The video editor

Press the editor button and a full-screen editor with a workspace opens. By default there’s just one cut on it. You can zoom the workspace view in and out, and add more cuts.

Video parameters (aspect, resolution, FPS)

A very important setting sits at the top of the editor, where it shows the aspect ratio, video resolution, and FPS. Click it to open the Video Parameters popup and pick the format you want:

Resolution — HD, Full HD, Quad HD, Ultra HD.
Aspect ratio / orientation — 16:9, 3:2, 4:3, 1:1, 9:16, 2:3, 3:4.
Framerate (output) — 25, 30 (default), 50, or 60 FPS.

In the Video Parameters popup, choose what you need and press OK to apply. If you didn’t change anything (or clicked in by accident), press Cancel so nothing is applied.

What a cut is

A cut is a piece of video you process. On each cut you can:

apply effects,
slow it down or speed it up,
reverse it (play it backwards),

and between cuts you can add transitions.

The cuts set the recording time

The key mechanic: how you fill the editor determines the minimum recording time — the minimum length of video the booth must record for this clip.

Two cuts back-to-back, 2 s + 1 s, no reverse, no speed change → you need at least 3 s of source video.
Now slow the 1 s cut down 2×: that final 1 s only needs 0.5 s of source, so the total drops to 2.5 s.

In short: slow-down needs less source, speed-up needs more source (see Speed).

The two timelines

At the top of the editor there’s one timeline, and just below it another.

Top timeline — the original clip. Cuts are shown layered (one above another). It shows where each cut is taken from in the source recording. You can move a cut along the source.
- Put both cuts at the start: from a 2 s recording you build a 3 s clip — it plays the first piece, then plays it again for one second.
- Put the second piece next to the first, reverse it, and butt it against the right (end) side of the first piece → you get a boomerang.
Bottom timeline — the final sequence. Here the cuts sit end-to-end, in playback order.

Audio

When you load audio, an audio timeline appears showing the waveform and its peak points. Build your edit so a cut lands on an audio peak — the clip then feels more music-video-like, more stylish and interesting.

Effects

Each cut takes effects from a large library, and — most importantly — they combine: you can stack a sequence of up to 5 effects on one cut, processed as layers. Add reverse and slow motion on top and the results get very creative. A VFX overlay combined with the video effects can add further striking visuals.

Speed

A cut can be slowed down or sped up:

Slow down — up to 8×.
Speed up — up to 4×.

Slow-down needs less source video; speed-up needs more. Speed-up drops frames to compress the motion; slow-down takes the maximum frames available and, if there aren’t enough, generates the in-between frames.

Transitions

Transitions go between cuts. They hide the jump cut — the harsh switch from one piece of video to the next. There’s a small gallery to pick the transition you like.

Preview source

To get a clear visualization, give the editor something to show:

Load a preview from a file — use your own clip if you have one.
Last video — takes the last archived video from the event (if there is one), loads it, and reprocesses it through your edit.

Live preview

The editor has a full preview that re-renders on every change, so you see the final video in real time.

The one thing the preview doesn’t show is the additional Customization overlays — PNG overlay, MOV overlay, and VFX overlay aren’t composited here. That’s deliberate: re-rendering them each time is slow, and in the workspace what matters is judging the cut — so it’s optimized for fast playback.

Playback controls

The preview has controls: to the start, to the end, previous cut, next cut, and play.