doc
The Long Cut
A twenty-minute doc cut down from ninety hours.
Renata Iles
For editors & colorists
cut. grade.ship.
A showcase and community for editors and colorists — share reels, trade looks and LUTs, and learn the workflow from offline to export.
photo · Abdulkadir Emiroğlu
rec · 24 fps
01
How it works
Three steps. No render waits.
/ 01
Import
Drop your footage. Splice proxies it in the background and transcribes every clip as it lands.
/ 02
Cut & grade
Edit at full speed, then grade with looks and LUTs that stay matched across every shot.
/ 03
Ship
One click exports every deliverable your client will ask for — and the one they will.
02
Everything but the render
Edit more, wait less.
Proxy-first editing
Auto-generated proxies keep an 8K timeline playing like 720p.
LUT & look sharing
Trade matched LUTs that survive a camera swap.
Camera matching
Balance two sensors so they read as one crew, one intention.
Frame-accurate notes
Every comment attaches to a frame, not a timestamp.
Team review
Clients and directors leave notes in the cut, not the email.
Every format out
Pre-baked deliverables for master, web, social, and stems.
03
On set, in the bay
Shot where the edit happens.
04
The timeline
Scrub every frame. Grade every cut.
00·0101·0502·0903·1304·1705·2106·25
07·2905
The slow grade
One clip, one frame at a time.
grade pass · Pixabay
06
This week's reels
Cut, graded, and shipped.
commercial
Glass & Light
A product spot graded to look like one lens.
Sam V.
short
One Take
A festival short with exactly one cut.
Priya N.
doc
North
A cold-weather doc matched across three cams.
Tomás M.
From the desk of Renata Iles
The cut is the only part the audience ever sees. Everything else is preparation.
I spent eight years cutting other people's films before I built splice. The thing that slowed me down was never the cutting — it was everything around it. The render. The relink. The "which version did the client mean."
So splice is the tool I wanted: a place where the edit is fast, the grade stays matched, and the notes live on the frame where they belong.
Here's the invitation: upload a cut. Grade one frame. Watch how fast the rest of the timeline falls into place. That's the whole product.
Renata IlesFounder, SPLICE
07
By the numbers
Live, from our backend.
1.2M
reels shipped
84k
looks shared
210k
editors
512k
members
08
Loved by the bay
Editors who finally shipped.
★★★★★
"I've cut on everything from Avid to a laptop. Splice is the first tool that felt like it was on my side."
June P.Documentary editor
★★★★★
"The camera-matching alone paid for itself. Two sensors, one grade, zero arguments with the DP."
Marcus T.Colorist
★★★★★
"Frame-accurate notes changed the whole review loop. No more 'at 2:13' guesswork."
Sofia A.Commercial editor
09
The roadmap
Where we're going.
Q3 2026
Proxy-first editing + LUT library, live in beta.
Q4 2026
Team review with frame-accurate notes.
Q1 2027
Cloud renders — offload the export, keep editing.
Q2 2027
splice hardware: a grading panel that talks to the web.
10
Questions, answered.
How does splice differ from my NLE?+
Splice isn't an NLE. It's the layer around your edit — proxies, grades, LUTs, review, and deliverables — that makes the NLE faster.
Do I need to change my camera setup?+
No. Bring footage from any camera. The matching tools do the work of balancing them.
Is it just for colorists?+
No. Editors, DPs, and post teams all use it — the grade is shared, but the edit is yours.
Is it free?+
Yes — the core editor toolkit stays free during beta and after launch.
Do you keep my footage?+
Never. Footage stays on your drives. We only index what you upload for review.
Can I share a look or LUT?+
Yes — publish it, link the before/after, and the community grades it frame by frame.
The cut is already in there.
cut. grade. ship.
photo · cottonbro studio