B/side is a cloud-native editor: the cut lives in the cloud so everybody works on the same one, and the media stays where it is. These are some of its pages, one for each thing an editor does; signed in, the editor has all of them.
Starting out
- The walkthroughThe card that shows you around on the first run, how it changes depending on where you came from, and how to switch it off or bring it back.
- Your projectsThe list you see after signing in — starting a project, opening one, and deleting one you want to start over.
- The B/side app for MacB/side in its own window on a Mac — the whole keyboard, including the keys a browser keeps for itself, and nothing that looks like a website.
- B/side on a phoneWhat B/side does on a phone — watch the cuts, leave notes at a frame, send clips from the camera roll — and why the editor itself is on an iPad or a computer.
- The editor's languageWhich languages B/side speaks, how it picks one from your browser, and how to choose another under View ▸ Language.
- On your ownRunning the whole of B/side on one machine — no account, no cloud, nothing leaving the computer — and moving the show to a team later.
- Your plan, and the referral codeWhat you are paying for, what happens when you fill your allowance, how to change plan or card, and the code that pays you a quarter of what anybody you bring in pays — every month, for a year.
Getting footage in
- Dropping footage inDrag video files or a folder onto B/side and A/Side ingests them — light copies to cut with, every sound track named, your files left where they are.
- A/Side, the helperThe small app on the computer your cards and drives are plugged into — installing it, signing it in, the window and what every part of it does, updates, and what it sends to B/side.
- Footage from an Avid driveAvid keeps a shot's picture and each channel of its sound in separate files.
- Collecting hi-resWhen a cut's footage is on more drives than you can plug in at once, B/side copies just the seconds the cut plays from each drive as it comes by, to the cloud or to one folder, so the cut exports with none of the drives connected.
- When B/side's server can't be reachedKeep cutting when the server is away — edits are kept on your computer, a project you've opened before opens from its copy, and everything is sent when it's back.
Finding and organising
- SelectsKeep a range of a shot as a row of its own — with its handles, so you can still trim past the marks.
- Source SettingsSet a master clip's LUTs and framing once — stack LUTs after its camera conversion, turn it upright, crop it, fit or fill the frame, straighten it, and choose how it is scaled — and every shot of it, in every cut, plays that way in the monitors and the master.
Cutting
- CuttingThe gestures a day is made of — add an edit, top and tail a take, and the three-point edits underneath them.
- Dragging a clip inDragging from a bin loads a clip into the Source monitor or places it in the timeline, while the keyboard keeps deciding what kind of edit it is.
- TrimmingTaking the nearest edit, which side rolls, the keys that move it, typing a trim on the keypad, asymmetric trims for an L-cut, slip and slide, Extend to a mark, and the loop that tells you whether it works.
- TransitionsPutting a dissolve, dip or wipe on a cut, changing its kind and length, and dragging its edges or body with Transition Manipulation.
- Removing pausesTaking the quiet between sentences out of a talking-head take in one go, picture and sound together, with the count shown before anything moves.
- Cutting vertical, square or any sizeEvery sequence has its own frame — vertical for TikTok, Reels and Shorts, 4:5 or square for feed posts, landscape, or any size at all.
- A vertical versionTurning a cut framed wide into a 9:16 version for YouTube and TikTok — what it frames on, what it does when it cannot tell, and how to take it over.
- The Command PaletteEvery command in B/side, by menu, to click or to put on a key — including the coloured notes and the multicam splits.
Picture
Sound
- AI voice-overTyping a line or turning your own read into another voice, choosing the voice and how it is said, and the take landing straight in the cut, made to fill the gap between your marks, with every take kept so you can switch between them.
Notes and review
- NotesWriting, changing and deleting the notes on a cut, and what their colours mean to Avid, Resolve and Premiere.
- People and facilitiesWho can open a project and what they can do there — adding somebody by email, the four roles, a facility whose staff can open its projects without being added to each, and keeping a project to the people added to it.
- Watching a cutFull screen playback on ⌘F — the whole screen, still playing, with every key still working.