A cutting room in the browser.
Full multi-track editing with nothing to install and nothing to license per seat. Open a link and you are in the timeline, with your branding already applied and Arabic that sets the way it should.
A timeline in a browser tab, with your brand already on it. Open any track to see what it carries.
There are six edit suites and forty people who need one. The reporter who wants to trim eleven seconds off a package waits for a seat, or asks an editor to do it, or gives up. Meanwhile the material has to be copied to the suite, the graphics have to be found, the brand assets have to be located on somebody's drive, and the finished file has to be copied back.
ProEditor removes the copying and the waiting. It is a real multi-track editor — layers, keyframes, mixing, effects — that happens to run in a browser tab, on the same installation as the archive it is cutting from. There is nothing to move, because the material is already there, and there is nothing to license per seat, because a seat is a browser tab.
12 things it does. Open any one for how it works.
Video, audio, text, stills and brand elements on independent tracks, stacked in whatever order the shot calls for. Anchor over footage, footage over map, caption over both.
Search the whole archive from inside the timeline and drop a shot straight in. Nothing is downloaded, converted or copied to a working drive first.
Slow pushes and pans across photographs and maps, plus scaling and rotation over time on any clip — the difference between a still that sits there and one that carries a sentence of narration.
The bed drops automatically under the voice and comes back up in the gaps. What used to be a pass of manual level keyframes is now a setting.
Generate subtitles from the audio on the timeline, edit the wording, and burn them in styled the way your brand specifies rather than however the tool defaults.
Letters join, text runs right to left, and mixed Arabic and Latin in one line behaves properly — in titles, in captions and in every graphic.
This is the thing that quietly disqualifies most editing tools for an Arabic newsroom. Text that renders as disconnected letters, or a line that reverses when a number is added to it, is not a cosmetic problem — it is a graphic that cannot go to air.
Logos and furniture sit on their own layer above everything else, so nothing an editor does to the video below can accidentally cover the channel's identity.
Drop in a lower third or a title from your brand templates, type the name, drag it to where it belongs. It plays in the preview exactly as it will render.
See who else has the project open and where they are working. A producer and an editor can be in the same package without one overwriting the other.
Save the state of a cut before trying something. Undo covers the last hour; a snapshot covers the version the editor liked on Tuesday.
Search licensed stock footage from inside the timeline for the establishing shot nobody filmed, without leaving the edit to go hunting in a browser.
Rendering happens on the system, not on your machine, with progress on screen. Close the tab, keep editing something else, come back to a finished file.
From a rough cut sent over by TV Studio, from a clip, or from nothing at all. No install, no seat to book, no material to copy.
Pull shots from the archive, lay the voice track, stack the layers. Your brand is already there rather than being something you add.
Lower thirds, titles, captions, music under the voice. Everything animated plays in the preview as it will render.
Send the link. They open the same timeline, in the same state, and can make the change themselves rather than describing it on the phone.
Rendering runs on the system while you start the next thing. Nothing is tied up waiting on your machine.
A reporter in a hotel room with a laptop opens the project, trims their own track, drops in the two shots the desk sent through, and files it. No suite, no install, no transferring twelve gigabytes over hotel wifi — the material never leaves the building in the first place.
Instead of describing the change to whoever cut it, they open the same link, make the trim themselves, and hand it back. The change takes ninety seconds and does not require finding the person who built it.
The brand layer is already on the timeline, above everything, reading from Brand Studio. The graphic is right because it could not have been wrong, not because somebody checked it against a PDF.
Music ducking, caption placement, brand position — all defaults you can override on any individual clip.
Step back through the session, or return to a version you deliberately saved days ago. Both, because they solve different problems.
Where the editor proposes a shot or a keyword, it is offered in a panel. Nothing appears on the timeline that you did not put there.
Cutting and delivering are separate permissions, so a trainee can build the whole package without being able to send it anywhere.
If an overlay cannot be rendered, the export fails and tells you. An export that quietly ships without the lower third is the worse outcome.
A clip whose source cannot be reached is reported, not replaced with black or with the nearest thing to hand.
Two people in one project see each other. Concurrent work is visible rather than resolved by whoever saved last.
An export is a file waiting for you. Where it goes next is a separate decision by a person with the authority to make it.
The constraint on how much a newsroom can produce has never really been talent — it has been six suites, a licence count, and the twenty minutes it takes to copy material onto a working drive. When the cutting room is a link, the reporter can trim their own piece, the output editor can make the change themselves at ten to seven, and the correspondent can file from a hotel. Nothing about the craft gets easier. The queue in front of it disappears.
For the work a news desk actually does — trimming, layering, captions, graphics, mixing — yes, because the heavy lifting happens on the system rather than on your machine. It is not a replacement for a finishing suite on a documentary, and it is not meant to be.
The project lives on the system, not in the tab. Close it, move to another machine, open the link again and the timeline is exactly where you left it.
Yes, and most newsrooms do for the long-form work. This changes the economics of the short-turnaround pieces that make up most of a bulletin, which is where the queue actually forms.
Yes — joined, right to left, and correct when Latin text or numerals appear in the same line. This was treated as a requirement rather than a localisation task, because a newsroom cannot broadcast text that renders as disconnected letters.
The useful demonstration is the one that runs on your footage and your wire feeds. Tell us how your desk works and we will show you the parts that matter — and say so where we do not help.