This comparison is a division sum: ads shipped over hours spent

Keyframes, masks, speed ramps, chroma key, templates and trending audio, on a phone, for free.

That combination is difficult to beat on any feature comparison, and this page is not going to try.

For a single video that has to be right, a person in a real editor wins. That is true and it stays true.

It also has no ceiling. Any length, any aspect ratio, any project shape, from a quick trim to something elaborate.

It also runs where you filmed. No transfer, no upload wait, no second device involved at any point.

Here is what none of that changes. Every one of those features is a decision, and every decision costs minutes.

Cutroom removes the decisions rather than adding more. The cut arrives drafted, captions burned in and coverage on the words you marked.

A thirty-second vertical ad in a timeline is rarely thirty minutes. Trims, captions, footage hunting, levels, export settings, a re-export.

Call it ninety minutes for the first version and an hour for the second, which is why the second version usually does not happen.

Ten ads a month at ninety minutes is fifteen hours. Thirty ads is forty-five hours, which nobody has alongside a business.

That is the actual ceiling on most ad accounts. Not budget, not ideas, but the hours the repeated job consumes.

Cutroom does not edit better. It removes the steps between an upload and a file you can post.

One batch at 100 credits, then 20 credits a finished minute, and about four minutes of your attention per export.

Do the sum with your own numbers rather than these. Minutes per ad, multiplied by ads per month, divided by whatever an hour of yours is worth.

If the answer is smaller than a subscription, keep the free editor and stop reading here.

Upload one take of up to three minutes. It returns transcribed, drafted into a full cut, and captioned as a 9:16 MP4.

Highlight a phrase and a clip lands over exactly those words. Swap it, or search millions of free ones.

Delete the line that dragged and every boundary after it recomputes. Change the pace and the whole piece re-cuts.

Emphasise the word your claim turns on so it pops in the captions. Fix a mis-heard word and the text follows.

Six caption packs cover the look, five entrances cover how a clip arrives, and music sits under the read at a level you set.

There is no timeline, because a timeline is where the ninety minutes went in the first place.

Coverage is capped by pace: 40 percent on chill, 45 on normal, 52 on fast. The ad stays a person talking.

One talking-head take of up to three minutes goes in. One 9:16 MP4 comes out, captions burned in.

There are no keyframes, no masks, no speed ramps, no chroma key, no templates and no trending audio catalogue.

There is no square, no landscape and no multi-speaker project type.

There is no timeline underneath. A cut sitting four frames wrong is fixed by changing pace or deleting a line.

Nothing of yours is stamped on the export, so a fixed brand element is added elsewhere.

There is no offline use and no mobile app. A phone films and a browser finishes.

A series stays visually consistent by keeping the same caption pack. Those are the facts, and the sum is next.

Winners are 5 to 8 percent of creatives, per Motion's analysis of 550,000+ Meta ads.

Six a month draws about half a winner. Thirty draws two, from the same face and the same offer.

The behaviour that changes is not speed. It is that the idea you were unsure about gets made, because it costs 20 credits.

One finished minute from a fresh take is about 120 credits. Seven days and 300 credits with no card covers two.

The dividing line is repetition rather than budget. A handful of varied videos belongs in a real editor.

Twenty or thirty of the same shape, from the same person, is a production run.

Make two here, time yourself, and price your own evening against the difference.