Make each scene change intentional.

Set the music’s clock.

1. Add background music to a video with at least two scenes. Keep music repeat off and use cuts between scenes.
2. Open Align scene changes to music. Enter a whole tempo from 40–240 BPM.
3. Enter the first beat’s time in the original file, before its source trim or playback speed. For example, a 120 BPM recording with its first beat at 0.2 seconds has beats at 0.2, 0.7, 1.2 and so on.
4. Choose a maximum boundary change of 0.1, 0.2, 0.3 or 0.5 seconds. Start with a small change so your wording still has time to land.
5. Choose Review music timing and compare the current and proposed scene-change times.

The grid follows the music’s source trim, playback speed and entrance in the video. A beat at source time 1.2 seconds, with one second skipped, 2× playback and a video entrance at 0.5 seconds, lands at video time 0.6 seconds. The grid stops when the nonrepeating source ends.

Check a tempo suggestion.

For a steady MP3 or PCM WAV from 6 to 120 seconds and up to 6 MB, choose Estimate a steady tempo. The browser looks for repeating sound attacks in the private original already loaded by the editor. It suggests an integer BPM and the first detected attack, with a count of attacks that fit the grid. This count is not a probability that the music has that tempo.

Listen to the track and decide which pulse should count as a beat. Half-speed or double-speed readings can both fit; alternate choices appear when the analysis finds them. Confirm your check, then choose Use suggestion or an alternate BPM. This only fills the timing form. Check the first beat and choose Review music timing separately to propose an edit.

A soft attack, changing tempo, quiet track or irregular rhythm may produce no suggestion. Supply manual values in that case. The first detected attack may also be a pickup or a sound between musical beats, so correct it when needed. Estimates stay in this editor visit, do not upload or play sound, and have a 30-second timeout. Cancel while analysis runs, or estimate again to retry. A browser decode can finish after cancellation; its late result is discarded. Results are unavailable for removed or different music. Undo can restore the same original and its suggestion.

Check the whole proposal.

For a 12-second video with scene lengths of 3.8, 4.1 and 4.1 seconds, the supplied 120 BPM grid starting at 0.2 seconds can move boundaries from 3.8 to 3.7 seconds and from 7.9 to 7.7 seconds. The resulting lengths are 3.7, 4 and 4.3 seconds; total duration stays 12 seconds.

Scene lengths round to tenths of a second and stay within 1–30 seconds. Words, colors, original media and audio settings remain. Timed captions keep their video timestamps, so a caption can cross a different scene boundary afterward. Inspect the new alignment deliberately.

The tool rejects a whole proposal that would lengthen footage or make scene graphics stop fitting. It also requires restored timing when words or video ranges were removed. Use individual or selected-scene duration controls when you need a different edit.

Apply one reversible change.

Review pauses autosave and protects navigation. Confirm that you checked the supplied tempo, first beat and proposed changes, then choose Apply music timing. This updates the draft; one Undo restores the previous lengths and Redo reapplies them. Choose Discard music timing review to leave the video unchanged.

Editing the video during review makes the proposal stale and prevents applying it. Review again against the current video. If no eligible boundary needs to move within your limit, there is no edit.

Play across the new boundaries, then save a new version and export it. Watch and listen to the finished MP4 before approving it. The timing review does not save, export, approve or publish a video.

A steady grid still needs listening.

The estimate does not identify musical meter, track tempo changes, generate music or establish a license. Source trim and playback speed can affect which beats you hear. A rounded boundary may differ slightly from the checked beat, and the nearest change may not be the best creative choice.

Use music that covers your intended destination and campaign. The studio currently mixes one primary audio track and one background track, with separate volume, trim, entrance, speed and fade controls. Finished-file waveform and audio measurements can help inspect the export; they do not judge musical quality.