a note from an editor, not a log.

Clips from this library

• Picks its clips in the cloud again, by idea. If the cloud can't be reached, it says so plainly.

Endroll updates itself to 0.2.7 in the background.

Fixes across drafting, sound, stills and graphics — and the same calm typeface in every menu.

Drafting

• Your first film opens cleanly: no warning about a screenplay the cut was just made from, and the viewer says the picture is loading instead of asking you to pick a clip.
• When a draft can't start, the reason appears next to the button you pressed.

Projects and sound

• Auto-mix places only this project's music and effects.
• A project sees only its own folder — "Foo" no longer includes "Foo 2".

Pictures and graphics

• Stills open as pictures in the source viewer and go on the timeline as a 4-second shot.
• Name straps stay on screen when a picture on a video track covers part of the shot, in the preview and in the render.
• The render check shows what renders, pictures on video tracks included.
• The designer's quick buttons write the request for you to send, and every paid action shows its price first.

Everywhere

• Menus, the account panel, the assistant and the generation studio use the same typeface as the rest of Endroll.
• Numbers read the same on every machine (0.35, not 0,35).

Endroll updates itself to 0.2.6 in the background.

A quieter interface: everything you read is set in a lighter, more even typeface, and the numbers that run stay fixed.

Type

• Panels, the words in each shot, the inspector and the designer are set in Geist.
• Martian Mono stays where a fixed width helps: timecodes, durations, the ruler, numbers, labels and keys.
• Timecodes no longer shift while the film plays — every digit keeps its width.

Endroll updates itself to 0.2.5 in the background.

A new workspace built prompt first, a round trip to Premiere Pro and DaVinci Resolve, and video tracks.

If you are on 0.2.3: install 0.2.4 once from the download page. Updates run on their own again after that.

Workspace

• A tool strip with names, a full-height panel with six tabs — Inspect, Script, Media, Sound, Titles, Assistant — and a quiet top bar.
• Every tab starts with a prompt; the fine controls sit behind it. Simple mode asks one question on the first screen.

Premiere Pro and DaVinci Resolve

• Open in Premiere Pro: the cut opens there by itself, with graphics as alpha clips. "Edit in Endroll" brings a graphic back to change it.
• Open in DaVinci Resolve works the same way, with no plugin.

Editing

• Video tracks: pictures above the shots, as many as you want, each with its own sound.
• Split edits (L- and J-cuts) by hand.
• A draft keeps to the length you asked for, places designed graphics, and uses its own review to make a second, better cut.

Fixed

• The finished film's loudness pass never ran — films came out with raw dynamics. They are levelled now, with a limiter.
• Scrubbing and playback no longer jitter or jump back.
• Captions follow the speech to the end of a clip.
• Unsaved work raises an alarm, and a save no longer fails after a drag.
• A draft is never rejected after it has been paid for.

The separate Script view is gone — everything it did now lives in the one editor. And a long list of fixes found by using 0.2.0 the way people do: simulated users, every button pressed, a real film rendered and checked frame by frame, and a full write → draft → assistant → graphic session on a real account.

One view

• Each beat's screenplay line sits on the first row of its shots, with its coverage and move / insert / delete. Shift-click a range of words and press Delete to cut it.
• Approved and "Change it…" are in Properties. A Script tab holds the coverage map, the brief, writing, drafting and re-cutting.
• A taller panel on demand, and a tab strip that shows when it continues.

Prices and the assistant

• Writing a script and drafting a cut show a credit range before they run, and what the same action cost last time in this project. The graphic generator shows a range too.
• "Draft the cut" after "Write the script for me" cuts the script as written — it no longer goes through the writer a second time.
• Ask for several things in one message: "remove the last shot, drop shot 3 and trim the end of shot 5".
• An assistant edit can be undone with Ctrl+Z like any other.

Fixed

• A save was never acknowledged: undo and redo could empty themselves, and a late answer could replace a newer edit.
• Graphics made from a description were invisible in the preview. The rendered film was right; the preview was not.
• "Title or role" was burned into the film when only a name was typed into a lower third.
• An edit made while the node was down was lost on a reload. It is kept and saved when the connection returns.
• Captions and a lower third no longer share a height — the caption moves above the strap, in the preview and in the film.
• A project opening no longer reads "No cut yet" while its cut loads. A reload returns to the project.
• Background transcription could run for ever on recordings with pauses — a busy GPU for no reason. Pauses are marked silent now and the work finishes.
• An update could leave Endroll stopped when its own vision server was still running; the update stops it first now. If Endroll did not come back after updating, start "Endroll Node" from the Start menu.
• "Open Endroll editor" in the tray works after a silent start. Escape closes the menus. The balance and a draft's progress keep answering while a draft runs.

The cut now runs top to bottom. Shots are a playlist, program time is where you have scrolled to, and the orange line is the playhead. Sound lanes sit on the left, graphics lanes on the right, and everything you change lives in one panel beside the picture — Properties · Media · Graphics · Generate · Transitions · AI. The horizontal timeline is gone.

The sequence

• Split, "Start here" / "End here", roll and ripple trims at the seams, and a grip to drag a shot up or down. Drop footage from the media tab; the surface scrolls when you reach its edge.
• In/Out, markers, a captions lane, transitions on the seam, J/K/L, a typeable timecode, and a zoom that means pixels per second.
• Works in a phone-sized window too: the panel opens under the picture.

Graphics you can describe

• Under Generate, "Graphic" designs any graphic from a description — its look, its fields, how it moves and how it reacts ("a scoreboard that counts up when the score changes"). Pick from three directions, hand it a style reference, and refine the result by hand in the designer or straight in the picture: click to select, drag to move, double-click text to type.
• A library of templates (lower thirds, titles, scoreboard, poll results…) is one tap away. Priced like the assistant; the estimate shows before anything runs.

Speed

• A shot can run from 25 % to 400 %. Captions, cuts and the exported timeline follow the same clock; spoken shots outside 90–110 % get a note.

Drafts end like a film

• Closing GFX markers in the screenplay become end cards after the last shot.

Endroll updates itself

• When a new version is out it installs in the background and restarts on it. No download page.

Fixed

• A cut's save could wait half a minute behind thumbnails and status polls — long enough for Undo to race it. Saves go first now.
• A node left behind by an update no longer keeps the port or spends credits.
• A fresh install no longer sees the developer's data.

Endroll is now used on a monthly plan: Starter €29 or Pro €59 — each is the full editor plus the month's credits. There is no separate free tier any more.

What changes in the app

• If your account doesn't have a plan, Endroll tells you right after sign-in and shows the two plans, instead of letting you into an editor that can't do its AI work.
• Subscribed a moment ago? "I've subscribed — check again" picks the plan up without restarting anything.
• The account panel shows where your access comes from: your plan, or the beta.
• If a plan lapses mid-session, the AI features say so plainly — and that nothing was charged — instead of showing a raw error.

Beta testers

• Nothing changes for you: Endroll and your monthly credits stay free until we tell you the beta has ended.

Safer when you step away

• A node left running on its own can no longer keep spending credits. After an hour without anyone using the app, paid AI work pauses with a clear message — no credits spent — and picks up again the moment you're back.

The biggest change is one you hear rather than see: cuts stopped opening in the middle of a sentence.

Whole sentences

• Endroll used to treat any pause longer than a moment as the end of a sentence — and speech is full of small pauses, including one right after the first word of a line. Lines were being stored in pieces, and cuts landed on those seams.
• Sentences were also cut wherever the picture changed, which has nothing to do with where a speaker stops talking.
• Both are fixed, and your existing library is rebuilt in the background the first time you run this version. Nothing to click.

Cuts that let people finish

• The picks now begin and end where the speaker does. A line too long to finish inside a shot ends the shot earlier instead of being chopped mid-word.
• L- and J-cuts: sound carries across the cut — the outgoing line finishes under the next picture, or the next line starts a moment before you see it. Never over someone else's words.

Premiere Pro

• Exporting a cut for Premiere now produces the format Premiere actually imports. It used to hand over a file Premiere refused with "File format not supported".
• Split edits survive the export, on their own audio tracks.
• No export claims a soundtrack a file does not have — that was the "media offline" you could get on import.

You can see what it is doing

• While Endroll is drafting a cut, it says so, and says how long it has been at it. A working node no longer looks like a dead one — in the app, in the tray, and for anything watching it.
• Endroll Node restarts itself if it truly stops responding, and never while paid work is in flight.

Fixes

• Credits for an unfinished job were shown at a hundred times their real size: one draft appeared as 20 549 credits when it had cost 205.
• The tray icon is the Endroll mark again.
• Signing in from your account page now names what happens — it opens Endroll in Premiere Pro or Resolve — and the browser confirms it instead of opening a second editor.

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. (Each chat message is a small AI call billed in credits; its price shows before it runs.) 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.