Your music.
Your cameras. In rhythm.

Cut when the camera changes.

Beat-aligned decision points guide the edit, but a physical razor cut is made only when the selected camera changes. Same-camera decisions stay continuous. The workflow creates no Premiere timeline markers.

Choose your cut pace.

Select one interval for fixed pacing, or several to let the music map choose among them. Validated main drops interrupt the cadence, switch the angle and restart the beat count.

Use the cameras that fit.

Set camera roles and enable the tracks you want. When a preferred camera has no footage coverage, the director falls back to another enabled camera that covers the interval. If none does, the original footage is preserved.

Give the impact its angle.

Choose a video track for validated main-drop impacts, or leave it on Auto. Your chosen camera is used when enabled and covered; otherwise the director selects a covered alternative.

Add movement after the edit.

Set minimum and maximum Scale values. Each compatible clip receives two Scale keyframes with a randomly chosen zoom-in or zoom-out direction.

Run after multicam cleanup completes. Existing Scale keyframes in the processed source range are replaced; unsupported clips and locked or muted tracks are skipped.

Turn top drops into exports.

Analyze first, review the valid drop count, then choose how many top-ranked drops to render. Adjust sensitivity and beat-based pre/post windows; duration follows the music's BPM.

H.264 Match Source exports are saved beside your Premiere project in a Best Music Drops folder. Choose an H.264 preset manually if automatic detection cannot find one.