Feature
The punch-in effect, aimed at the word that carries the claim
Punch-in zooms here are placed by the machine, not by hand. One may land at a sentence start or on a word you emphasised, it scales between 1.06 and 1.12, and two can never fire within six seconds of each other. This page explains where they land, when they buy retention, and when they are just noise with momentum.
- Smallest punch-in. Below this reads as drift
- 1.06
- The scale ceiling, on every pack
- 1.12
- Minimum gap between two punch-ins
- 6 s
Two places a punch-in may land, and emphasis words book theirs first
Search calls this the punch in effect. An editor calls it a punch-in: the frame scales up a few percent, on a cut, and the shot feels closer without a second camera.
Here a punch-in lands at a cut, and only two kinds of cut qualify. The start of a sentence, or a word you marked for emphasis.
Emphasis wins. The claim words book their punch-ins first, and plain sentence starts fill whatever room the six second spacing leaves. Without that order, an ordinary boundary arriving just before your claim would spend the spacing budget and the claim would land flat.
Direction alternates. One zoom pushes in, the next pulls out, so five in a row do not walk the framing steadily into a nostril.
You move a punch-in the way you move everything else here: on the transcript. Emphasise a different word and the punch follows it. There is no keyframe, no timestamp, nothing to drag.
How a punch-in gets its spot
Every step is decided from your words and your marks. No step reads a clock.
You emphasise a word
One mark on the transcript
Claim words book first
Before plain sentence starts
Spacing check
Six seconds minimum between two
Direction alternates
In, then out, then in
Rendered at 1.06 to 1.12
Never past the ceiling
What a zoom buys: a reset of attention that costs nothing to watch
A static talking head gives the eye nothing new, and on a feed the eye leaves when nothing changes. A scale change is the cheapest possible piece of new information. Same face, same room, slightly closer.
Placed on a claim word, it does for the muted majority what vocal stress does for a listener. The frame leans in exactly when the sentence does.
It also glues cuts. A jump between two moments of the same framing flickers. The same jump with a small scale change reads as intentional, which is why feed-native editing is full of them.
That is the whole benefit. It is real, it shows up in held attention, and it is exhausted quickly, which is what the next section is about.
This is the whole editor
Highlight a phrase and a clip lands on those exact words. No timeline, no keyframes, no layers.
When zooms read as TikTok noise, and where the line sits
A zoom is emphasis, and emphasis works by contrast. A punch every two seconds is not emphatic delivery. It is a jittery frame, and viewers feel the jitter before they hear the words.
Scale has the same problem. A crash zoom past twenty percent announces itself as an effect, and the viewer watches the effect instead of hearing the claim it was supposed to carry.
This is why both limits here are hard. Nothing zooms past 1.12, nothing fires twice inside six seconds, and no setting overrides either.
The result is a cadence you stop noticing, which is the point. If a viewer can tell you where the zooms were, the zooms were doing the wrong job.
If your format is the loud one, an unboxing channel or a reaction edit where the camera never sits still, this ceiling will frustrate you. A timeline editor does crash zooms happily. This tool declines to.
Sixty seconds of read, and how many zooms it may hold
The six second floor caps a minute at ten. The style being imitated on loud channels runs three times that.
- Spacing between punch-ins6 s
- Most zooms in a 60 s read10
- A zoom every 2 s would be30
The caption pack sets the temperament. The ceiling stays where it is
How often punch-ins fire is a property of the caption pack you picked, because a pack is a temperament rather than a font.
The loud packs punch on the emphasis words at full scale, and some add small punches at ordinary cuts, at the 1.06 floor. That floor-scale move is the jump-cut zoom every vertical feed has trained you to expect.
The calm packs barely move. Restraint is a signal, and on a premium product a constantly moving frame reads as discount whatever the price on screen says.
Switching packs is one action and costs nothing before export. So the practical test is to preview two: the pack you think matches your brand, and one louder. Watch both muted and keep the one where you remember the sentence, not the movement.
No keyframes, no hand-placed zooms, and what that honestly costs you
There is no way to put a zoom at a chosen timestamp. That is not an oversight. It is the same rule as everything else in this editor: instructions point at words, because words survive re-edits and timestamps do not.
Delete a line and every punch-in downstream recomputes around the gap. A zoom pinned to second fourteen would now sit on the wrong word, and you would be the one who has to notice.
The honest cost: a zoom timed to a beat in the music rather than to a word is not available here. If the edit you want is driven by the track instead of the voice, that is a timeline job and you should do it on a timeline.
The zooms are decided and rendered inside the 100 credit batch, along with the cut, the captions and the footage search. Export is 20 credits per minute of finished video. Lite is $19.99 a month for 1,250 credits, nothing on the picture, cancel in one click.
Questions people ask
- Can I place a zoom exactly where I want it?
- On a word, yes. Emphasise the word and the punch-in lands as it is spoken, spacing permitting. At a timestamp, no. There are no keyframes anywhere in the product.
- Why did my emphasised word not get a zoom?
- Spacing. Two punch-ins never land within six seconds of each other, and emphasis words are booked in the order they are spoken. If two claims sit four seconds apart, the second waits. The fix is spreading the claims out in the read.
- How big is the zoom?
- Between 1.06 and 1.12 times the frame, set by the caption pack. Below 1.06 a scale change reads as camera drift, and past the ceiling the move becomes the message, so the range is fixed.
- Do the zooms cost extra credits?
- No. They are part of the 100 credit batch. Only the export is charged, at 20 credits per minute of finished video.
- Can I turn the zooms down?
- Pick a calmer caption pack. The calm packs punch rarely, the loud ones punch on every claim word the spacing allows. There is no separate zoom switch, because the pack sets the temperament of the whole edit.
- Is this the right tool for constant crash zooms?
- No. The ceiling is 1.12 and the spacing is six seconds, by design. If the format you are copying zooms every other second, build it in a timeline editor, where nothing will stop you.
Mark the word the claim turns on. The frame leans in exactly there, and nowhere it should not.