Features
What B/side does
Everything here is in B/side today unless it says otherwise. Filter by who you are, or read the lot.
Start cutting the moment the card goes in
Drop a camera card, a folder or a recording into B/side for Mac or Windows and start cutting, picture and sound. Nothing has to finish uploading first.
Never lose your raw
Point the free desktop helper at two drives and plug in a card. It copies every file to both and checks each copy against the card. Then it tells you whether the card is safe to format.
Stop shipping drives
Offload on location with a decent connection and the footage goes up as the day goes. The edit room starts cutting before you wrap, and the originals follow at their own pace.
Cut on the computer in front of you
Edit from home at full speed, on your own machine. No remote desktop, and no workstation in the building that exists only so someone can drive it from somewhere else.
Your camera originals stay on your own drives
Cut in B/side and keep your rushes where they are. Camera originals stay on your own drives unless you choose otherwise, and the free desktop helper ingests the footage for the whole team.
The Media Composer keyboard and layout you already know
Source and Record monitors with three-point editing, on the keys your hands already know. Cut in B/side the way you cut in Media Composer.
Trim mode with a live two-up
Trim a cut point while a live two-up shows both sides of it. Every nudge previews before it takes effect, so you see the frame before you land on it.
Frame accurate, from the first cut to the last
Every position in B/side is a whole frame. Drop-frame timecode stays exact across a full day of footage, and sound stays in sync with picture.
Anyone can cut multicam
Drop in every camera and the sound recorder. Angles line up by their sound on every plan, and on Production bSync lines them up by sound and by picture and checks the two against each other. Then cut live from a grid of every angle.
A vertical version of your cut, in one step
Cut it wide once. Make a 9:16 version that keeps what is moving in frame and never pans across a cut. Titles, and captions on Creator and up, are laid out again for the tall frame.
Notes on the exact frame, from anyone with a link
Clients and producers watch the cut in their browser from a link and write a note on the frame they are looking at. It lands on your timeline as a mark.
Every take of a line, straight from the script
Open the script in B/side and each line shows which takes cover it and from how many camera setups. Nobody has to log it.
Mic names on the tracks, where they belong
Each channel of a multitrack sound file shows the name the sound mixer gave it, on the right track. The names go with your cut to the mix.
Transcripts you can cut from
Transcribe a clip when you want it and every word comes back on its own frame. Select words and that phrase is marked in the Source monitor.
A real mixer, and voice-over recorded in the browser
A fader and live meters on every track, with clip gain and fades where you need them. Record a voice-over straight into the cut from Chrome.
Finish the picture without leaving the cut
Colour each shot with scopes beside you, and build titles you fix once to update everywhere. Key out a green screen right in the timeline.
Open an Avid or Premiere Pro project and keep cutting
Open an Avid AAF, a Premiere Pro project or a whole Avid project folder and pick up where the cut left off. Anything that does not come across is named on the frame.
Hand off to sound and colour
Send the cut to the mix and the grade as an AAF or an EDL, with change lists when the cut moves. Export ProRes when you need a file.
One project for the whole show
Every editor on the show cuts their own act on their own machine, inside one project. Assistants bring in dailies while you cut, and nobody touches your timeline.