Connect your clips.
Bring the journey into view.

Photos and videos store dates differently. A photo’s local clock reading also needs a timezone interpretation.

My solution

Edit reads the internal start date of a video and the EXIF DateTimeOriginal field of a photo. Current normal photo import interprets that field using the Mac’s current timezone.

Reason

Dates should come from the recorded fields rather than names or copy dates.

Conditions and limits

This import path does not use the EXIF timezone offset in its date calculation. Photos taken in a different timezone may not align correctly with video timestamps or capture order.

Read this problem in the full list (Japanese)

A Cut output’s start date already includes its correction. Adding the original’s correction again shifts its GPX and Mark mapping.

My solution

Edit imports ExportManifest.json as information about derived footage and excludes this import path from original-file VromaMedia.json correction.

Reason

The same scene’s capture time should survive the move from trimming to composition.

Conditions and limits

Manifest versions 1 and 2 are accepted. GPX route data are separate and must be imported when needed.

Read this problem in the full list (Japanese)

Cut can save a wider range than requested so the file starts independently. Using the whole MP4 would include the extra footage.

My solution

Edit reads the requested and actual ranges from Cut’s mapping file and converts their difference into the in/out positions of the saved MP4.

Reason

Playback padding and footage intended for the film need separate ranges.

Conditions and limits

If the requested start is 10 seconds in the original but the saved start is 8 seconds, the desired footage starts 2 seconds into the MP4. Older mapping files may lack required range or Mark information.

Read this problem in the full list (Japanese)

Trimming a scene’s beginning or splitting it changes which original moment appears at each local position.

My solution

Edit updates the used source position and the corresponding caption and animation positions. Changes in main-footage duration move later main clips and their connected objects together.

Reason

Text and changes of framing should remain attached to the moments they describe.

Conditions and limits

Overlay footage and main footage follow different rules for moving later items. Music spanning the edit is not simply shortened by the same amount.

Read this problem in the full list (Japanese)

A film can need quieter music only during the intervals containing speech.

My solution

Edit supports volume, fades and mute. Its music-reduction option lowers music around intervals marked as narration or another designated voice source.

Reason

Music changes can follow the intervals that need room for speech.

Conditions and limits

Volume settings range from −60 to +12 dB. Peak display is an estimate, and the processing does not prevent every form of clipping. It does not detect speech content to discover the intervals automatically.

Read this problem in the full list (Japanese)

A region of footage may need hiding while a caption or photo placed above it should stay clear.

My solution

Edit places a rectangular blur or mosaic as its own object and applies it to imagery below that layer. Position, size and time-dependent changes can be set; strength zero leaves the image unchanged.

Reason

The region to obscure and its relationship to other displays need explicit control.

Conditions and limits

This is not automatic face detection or tracking. Moving subjects require range adjustments, and blur does not guarantee anonymity.

Read this problem in the full list (Japanese)

A saved title can serve several films, but a change to the reusable definition should not automatically change an existing placement.

My solution

Edit keeps a reusable title definition separate from the title data placed in a project. Text and color changes belong to that placement unless saved separately as a reusable definition.

Reason

Changes for one film and changes for future reuse should have distinct destinations.

Conditions and limits

Saving to the title library and changing a title already in a film are separate operations.

Read this problem in the full list (Japanese)

A straight line across a long gap can suggest that this path was actually recorded.

My solution

Current Edit uses the same continuity policy for reference maps and output route maps. It separates route lines at unavailable intervals and shows no corresponding current position or speed there.

Reason

Map lines should distinguish usable intervals from intervals whose location cannot be determined.

Conditions and limits

Ordinary movement is not connected across gaps over 60 seconds or calculated speeds above 250 km/h. Recorded stops and inferred stops of at least 30 seconds within 15 metres are separate cases. An inferred stop is not proof of an actual stop.

Read this problem in the full list (Japanese)

Each film needs its own media selection, changes and recovery data.

My solution

Edit keeps editing state, history and recovery files per tab and saves the open-project list and selected tab. Opening the same project path again selects its existing tab.

Reason

Work should resume in the intended film without borrowing another film’s state.

Conditions and limits

Saving over a path open in another tab is blocked. Restoration failures are shown separately from successfully restored projects.

Read this problem in the full list (Japanese)

The selected destination may already contain a film, or export may be cancelled partway through.

My solution

Edit rejects an existing video name, writes into a temporary MP4 and moves it to the chosen destination only after completion. It removes partial output on failure or cancellation.

Reason

An unfinished output should not replace a completed film.

Conditions and limits

Unlike Cut, Edit does not automatically choose a serial filename. The user chooses another name or destination.

Read this problem in the full list (Japanese)

A fixed time tolerance can feel too large or too small when the timeline zoom changes.

My solution

Edit offers alignment when a dragged edge is within 8 screen points of a main clip’s boundary. Editing positions use the project’s frame intervals, and the alignment aid can be disabled.

Reason

Edges can be aligned by their visible proximity at different zoom levels.

Conditions and limits

The dragged clips are excluded as targets. The threshold is 8 points on screen, not 8 seconds or 8 frames.

Read this problem in the full list (Japanese)

Looking up a comment’s moment should not require moving the film position or losing its selection.

My solution

Edit opens matching footage in a separate source viewer and preserves the film’s position and selection. When several sources contain the timestamp, the user can choose between them.

Reason

Reviewing a record should remain separate from changing the composition.

Conditions and limits

Missing footage is shown as unavailable instead of keeping an older video as a substitute. Changing this viewer’s direction does not change the framing of the film.

Read this problem in the full list (Japanese)