Two recordings that will not line up
Drag one waveform onto the other and hear it snap into place. No counting frames, no clapperboard.
You record two things: yourself and the video you react to. ReactionCut lines them up, builds the look you choose, and then does the slow part on its own: it cuts to your face every time you speak, and back to the video when you go quiet.
No sign-up, no install, nothing uploaded. Never done this before? The editor makes demo footage for you in one click.
Filming a reaction takes an hour. Cutting one takes an evening. These three jobs are that evening, and they are the three this editor takes off your hands.
Drag one waveform onto the other and hear it snap into place. No counting frames, no clapperboard.
Your microphone track already knows. The editor reads it and places every cut for you. That is most of the edit, done.
Set the look once. It is remembered, so episode twelve is as fast as episode one.
ReactionCut edits. It does not record. You bring your camera and the video you react to, and the sound inside each file is used as it is. Recorded your microphone as its own track? Add it as a separate file and your voice never bleeds into the video's sound: no echo, and sharper automatic cutting.
Record your camera with your microphone. OBS Studio is free and takes five clicks. The video you react to is usually already a file on your disk. That is enough to start. For the cleanest result keep the microphone as its own track and add it separately. The guide walks through all of it.
A file with your voice and the video already mixed together still works, but the balance is frozen: you cannot turn the video down under your voice later, and echo cannot be removed. Record the two apart whenever you can.
Open the editor and press Generate demo footage. You get a working project in seconds and can walk every step before you point a camera at yourself.
Each step asks you one thing and shows you the answer live. You can always go back.
Two modes, and for each one an optional second look that kicks in the moment you start talking. This is every decision the layout step asks you to make.
The classic reaction: the video fills the screen, you sit on top of it in a shape of your choosing.
Looks best. Worried about copyright? Cut to yourself more often, or cover the video with an overlay.
Streamer style: you fill the screen and the video plays in a window you place and shape.
Best for copyright. Shrink the video window, fade it down to barely visible, add an overlay. You control how much of the original shows.
It listens to your microphone and builds the timeline for you: green for the stretches where you're quiet, purple from the moment you speak, and yellow for the start and the end, where your camera is on its own. You only review it: change a clip with one click, drag its edges, or delete it. Undo goes all the way back.
The same screen that shows you the cuts is a timeline. The camera and the video sit on one main track that cannot be broken, and everything you add gets a lane of its own above it: text, shapes, images, music. Nothing here needs another program.
Write on the video, pick the font, then fill the letters with one colour, a gradient, a glow or a pattern. Add a plate behind them when the frame is busy, and a drop shadow so they hold on any background.
Drop a shape anywhere, set its fill, border and how it blends into the frame. Use one to hide a spoiler, box a face, or lay a half-transparent panel over the video.
Your own audio gets its own lane, with its own volume and fades. The camera and the video keep theirs, so nothing has to be balanced before you import it.
Choose what happens at a cut and how long it takes. A cut can stay a hard cut, or become a dissolve as slow as you like.
Eight ready looks (warm, cool, punch, faded film, black and white, night and more), or set brightness, contrast, saturation and warmth by hand. It applies to the clip you picked, not the whole video.
Push into a reaction or drift across a still. Set a start and an end and the editor moves between them, so a motionless shot gets motion without another recording.
Most people just save final.mp4 and upload it. That is the whole job. But if you want to keep going, every generation also gives you the three full-length files it was built from (the whole project, one per look), and a timeline you can open in a pro editor. Nothing to re-render, nothing extra to pay.
final.mp4 as-is, or grab the full-length looks and build a different edit yourself.There is no processing server to upload to. Your own computer decodes, composes and encodes everything, right inside the browser tab. Your recordings, your audio and your project never leave your disk: no upload wait, no size ceiling, and no wondering where your unreleased video ended up.
1 credit = 1 finished video, spent by pressing Generate in the editor, and only if that generation finishes. No subscription, and credits never expire. This is the whole difference:
1 credit = 1 finished video. You spend it by pressing Generate in the editor, and only if that generation actually finishes. A cancelled or failed one costs nothing, and re-cutting or saving that same video again is free. Everything else (editing, syncing, previewing, and exporting with a watermark) never costs a credit. No subscription.
Everything runs on your machine, so it is only fair to tell you what that costs, before you pay, not after. The editor also shows the exact numbers for your own project before it starts.
Chrome and Edge on a desktop are fully tested and work end to end. Other browsers usually work too but aren't guaranteed 100%. Firefox, for one, has no AAC encoder, so its files use Opus audio some players refuse. If anything misbehaves, switch to Chrome or Edge.
Nothing is uploaded, so length costs time and temporary disk space, not money. A two-hour movie reaction is possible if the disk is big enough.
Every frame is a keyframe so you can cut anywhere without re-encoding, which makes the working files large (deleted when you start a new project). By default they go to the browser’s own storage, which Chrome caps per-site. If that is too small, point the editor at a folder on any drive and it uses that drive’s full free space instead. The exact amount is shown before you start.
Output resolution follows whichever track fills the screen, so nothing is upscaled or softened.
Anything your browser cannot open is converted locally with a built-in converter (a one-time ~32 MB download). Nothing is sent anywhere.
Audio is decoded whole for sample-accurate mixing. Larger tracks fall back to a slower live capture, which can drift on very long projects.
Your camera and the video you react to. The sound inside each file is used as it is, so two files are enough. If you recorded your microphone as its own track, add it separately: no echo, and a cleaner voice for the automatic cutting.
Working files are temporary and are cleared when you start the next project.
Reaction videos can pick up Content ID claims, and it mostly comes down to how much of the original you show. The editor gives you several ways to show less without losing your reaction. Mix and match them; there is no single right answer.
Every cut to your camera is a second of the original not shown. Set how eager the cutting is, or change and delete cuts one by one, from heavy cutting to none at all.
In You-first mode the original plays in a window you can make small, or fade down to barely visible, while you stay full-screen.
Lay your own image over the video at any opacity. It need not cover the whole frame: take it to about half and stretch it just to the subtitle line. Less original shows, and the dialogue stays readable.
Keep a single layout the whole way, or switch to a second look the moment you talk. Fewer changes is simplest; a second look adds variety.
The video looks its best, front and centre. If it gets claimed, lean on more frequent cuts to your camera. You show the same reaction with less of the original on screen.
You lead the frame; the original plays smaller. Fade it toward invisible, drop an overlay on top, or both. This gives the most control over how much shows, with the fewest cuts.
A favourite trick for exactly this: instead of hiding the whole frame, drop your own image in, take it to about half opacity, and stretch it down only to the subtitle band. The film shows through faintly, far less of it is legible, and the dialogue stays perfectly readable.
ReactionCut supplies no video and never uploads yours. It only edits what you bring. These are ways to reduce the chance of a claim, not a guarantee: Content ID is unpredictable and reaction videos rely on fair use or fair dealing, which are judged case by case. You are responsible for what you publish, and none of this is legal advice. More in the guide →
Yes, that is who it is built for. There are five steps, each one asks a single question, and the editor can generate demo footage so you can walk through the whole thing before you record anything of your own.
Every editing feature is free and unlimited, at full resolution, with no account. Free exports carry a moving watermark. Removing it costs 1 credit for that video. One credit is one finished video, bought once, no subscription.
Two recordings: your camera (OBS Studio is free) and the video you are reacting to, which is usually already a file you have. The sound inside each file is used as it is, so two files are enough to start. If you recorded your microphone as its own track, add it separately: that keeps your voice out of the video sound, which removes echo and makes the automatic cutting sharper. The beginner guide walks through every click.
No. There is no processing server. Importing, syncing, generating and saving all happen inside your browser on your own machine, which is also why huge files and feature-length videos work fine.
Both. The automatic cut is the starting point, not the product. Once it is placed you are on a timeline: the camera and the video share one main track, and text, shapes, images and music each get a lane above it. You can split, join, duplicate and delete clips, drag their edges, put a transition on any cut, grade the colour of a single clip, add pan and zoom with keyframes, and write titles with gradient, glow or pattern fills. Undo goes all the way back, and none of it costs another credit.
Anything you can play on your computer: films, series, anime, music videos, trailers, gameplay, sports, podcasts, other creators. The editor never inspects what the video is. It only sees two picture tracks and two sound tracks.
Yes. Every generation hands you three full-length MP4s, the whole project in each look (watching, talking, full-screen), plus a timeline you can export as EDL, FCPXML, OTIO or CSV. Open the MP4s in any editor and cut them your own way, or import the timeline to drop this exact, automatically-placed cut back onto a track and keep editing from there. Nothing has to be re-rendered, and it costs nothing extra.
Chrome or Edge on a desktop or laptop are recommended. That is where everything is tested and works from start to finish. Other browsers will often work too, but we can't guarantee them 100% (Firefox, for example, exports with Opus audio that the default Windows player won't open). Phones and tablets can open the editor but can't export. If anything misbehaves, switch to Chrome or Edge.
Your machine does the work, so it depends on length, resolution and your CPU or GPU. A ten to fifteen minute project at 1080p usually takes a few minutes.
That depends on the video you use and how much of it you show, not on the editor. Reaction videos usually rely on fair use or fair dealing, which is judged case by case, and platforms run automated matching that can flag a video anyway. You are responsible for what you publish.
No. They stay on your account until you use them, and there is no recurring charge.
Open the editor, press Generate demo footage, and go through all five steps with a real project. Then do it again with your own.
Open the editor, free