Six segments a week, one editor, and a queue that never empties. Each take comes back cut.

Count the desks that want vertical video this week. The news desk, the podcast, two newsletters, and whoever owns the social accounts.

Now count the people who can cut it. Usually one. Sometimes one part time, who also builds the newsletter template on Thursdays.

Ninety minutes a clip is the honest figure once captions, a vertical crop and a check on the spelling of a surname are all in it.

Six segments is a nine hour week for somebody who is already doing four other jobs.

So the queue never gets cleared. It gets triaged.

The segment that gets cut is the one whose producer asked twice. It is not the one with the most reach in it.

Nobody writes that down in the editorial meeting. Priority quietly becomes whoever was most persistent on Tuesday, and the show with the quiet producer stops appearing in the feed at all.

The obvious fix is a second editor. Nobody is hiring a second editor for vertical clips this year, so the fix has to be the cost of one clip.

Say the limit first. Cutroom does not take a ninety minute upload and hunt through it for moments. The input is one spoken take of up to three minutes.

If mining a back catalogue is the job, this is the wrong tool, and no pricing table fixes that.

What it is built for is the take you record on purpose, while the microphone is still up.

The host stays in the chair for ninety more seconds after the show and answers one question in full.

That take has a first line written to be a first line. A pulled clip starts mid-thought and needs a title card to explain itself, and the first second is the whole game in a vertical feed.

There is a second reason, and it is boring and it matters. Rights on a recorded segment are clean. You know who spoke and what they agreed to, and nobody has to reread a guest agreement to find out whether a clip is allowed.

The habit that makes this work is scheduling the take rather than finding it. Two minutes at the end of every session, six times a week, is the entire production plan.

Upload the take. Cutroom transcribes every word, drafts the cut, finds b-roll and returns a finished 9:16 MP4 with the captions burned in. It comes back in about a minute.

You direct it by pointing at words. Highlight a phrase and a clip lands over exactly those words.

Delete a line and the cut rebuilds around what is left. Change the pace and it re-cuts the whole thing.

For a newsroom the transcript is the part that matters. A producer reads the finished video as text before it leaves the building, which is a faster review than watching a cut with a notepad.

A mis-heard surname is fixed in the transcript, not chased down a timeline.

There is no timeline. No keyframes, no layers, nothing to scrub.

That is why a producer who has never opened editing software can clear four segments in an afternoon without a training session first.

A batch is 100 credits. That covers the transcript, the director pass and the b-roll search. Export is 20 credits per output minute.

A sixty second vertical comes to about 120 credits all in. A thirty second one comes to about 110.

Lite is $19.99 a month for 1,250 credits, about ten finished one minute verticals.

Basic is $39.99 for 2,500 credits, about twenty. Premium is $79.99 for 5,000 credits, about forty one.

A $39.99 top-up adds 2,500 credits for the week with a conference in it.

Hold that against the bench. Four segments a week is sixteen a month, which lands inside Basic with room for the ones that get re-cut after a read.

The editor's afternoon stops being the ceiling. The recording schedule becomes the ceiling instead, and a recording schedule is something a producer can actually move.

Your own footage sits beside the stock. Upload cutaways to the workspace library once and every later segment can reach them.

Highlight the words where the reporter names the street, and your own shot of that street lands over them.

The b-roll search covers millions of free clips for everything you did not film yourself.

Coverage is capped on purpose. A chill pace tops out at 40 percent of the runtime under b-roll, normal at 45 and fast at 52. A talking segment that is four fifths stock stops reading as your reporter and starts reading as a slideshow.

The flat facts. Every export is a 1080x1920 vertical MP4. There are no landscape masters and no subtitle files to download.

One take makes one finished video, and source takes cap at three minutes.

One workspace is one sign-in, and there is no invite flow, so a desk that needs its own login and its own billing buys its own account.

Somebody has to speak. A host, a reporter, an editor with a good voice. That requirement is also why the output still sounds like your title rather than like a feed of generated narration.