The log.

A new effect reel for car clips. Car Edit cuts hard on every hit of your music, with a punchy look and no text. Every shot fills the whole frame.

When one of your clips shows the car clearly, it pops in early with a white outline. If none does, the reel stays with hard cuts.

Start it from the new “Car edit” button on your dashboard, from the “Car edit” card when you create a reel, or from the Effects page, which now has a Car Edit example. Like every effect reel, it needs music, so upload your sound with your clips.

With Pop and Car Edit, the cuts after the pop could land between two beats on some songs. They now stay on the hits.

With your own song, “Create effect reel” could stay grey and the hint said music was missing. Opening an effect reel now sets everything it needs right away, and the hint only shows when music is really missing.

When you create a reel, there is a new “Effect reel” row right below “Clips”: a ready-made effect, cut to the beat of your music, with your text on top. Pick one of five effects: Punchline, Quote Beat, Calm Quote, Transitions or Pop. An effect reel needs music, because the cuts follow its beat.

With Pop, a person, vehicle or animal from the next clip pops out with a white outline, then the clip opens around it. That only happens when one of your clips shows a clear subject; otherwise the reel uses normal cuts. Text is optional with Pop.

The new “Effects” page shows an example of each effect. “Try it with my clips” creates a project with that effect already selected.

On Free, you get one effect reel for free, on top of your free reel.

Energy now has a third pace, “Fast”. With several clips, it adds extra cuts between the accents of the music, up to 3 per second on average, as far as your clips and the music allow. With a single longer clip, it is about one cut per second instead of every 1.5 seconds.

“Fast” is part of the paid plans and, on Free, of your first free reel. With only a few clips it can add just a few cuts; the “Cut” step tells you when that is likely.

With Energy and a single clip of about 5 to 9 seconds, the AI render used to show the clip as one or two long shots, whatever pace you picked. Now the reel gets up to one second shorter so that every cut jumps to a new moment: a 7-second clip has three shots instead of one.

The “Cut” step says so when the reel gets shorter for this.

On Free, the “Cut” step now shows “Pace” for Energy as well, including for your first free reel. “Calm” cuts on every second accent of the music, so each shot stays on screen longer. With a single clip, that is about one cut every 2 seconds instead of every 1.5 seconds.

With Cinematic, Free keeps the standard pace and ending. Nothing changes on the paid plans.

Subscriptions, Reel Unlock, the Trip Pass and other one-time purchases can now be paid with PayPal as well as by card.

On Free, the AI preview stays free after your first AI reel: you see the AI cut before rendering, up to 3 times a day, and “Render exactly this” exports exactly that cut, with the watermark. Without a preview, the export is the basic cut as before.

Reel Unlock now costs €2.99 instead of €4.99: one finished AI reel from your project without the watermark, one-time, no subscription.

Energy and Cinematic stay part of the first free reel and the paid plans. Inside the app, the Trip Pass now shows up after a Reel Unlock purchase; the pricing page still offers it to everyone.

On Free, once your free AI render is done, a card under the player offers Reel Unlock: one finished reel without the watermark for €4.99, one-time, no subscription. The locked preview links to it as well.

After buying, you choose how the reel should look. “This exact reel” renders the same cut with the same music, without the logo. “Recut it” works with Energy and Cinematic: you build a preview first and then render this preview without the logo.

After a purchase, the project is kept for at least 7 days from the purchase.

On phones, open FAQ answers on the website are now shown in full. Before, a long answer was cut off after a fixed height and the rest could not be reached.

Long words in headings no longer make the page wider than the screen on very small phones. Below 375 px, the large headings are slightly smaller.

If the connection drops right at the end of an upload, for example because the page went to the background on a phone, the clip can show as failed although the file has arrived. “Try again” now completes it at once. Before, it could show a wrong clip-limit or server error and then upload the whole file again.

The editor preview and the finished AI render now use the same fonts, and the four text styles look different from each other. Before, the finished AI render had only two fonts, so two pairs of styles looked the same, and the preview used the fonts on your device.

In the first cut, the shot cards no longer stick out of their card on small phones, and their text is no longer squeezed on tablets.

Every plan, Free included, can now put its own text at the start of the reel. If you leave the field empty, the reel has no text. Before, the basic cut on Free showed the project name.

In AI renders, the title now stays on screen for at least 2.5 seconds. Before, it could disappear after about a second with Energy.

In the basic cut, a title with an apostrophe no longer makes the render fail, and a percent sign now shows up in the video.

Styling the title (font, color, animation) stays part of the paid plans.

Projects with Energy or Cinematic have a new “Cut” step. “Pace” sets how fast the reel cuts: Calm, Normal or Fast (Energy: Calm or Normal). “Ending” is for Cinematic: “Back to the start” ends the reel on the clip it started with, “New clip” ends it on a clip that hasn’t been shown before.

Pace and Ending are available on paid plans and with the Trip Pass. The field for the text in the intro is in this step too, and the Creator briefing no longer appears for these two templates.

With Cinematic, the AI render now holds the opening shot until the music comes in, if that happens between 3 and 8 seconds, otherwise for about 5 seconds. After that, the reel cuts hard on a steady beat that follows the tempo of the music, shows each clip once and ends on a closing shot.

The reel is now as long as your clips need, so it is often shorter than before. Before, Cinematic filled 30 seconds, showed each clip two to three times and used wipes and zooms. Cinematic Travel is unchanged.

With Energy, the AI render now cuts on every accent of the music, at most two cuts per second on average. On a drop the cut zooms, in quiet passages it fades, otherwise it is a hard cut.

With enough clips, no clip appears twice. If one does come back, it starts at a point far from the first. No single shot lasts longer than 4.5 seconds, where some used to last 8 to 14 seconds: with little footage, the reel gets shorter instead.

“Another variant” now gives you a version that is really different. The first shot stays the same.

If a file is larger than your plan allows, a note now stays visible and tells you to trim the clip on your device and select it again.

If a single file is rejected, one message now gives the reason, for example that it is not a video file, or that it is 0 bytes and probably hasn’t finished downloading from the cloud yet. A file that can no longer be read gets its own message asking you to select it again.

Failed uploads have labeled “Try again” and “Remove” buttons, and the clip list stays open while an upload has failed. A low resolution now shows as a quiet line under the file name.

With Viral Reel, a clip that appears more than once in the AI render now starts at a different point each time instead of repeating the same seconds, as far as the clip is long enough.

For Viral Reel, the music step now has two cards, “With music” and “No music”. The project overview shows the music as “Automatic” (a matching track from the catalog) or “Off” (video without background music).

If you trim your own track, the AI render now starts the music at the point you chose instead of at the beginning of the track.

The trim slider loads again when the editor has been open for more than an hour. Before, it loaded nothing.

With Viral Reel and no music of your own, the AI render came out silent. It now gets a matching track from the catalog, starting at the track’s set entry point instead of its intro.

Emails from Clippra have a new design, including the ones for a finished reel, a ready first cut and your feedback. They now fit the width of your phone instead of being shown scaled down, and mail apps with dark mode show them in dark colors.

The emails use the same style names as the app, and the confirmation of your feedback now comes in your language.

The section picker in the music step is now fully in your language. Before, the English app showed some German labels and the German app some English sentences.

For templates that cut to the beat, a note now says that with little footage the reel ends before the section does.

The email that tells you your reel is ready now shows the length of the finished video. Before, it could show a longer length for AI renders cut to the beat.

On Free, if you select more clips than fit in the project (5) while your free AI render is still available, the clip-limit note now says that the free AI render uses the 5 clips in the project and that you can decide whether you want more clips once you’ve watched the reel. The note no longer offers the Trip Pass or a plan.

On Starter, the note recommends Pro as before. On Free, when your free AI render isn’t available, it offers the Trip Pass or a plan as before.

The upload area in a project now shows the file formats and the maximum size per file for your plan, for example MP4 and MOV up to 500 MB on Free, or MP4, MOV and AVI up to 2 GB on Pro. Before, it showed the same formats and file size for every plan.

Reels cut to the beat from only a few clips now get fewer cuts, so the same clips come back less often. The remaining cuts stay on the beat.

In reels cut to the beat, the moment set in the first cut now holds only for a clip’s first appearance. When a clip comes back and is long enough, the repeat starts at a different point, outside that moment if needed. Before, a repeat could start at the very same point again.

Below the shots, the first cut now lists every clip without a shot in it, each with a frame, the file name and a short note, for example on low resolution or a very short clip. Before, it only said how many clips it had left out.

Where a clip has a usable moment, the list also shows a score out of 100 and an “Add to selection” button. It puts the clip’s best moment at the end of your shots, where you can move, swap or remove it like any other shot.

When you open a project, the button that starts the first cut now stays locked until the project has checked whether one is already being prepared, instead of being briefly clickable as if nothing were running.

A reel cut to the beat used to fill the whole music section, 30 seconds by default, however little footage there was. Its length now depends on how long the clips in your first cut are in total, not on the shot lengths shown there: clips totalling 14 seconds now make a reel of about 10.5 seconds instead of 30.

The section in the music step is now an upper limit: with too little footage, the reel ends before the section does, even though the music step still shows the full section.

When Travel Vlog, Summer Travel or Inspiring Cinematic is picked from the catalogue in the music step or set for you in advance, its section now starts a few seconds before the beat kicks in. Before, the section started at the very beginning of the track, so at least half of a 30-second reel could play over the quiet intro. You can still move the section in the music step.

If you’re on Free and your free AI render is still available, your first travel project now starts with the Energy template and the catalogue track Travel Vlog instead of Viral Reel with no music. If you keep both and use your free AI render on that project, the reel is cut to the beat.

You can change both like any other setting. Later travel projects, and projects on a paid plan or with a Trip Pass, start as before.

While clips are still uploading, the Trip Pass checkout and the pricing page now open in a new tab from the clip-limit note, so the uploads keep running.

If a job in Studio’s video editor gets lost along the way, the editor no longer shows it as running indefinitely. After a few minutes without a sign of life it is marked as failed, so you can try again, and it no longer blocks combining clips.

If you select far more clips than the project has slots left (at least twice as many, and more than three too many), the clips that get uploaded now come from different parts of your selection instead of just the first ones. Otherwise the first ones are still taken, as before.

The message that briefly appears in this case now names the skipped files when there are three or fewer, instead of only counting them.

If a purchase can’t be started, the message now appears in the language of the page. That applies to the Trip Pass, extra exports, upgrades and purchases in Studio. On English pages it used to come up in German.

With a plan or an active pass, the Trip Pass card on the pricing page now says it is only available without either, and its button no longer looks clickable.

A Trip Pass now runs for 14 days from purchase instead of seven, at the same 12.99 euros. That leaves room between buying it and editing the trip. Passes bought before the change keep their end date.

While a pass runs, none of your clips or finished reels are removed. The usual retention period only starts when the pass ends.

In the first cut, each shot’s key moment can be nudged earlier or later. In reels cut to the beat, the edit only took that as a preference and could still start the shot elsewhere. It is now binding: the shot starts inside the window you set, and the beat only decides how long it runs.

If preparing an upload fails because of a network hiccup or an unexpected server response, it now tries once more by itself. If that fails too, the message says what to do instead of showing a raw error.

Files with 0 bytes, usually cloud files that aren’t on the device yet, are set aside when you select them, with a note. The rest of the selection uploads as usual.

When several clips upload at once, the automatic first cut now waits until the last one has arrived. Before, it could start while a large clip was still on its way and leave that clip out.

Where your plan doesn’t include the preview, the export step used to show a preview button that only explained the lock after a click. It now shows a blurred card right away, with a frame from the first shot of your own cut and how many shots it has.

Next to it are the two ways to unlock it: a Trip Pass, bought right there in the project, or a plan.

The template you pick is now saved the moment you pick it. Otherwise a first cut that started on its own could use the default template instead of yours.

The email now waits a few minutes after the first cut is ready and only goes out if you haven’t opened the project since. It says the cut is ready to export, and its button leads straight to the export step.

About 90 seconds after your clips are in, the first cut starts without a click. You can keep the page open or come back later, and starting it yourself still works at any time.

Templates that cut to the beat need music. If you haven’t picked any and your plan allows music, a matching track from the catalogue is set in advance. It is marked as a catalogue track and can be swapped at any time.

If you’re not in the project when the first cut is ready, an email lets you know.

Each file now shows its percentage while it uploads, and the counter above the list adds the overall progress and roughly how long the rest will take. Large 4K clips on a slow connection no longer sit at zero for minutes with no sign of movement.

If the transfer to storage breaks off, the message now says what to check (connection, ad blocker) and how to try again, instead of a bare browser error.

Reels cut from 4K clips could repeat a few frames in a row, visible as a short stutter. The render now keeps more room for high-resolution footage, so this no longer happens.

Before you press export, a line under the buttons now says what comes out: the pixel size for your format, whether the reel carries a watermark, and how many exports are left this month, purchased extras included. On the free first render it says so instead of a number.

The finished result now shows until when the download is available at least, and that any change to the project extends that by seven days.

A new project now has three steps: clips, preview, export. Everything else is preset. The template starts as Viral Reel and can be changed in one tap; the format, look, cut style, music and briefing sit behind a single settings line until you want them.

Preview appears once the first clip is in, export once a preview exists. Until then neither card sits under an empty project with greyed-out buttons. Music only joins the steps when the chosen template needs it.

The “coming soon” teasers in the template picker are gone.

If an upload failed after the file had already arrived, retry used to send the whole file again. It now only repeats the last step. While a batch runs, a counter above the list shows how many files are through.

An error while creating a project now shows in the dialog with a retry button instead of leaving it silently open.

On the post-render card, “not yet” is saved the moment you tap it. The reasons are an optional follow-up.

A purchased extra render now reserves its credit the moment the render starts, so one credit is one render, not several running in parallel. Pressing export twice on the same project no longer starts two renders.

A Trip Pass that was never activated no longer keeps an account on Pro after its subscription ends.

Project cards show a frame from the first clip instead of a camera icon. Existing projects pick theirs up with their next preview or render.

The separate usage page is folded into the plan page, where the numbers already sat next to the upgrade options. From 80 percent of the monthly renders, a warning line appears above the limits with the reset date.

The beta notice is a calm static line, keyboard hints say Ctrl on Windows and Linux, and the small print has more contrast.

Pricing is now split into two clear paths: a Trip Pass for a single trip, or a monthly plan for posting regularly.

The free first render now always runs the full AI edit, on every template, instead of occasionally falling back to a simpler cut.

In review, each shot’s key moment can now be nudged a second earlier or later. The pacing options are labeled Scenic, Dynamic and Story to describe how each one cuts.

After a render, one tap says whether you’d post the result. If not, a couple of quick reasons help us find what’s missing.

Clips that came through a messaging app and got compressed along the way are now flagged before the render, with a note that the original file will look sharper.

Exported audio could occasionally peak into distortion on louder projects. The mixing chain was adjusted so levels stay in range.

On top of that, the music now dips at a few real sound moments (voice, ambient sound) instead of sitting at the same level underneath the whole time.

On longer reels, the opening title and closing text used to stay on screen far too long. Both are now capped to a natural length regardless of video duration.

The color look picker in the wizard now reliably applies to your export, including a proper “Automatic” default.

The render step now has a player. It plays the planned cut with your music before an export is spent. Not a sketch of it: the same plan the render would use, at preview resolution.

“Another variant” asks for a fresh proposal. Once a preview looks right, the button reads “Render exactly this” and the export follows that plan one to one, as long as your settings haven’t changed in the meantime.

Available from Starter, and for the one free AI render on Free. Previews don’t count against your monthly exports, but they are limited per project and per day.

Every cut now switches to a different clip. Before, a reel could cut three times inside the same clip and look like a stutter.

How many cuts a reel gets follows how much distinct material you uploaded, and the longest shot is sized to what your clips can actually cover. Fewer freeze-frames after the footage runs out.

Beat shots use the subject for framing: crop and slow zoom aim at what’s in the picture, not the centre. Fades became real crossfades instead of a dip to black, and each beat template keeps one colour look for the whole reel instead of jumping with the music’s energy.

Reels without a music trim no longer run a full minute by default. The default section is 30 seconds; a trim you set still wins.

The home page was rebuilt: a full-bleed scene in the hero, the three steps as stacked cards, and a capability index that lists what the beta does today, with a real screenshot per row. No roadmap on the front page.

The pricing page follows the same stage: Starter as the main card, marked “AI edit from here”, the other plans as a ledger next to it. The cards now lead with clips per project, since that is the number that decides whether a trip fits. Below, a comparison table in four groups.

clippra.de/en is the English home page, with a proper language pair to the German one. Browsers set to English land there directly. The four comparison pages, the guide and the solution page already had English addresses; the home page was the missing piece.

Studio subscribers now get the priority queue their plan promises for reel renders, and the larger caption size on paid reels. Both had only applied to Pro.

The analysis step is named plainly in the app. It says what happens, not which service does it.

A one-time purchase for people who don’t post every week: 12.99 euros unlock the Pro features of the reel pipeline for seven days. AI edit, beat sync, no watermark, up to 40 clips per project. No subscription, nothing to cancel.

It lives on the pricing page under the four plans, and the app offers it at two moments: after your free AI render, and when a project hits the clip limit. Studio is not included.

Finished videos are now removed on the same schedule as the footage they came from: seven days after a project goes quiet, 30 on Studio. Until now only the raw clips were cleaned up, while the exports stayed around indefinitely.

The render-finished email names the deadline, share links of removed reels show an expired page instead of an error, and the dashboard says so before it happens. Download your reel; the link is not storage.

Every paid render is now normalised to the same loudness as the free path (-14 LUFS, true peak -1.5 dB). Before, paid exports varied by several decibels from project to project and some clipped. Cuts and beat timing are untouched; only the audio track is levelled.

Each render is also checked afterwards for length and audio, and the result is recorded with the job.

The music step now opens with a catalogue: six licensed tracks, one click, preview before you choose. Your own upload is still there below. Applying a track needs a paid plan or the free AI render, same as the upload.

When a project hits the clip limit of your plan, the app now says so in place and names the plan that would fit, instead of a toast that disappears. Templates that need music are locked with a reason on plans without music, instead of failing later.

Studio takes up to six clips per project now. Set their order, trim each one, pick the output format, and Studio joins them before the edit begins. The total stays under 15 minutes.

Dropping files into the upload zone no longer uploads each of them twice, and a second upload of the same video works again.

Sound effects on cuts and scene changes, with licences that allow it. Place single sounds wherever you want, from the chat or in the panel; the audio track shows where they will play.

Data charts animate with your real values, editable per row in the panel. The timeline gained a card track, so overlays and scenes are visible before the render. The punch-in now moves instead of just standing larger, and the vertical preview follows the speaker instead of sitting in the centre.

The chat can now build full-screen scenes: a paper-look card that takes over the frame for a moment, timed from the transcript. Ask for a scene and the plan proposes where it fits; the plan generator also suggests one on its own where a number only exists in speech.

A run of fixes from the first production round: 4K footage renders, spatial audio from an iPhone no longer aborts the render, a reload keeps the project, and silence removal stays off when you switch it off.

Free renders had been going out without music, silently: the background track never loaded. They now use a track from the catalogue, mixed to the same loudness as everything else. And “silent” is finally silent.

Shot lengths are measured instead of estimated. Slow zooms no longer freeze or overrun, small footage isn’t zoomed into, and the last shot isn’t slowed by a broken speed ramp. A reel that comes out much longer than planned is flagged instead of waved through.

The one free AI render on the Free plan no longer asks for a phone number. Stored phone hashes were deleted along with the requirement. What remains is one render per account and a daily cap.

Free can now reorder shots in the review step. A finished video appears immediately instead of after a reload, and the plan price shows in the upgrade panel before you click.

Language now follows your account instead of your browser, and new visitors are read from their browser language instead of defaulting to German. Render emails, the notes under each shot and the app’s error messages follow the same setting.

Free now allows 5 clips instead of 3, up to 500 MB per clip instead of 200, and 2.5 GB of storage. The old limit came from a time when phones produced smaller files. A 30-second 4K clip was turned away before you could see what Clippra makes of it.

The paid plans grew too: Starter 1 GB, Pro 2 GB, Studio 4 GB per clip.

The intro tour runs again for new accounts. It had been switched off by accident since early May.

Selecting more files than your plan allows now uploads as many as fit instead of none at all. Before, the attempt ended in an error message and an empty project.

The “Cinematic” template couldn’t be completed: it required music without showing a field for it. Fixed.

In Studio you can now describe changes in plain language. The chat knows what’s in your video and applies it to the edit plan.

Along with three new animated blocks: kinetic type, an animated checklist and a board card, each with a calm paper look.

Run out of monthly exports? No need to wait for the next cycle: extra exports can now be bought as a pack.

A finished edit proposal now stays put when you reload the page or switch tabs. Before it was recalculated, costing you time for no reason.

Plus several fixes to the notes under each shot: they say something about that specific shot again instead of repeating stock phrases.

During longer queues, the internal references to your footage could expire before the render started. The export then failed even though everything was there. Those references are now refreshed at the start.

The export counter in your dashboard also updates right after a finished video instead of at the next start.

Studio mode is here: captions, silence removal, overlays, vertical reframing that follows the subject, and a brand kit for your logo and colours.

Unlike the travel reel, Studio works on a single video and lets you see every step before it happens.

You can now pick from six cutting styles, from calm to viral, setting the pace and the transitions.

Your own music can be uploaded for every paid template, not just for beat sync.

The dashboard was rebuilt: a clearer home, dedicated areas for projects, usage and billing, plus an intro tour with the Clippra mascot.

Language can be switched any time in the top right and takes effect instantly.

When the vision service was overloaded, the export used to carry on blindly: no curation, but your quota was spent. The job is now retried automatically and you get a notice instead of a silent drop in quality.

Reels can now be exported silent. Handy for TikTok and Reels, where sound is often added in the app anyway.

Stills and clips get a gentle camera move instead of sitting still. At the same time transitions became shorter and harder. The classic slideshow look with fades through black is gone.

Added a subtle horizontal shimmer animation to the dashboard's beta banner. ~5.5s loop, hardware-accelerated, respects prefers-reduced-motion.

Travel projects (raw clip pile → AI reel) and Studio projects (deliberate edit) now live in separate workspaces. Cleaner mental model, independent quotas, no more accidental mixing.

Music tracks now drive the cut points. Pick your energy preset, let the edit follow the beats.

Fixed a case where stuck render jobs could endlessly retry after worker restart. Added a hard retry cap and exponential backoff.

Internal storage paths replaced public dev URLs and previews are now signed. No user-facing change: same uploads, same exports.

Added a 14-row comparison on /pricing so you can see exactly what each tier includes. Goodbye “fine print under the fold.”

Replaced the heuristic edit with AI-based shotplan for Starter and Pro. The AI scores every shot, drops the middling ones, and orders the rest. Free still uses the faster heuristic edit.

Invited the first ten testers. Travel reel template, three plans, heuristic edit baseline. Real travel footage, real feedback.