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The app, on the three machines it runs on

Every frame here was taken on a real device with a real project open. No mock-ups, no composites and no finished edit posed for the camera — the films are the work being done, at the speed it happens.

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Three films

Press one to watch a whole session, start to finish. They carry no soundtrack: everything worth seeing is on the screen.

A tablet is the whole studio — the opening frame

3:00 A tablet is the whole studioWatchThree minutes on a Galaxy Tab A8. The same fifteen looks picked from previews of your own frame, the same grade controls, the same export dialog offering broadcast loudness — every second of it computed on the tablet itself.

Upright in, upright out — the opening frame

3:13 Upright in, upright outWatchThree minutes on a phone, on a video shot upright. The voice sheet with its low cut, compressor, tone and room; a look running on its own track under the clip; and an export that says plainly that everything renders on the device.

The whole job, on a Mac — the opening frame

3:20 The whole job, on a MacWatchThree minutes twenty on a MacBook: a project opened, the original dialogue lifted out by the AI, looks tried on the picture one after another, captions laid on their own track, and the file written out. Nothing is cut and nothing is sped up.

Forty screenshots, in sets

Each set opens as a carousel. Step through it with the arrows, or with the arrow keys.

macOS

A MacBook, with the whole desk out: menus, a timeline drawn from the film itself, and a preview that fills the screen.

Open a project, see the film — screenshot 2 of 2

2 Open a project, see the filmOpenProjects wait where you left them. Open one and the timeline draws the film itself — every track against the same clock, and the picture in frames rather than in a grey bar.

Fifteen looks, on your own frame — screenshot 3 of 5

5 Fifteen looks, on your own frameOpenEvery look is previewed on the frame you are standing on, not on somebody else’s sample photo. Nine are free — Punch, Amber, Steel, Cinema, Ember, Midnight, Greyscale, Platinum, Ink — and six come with the subscription, four of them painted over the picture rather than graded into it: a CRT television, film grain, a light leak, worn VHS tape.

Captions and titles, on their own track — screenshot 1 of 3

3 Captions and titles, on their own trackOpenAdd a caption by hand, import an .srt, or have DubWeaver listen to the track and write the subtitles itself. Titles sit over the picture on the same track system, and what the player draws is what the exported file carries.

Watch it, then write it out — screenshot 1 of 2

2 Watch it, then write it outOpenThe preview fills the screen with nothing else on it. The export dialog asks four questions — resolution, codec, channels, loudness — and answers the fifth itself: it all renders here, nothing is uploaded, nothing is charged by the minute.

Nine languages, all the way down — screenshot 1 of 4

4 Nine languages, all the way downOpenNot a translated front page with an English editor behind it. Choose Russian and the menus, the panels, the filter names and the export dialog all move with it — which is what these closing frames show.

Android tablet

A Galaxy Tab A8 — an entry-level tablet running the same editor, with nothing left out because the device was cheap.

The same editor, on an entry-level tablet — screenshot 2 of 2

2 The same editor, on an entry-level tabletOpenA Galaxy Tab A8 opens the project and draws the same timeline: video, original audio, music and effects, and the filter track under them. Nothing is withheld from the cheaper device.

Pick a look by looking at it — screenshot 1 of 4

4 Pick a look by looking at itOpenThe grid shows your own frame fifteen times over. Vignette and intensity are sliders beside it, and both take effect as you move them — on the monitor and in the exported file alike.

Grade it by hand, then fill the screen — screenshot 1 of 2

2 Grade it by hand, then fill the screenOpenBrightness, contrast, saturation and temperature, each a slider with its number beside it. Then the preview goes full-screen with the interface out of the way, which is the only honest way to judge a picture.

Broadcast loudness, from a tablet — screenshot 1 of 2

2 Broadcast loudness, from a tabletOpenSource resolution, H.264 that plays anywhere, stereo, and streaming loudness at −14 LUFS — the figure the streaming services normalise to. The File menu keeps the project saved as you go.

Japanese, in the same session — screenshot 1 of 4

4 Japanese, in the same sessionOpenThe picker offers nine languages and the app changes in place: project list, animation panel, filter grid. These last frames are the same project, in Japanese.

Phone

A handset holding a video shot upright. Upright in, upright out.

A studio that fits in a pocket — screenshot 2 of 2

2 A studio that fits in a pocketOpenFour tracks on a phone screen: video, original audio, music and effects, and the look running underneath. Every control is a thumb away from the timeline.

Shape the voice while you hear it — screenshot 1 of 2

2 Shape the voice while you hear itOpenA low cut with its frequency, a compressor with its threshold, three bands of tone, and a room with a size and a mix. They are the four things a dub actually needs, and each one is heard as it is set rather than after the export.

A look on its own track — screenshot 1 of 2

2 A look on its own trackOpenThe look is a clip, so it starts and ends where you put it. Cut it, and the second half of the film can carry a different one — or none at all.

It says what it is going to do — screenshot 1 of 1

1 It says what it is going to doOpenFormat, resolution, codec, channels, loudness — and one sentence under them: everything renders on this device, nothing is uploaded, and nothing is charged by the minute. That sentence is the product.

German, on the same phone — screenshot 1 of 3

3 German, on the same phoneOpenNine languages in the picker and the whole app follows, down to Originalton and Musik und Effekte on the track heads.

Everything in these pictures, named

Voice separation with an AI model that runs on the device, lifting the original dialogue out and leaving the music and effects. Subtitles written from what is said, in nine languages, timed to where each line is spoken. Animated caption and title styles — typing with a cursor, karaoke, a word that lights up as it is spoken, pop and fade — burned into the exported file exactly as the player draws them, or written out as .srt. Line detection that marks where every line starts and ends, the step Pro Tools calls Strip Silence, with arrows that walk you from mark to mark. Dub takes recorded against the picture and placed by a measured audio round trip, inside the EBU R37 lip-sync window. A voice strip heard live: high-pass, compressor, de-esser, three-band EQ and room reverb. Level, pan, fades and automatic ducking under dialogue. Fifteen picture looks picked from squares of your own frame — nine free, six with the subscription, four of them painted over the picture: a 1970s CRT television, film grain, a light leak and worn VHS tape, plus duotone and split tone. Each look on its own track, so one film can carry several. ITU-R BS.1770 loudness with EBU R128 true-peak limiting at −1 dBTP, delivery in stereo or discrete 5.1, and variable frame rates normalised to constant. It runs with no network at all, needs no account, and nothing is uploaded or charged by the minute. On Android phones and tablets, on iPhone and iPad from the App Store, and on macOS.

Filmed on a MacBook, a Galaxy Tab A8 and a Huawei handset, all running DubWeaver 2.21.1. The interface is in English here; the closing frames of each device show the same project in Russian, Japanese and German.

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