VEED covers every format. Cutroom covers one, and finishes it.

Subtitles on a webinar. A square cut for a feed. A landscape version for the site. A quick trim on a client file.

One browser tab, no installs, no training. A colleague opens the same project and leaves a comment.

That breadth answers a real problem. Marketing teams do not make one type of video. They make whatever came in that week.

Then look at what the ad account actually needs. It is one shape of video, made again and again, all month.

A general editor charges the same attention every time. The fortieth vertical ad costs what the first one did.

Cutroom is built for that repetition. One take goes in, a finished 9:16 MP4 comes out with captions burned in and b-roll already placed. Eleven marks are all that is left.

The batch is 100 credits and covers the transcript, the director pass and the b-roll search. Export is 20 credits per finished minute, so the fortieth ad costs what the fourth one did.

Broad tools price their flexibility in decisions. Every video is a fresh canvas, which is right when every video is different.

When every video is the same shape, that canvas becomes the tax. Same trims, same caption pass, same hunt for footage, forty times.

Cost per finished ad flattens and stops falling. Practice makes you faster at the same forty decisions, not free of them.

That is where an ad account quietly caps out. Not on ideas. Not on budget. On the hours one repeated job consumes.

Cutroom attacks that by fixing the shape. One aspect ratio, one source type, one output, a drafted cut.

Count it honestly for a week. Every trim, every caption fix, every search for a clip that fits the sentence being covered.

The total is always bigger than anyone guesses. Twenty credits and four minutes is what replaces it.

Upload the take. Cutroom transcribes it and drafts the whole cut. Back comes a 9:16 MP4 with captions burned in and b-roll placed.

Direction happens on the words. Highlight a phrase and a clip lands over exactly it. Swap the clip, or search millions of free ones.

Delete a line and the cut rebuilds around the gap. Change the pace and the machine re-cuts, moving the coverage ceiling with it.

Emphasise a word so it pops in the captions. Fix a mis-heard word and the burned-in text follows the correction.

Choose a caption pack from six. Adjust colour, weight, size and position. Pick how each clip enters.

No timeline, no keyframes, no layers. Those are software decisions. None of them is a decision about the ad.

The output is a 9:16 MP4. That is the shape TikTok, Reels, Shorts and Meta Stories all run.

Source over three minutes is refused. A webinar or a long demo is the wrong input.

There is no team review and no shared project. One person marks a transcript and exports a file, which is why an ad can go out the same hour it was filmed.

There is no timeline underneath. Every frame boundary belongs to the compiler.

Nothing of yours is stamped on the export. No logo, no closing frame.

Those are the facts you plan around. Plenty of accounts keep a broad editor for the odd jobs and run their ads through here.

Mostly one-off videos in mixed formats, the browser editor is the right home for that work.

Mostly vertical ads from short talking-head takes, and repetition is the problem. That is where a narrow tool pays for itself in a fortnight.

The arithmetic that makes repetition matter: winners are 5 to 8 percent of creatives, per Motion's analysis of 550,000+ Meta ads.

Six creatives a month draws under one winner. Thirty draws two. The only lever that moves is the count.

A second cut of a take already transcribed costs 20 credits a minute and about four minutes, which is what makes thirty possible at all.

Seven days and 300 credits, no card, is roughly two full one-minute ads to test the claim yourself.

One finished minute from a fresh take is about 120 credits, so the free trial covers two of them with no card.