Audition alternates and lock takes

When the same line lives in more than one clip, the alternates strip surfaces every option, and lock keeps the one you love

When the matcher finds the same word run in more than one clip, it picks one and saves the rest as alternates. The alternates strip is where you audition them and swap takes without touching the script.

Focus a splice

Click any block in the timeline ribbon below the script editor. That block is now focused, and the alternates strip populates with every other equal-length match for that script range. One chip per alternate.

Each alternate chip shows the clip name, the duration of the run, and the source timecode. The active take, the one currently in the cut, is outlined in the accent color.

Audition before swapping

Click the play arrow on a chip to audition it without committing. The preview plays just that take. If we like it, click the chip body to swap it in. If we don't, the active take stays put.

Each alternate carries its own trim adjustments. Switch from take A to take B, then back to A, and A's trims are still there. Same for fill offsets. Per-take settings travel with the take.

Lock the one you love

When a take is locked in, right-click the entry and choose Lock take. A hexagon-pattern overlay covers the alternates strip so you can't accidentally swap.

Locked entries survive the next Submit. The matcher leaves them alone and only rebuilds unlocked entries that overlap the script change. So you can keep iterating on the script around a take you've already nailed.

To unlock, click the lock icon and confirm.

A working tip

Don't lock too early. The matcher might find a better take you haven't seen yet two clips deep in the strip. Audition the strip first, then lock. Locking a mediocre take and forgetting about it is the easiest way to end up with a cut that's almost good.