What’s new

Walkthroughs that scroll and click through your page — tilted in 3D, seen from above, swinging, or zooming in on every click.

A paper and serif magazine look, dark glass at night, a clean outline, and a vertical story with quick cuts.

A card that flips from screen to screen, a list that opens up, and a panorama strip bent like glass.

Screens stepping out of a column, a tablet counting to 100% over a loud colour, a reel of big words, and a row where the middle frame opens wide.

A brand board the camera travels across — made for branding work, a fan of screens that spins open, a stack in depth, and a feature tour with labels and a cursor.

Ask for a poster’s colours, its face, how much it leans, how big its screens are, how many columns or cards, the lens zoom, grain and vignette — and for the window, corners, shadow, backdrop, fonts, opening title or format of any video.

In Magnifier, Motion lists every detail the lens glides to. Add one by clicking it on your page, reorder or remove them — or ask the director.

Motion now has tilt, size and how many screens, rows, columns or cards. Look has your own colours, glow, grain, vignette, the face of the big words and how dark the ending gets.

Your screens stand on a ring that turns around one huge word: the cards at the back pass behind it, the ones in front pass over it. Then the first screen steps forward.

The whole page in tall columns, one running up, the next running down. At the end they part and the title is behind them.

The page scrolls on a screen while two bands of big words from your title run across it, one in your colour, one in ink.

A round lens glides over the page from detail to detail and shows each one large. At the end it opens over the whole frame.

With a poster template on, Look shows just its own settings: light or dark, the big words, the text in the corner and the words it ends on. Back to a walkthrough is one click away.

Pro, Studio and videos bought once cost 40% less for the first 50 buyers, and the price stays on every renewal. The plans page shows the spots left and when the offer ends.

Rows of your screens run sideways, row against row; the middle row is in focus, the camera leans in, then the title comes up.

Your page on a phone or tablet floating among glossy spheres, rings and capsules in your design’s colours — some pass in front, out of focus.

Pieces of the page are dealt like cards over one huge word from your title, fan out across the picture and are swept away.

Open Templates at the top of the editor: walkthroughs and posters side by side, each showing your own frame. Rest the pointer on one to watch it play, click to use it — ⌘Z takes it back.

Your screens laid out as a wall seen at an angle. The camera dives into the first one, the page scrolls inside it, and it pulls back for the title.

Your first screen taken apart: background, pictures, type and buttons lift off on glass sheets with labels, then fall back into the page.

Pieces of the page, its pictures and colours land on a pile, beat by beat, framed like a print proof — then burst around the title.

Your page on a phone or tablet over huge words running across the picture, with soft colour behind.

casecut.app/changelog lists every change to Casecut, newest first.

Add a screenshot or a reference to your message — with the picture button, by pasting it (⌘V) or dropping it on the field. The director looks at it and makes the change.

A new template: your page cut into tilted cards that flow up over your case name in huge type — a poster-style reel. Find it in Templates.

The preview now fills the whole screen. A camera stop’s ··· menu plays from that stop or resets it.

Moving down the page now feels like a smooth-scrolling site: every move starts and lands softly, and one flows into the next without a jolt.

When the page travels fast it blurs in one soft streak — no doubled lines or flashes.

When the ending uses the button from your design, the cursor comes over and presses it. It is a stop on the Cursor row: drag it, make it a hover or skip it — or pick “Ending” in Add a cursor stop.

Look → Ending → Button: the field starts with your button’s own text. Type other words and the button from your design takes them, in its own type and colour.

Style → Theme → Auto takes the page, text and accent colours from your design. Image, gradient and glow backgrounds now show clearly.

The Phone preview of a link page is now the newest iPhone — Dynamic Island, status bar and all. Logos on link pages are larger.

Look → Backdrop: each tile now shows the backdrop around your page, not only the page.

Grab a scene, a camera stop, a cursor stop or a layer and move it left or right — it follows the pointer, everything after it moves along, and it lands exactly where you let go.

While you drag, a blue line shows the moment and how far you moved it. Blocks snap to the cuts and to the playhead.

Sound → Music: warm, bright, cinematic, dreamy, tech, deep and elegant join calm, pulse and airy — each composed for your video.

Look → Ending → Button look: put the button from your design at the end — its icon, arrow and colours, exactly as drawn. Or just ask the director.

Motion → Button hover → Primary colour: a hovered button takes the main colour of your design instead of lifting.

Click any empty moment on the Cursor row and pick what it goes to — the stop lands right there.

Look → Ending → Page at the end → Still: the page sits flat and motionless under your title.

Click the green line on the timeline to add a point, drag it up or down — louder or quieter in exactly that moment. Double-click a point to remove it.

Stretch the fade in and fade out at the ends of the music. Click any sound effect to make just that one louder, quieter or silent.

Click a row’s name or any block — video, music, sound effects, scenes, camera, cursor — to open its settings. Pinch on a trackpad to zoom.

Every case gets its own page. Pick one of 8 layouts and 12 looks, set your colours, buttons and credits, and add a password if you like.

Logo, colours, typeface and the defaults every new case starts from. Colours can be taken straight from your frame.

Every video you made, with its format, length and link. Download any of them again in one click.

Your photo and name, exports left on your plan, Auto, Light or Dark theme, and an email when a video is ready.

Something looks off? Report a problem attaches the case for you — add a screenshot if you like.

Your changes wait in the tab and are saved the moment you’re back online.

Scenes, camera, cursor, layers, music and sound effects each get a row. Drag and stretch blocks, zoom with ⌘ and the wheel, loop a part and let blocks snap to the cuts.

Pause and click any title in the video to change its words and colour right there.

⌘Z takes back any change, even the director’s, and ⇧⌘Z brings it back.

All three shows 16:9, 4:5 and 9:16 side by side. Click one to fine-tune only that format.

Open a camera stop and drag the box over what should stay in view. How long it holds and how it moves on are set right there.

Every option in Motion and Look shows a real frame of your video, and Backdrop now has a soft film grain.

Export shows each format as it renders. When it’s done, download the files, copy a watch link or post it on X.

The app opens in a calm light look, like the new casecut.app. Prefer dark? The sun button next to the language switches it.

Every client’s site is a folder on the Cases page, in its own colour. Open one to see only its cases.

Search finds cases and sites — ⌘K jumps to it. Sort cases by newest, oldest or name, and filter drafts and exports.

Formats sit in the top bar, the panels are calm white cards and the video gets more room.

New case shows the three steps from Figma and waits for your frames — they appear here by themselves.

In Look → Ending, write your own words for the small label over the end title, or clear it. Pick how it looks: plain, with a dash or in a frame.

The label, the headline, the line under it and the button each take their own colour. You can also ask the director: “make the label orange”.

An eye next to every title and ending text takes it out of the video. Or ask the director: “remove the line under the title”.

Describe any change — the director now always makes it, choosing the closest way when there is no exact control.

When you let the camera pass a section without stopping, it now glides straight into the next one.

The page your video link opens shows a clean picture before it plays, and many small things work more reliably.

A photo inside a mask or a clipping frame now moves exactly as you see it in Figma — cut to its shape. Update the Casecut plugin and send the frame again.

Cards keep their own shadows while they animate, and a badge laid over a picture stays on top of it.

The AI director now presses what a visitor would press: calls to action, tabs, slider arrows and links you set up in the prototype.

The Account page now also opens What’s new, and many small things work more reliably.

In Plans and prices choose “Pay once” and slide to how many videos you want, from 5 to 100. They never expire, come with the full daily AI allowance, and are used after your plan’s own exports.

Before an export you now pick the formats you need — each shown as a real frame — and see what it costs. Nothing starts until you press Export.

While it renders, the video appears frame by frame with the progress of every format. Stop at any moment — if no video is finished yet, the export comes back.

The opening title you write now also stands over the page in 4:5 and 9:16, all the way through the video.

Many small things work faster and more reliably.

Next to a link there is now “Customise the page”: your own headline and words, a button that leads to your site or your email, colours, the frame around the film, your name and logo at the top. You see the page change as you type, and the link stays the same.

Many small things work faster and more reliably.

After an export, get a link: your client opens a page and watches the film, with nothing to download. The link stays with the project and you can remove it any time.

Calm, Director’s or Dynamic — one click changes how the film carries itself: its pace, the camera and the music. What is shown and pressed stays the same. In the AI tab, each with its length.

Before you see the first film, the AI director looks at frames of it — every cursor press, every stop — and fixes what is plainly wrong: a click beside its button, an opening that sits too long.

In Export, “See all three side by side” plays 16:9, 4:5 and 9:16 together, so you see what each cut shows before you render.

Under Sound there is a shelf of tracks composed for your video. Tap one to hear it, or compose four more.

Many small things work faster and more reliably.

When the render finishes, a small card in the corner offers where to post the video — X, LinkedIn, Threads and more. The file is saved for you and the post box opens next to it. One click closes the card.

Buttons, switches and panels across the editor are softer and line up evenly.

Many small things work faster and more reliably.

Open Motion → Cursor moves → Add a cursor stop, point at any button, card, picture or line of text on your page and choose: click or hover. The video is re-cut with your stop in it.

Stops on the same screen change places with the arrows, and Cursor pace makes the cursor calmer or quicker without touching the rest of the video.

Many small things work faster and more reliably.

When a button or card has a hover state in Figma, the video shows that state — the whole button changes the way you drew it, with nothing added on top.

Clicks, whooshes and pops are gentler, and the music starts as a calm ambient bed. Pick an instrument under Sound when you want a melody.

Many small things work faster and more reliably.

Add a melody played by a recorded instrument — grand or soft piano, vibraphone, marimba, harp, kalimba, chimes — or keep the calm ambient bed. Under Sound, with the sound drawn as a wave.

It reads your copy and typography, names what is most worth showing in your design and brings the camera in on it.

Fast scrolling now has real motion blur, and the camera keeps moving very slightly while it rests on a section. A bar you fixed in Figma stays on screen, as on the live site.

Click a block on the timeline: change its length, edit its text, take it out of the video or bring it back.

A hover state shows while the cursor is there and goes when it leaves. Every cursor move is in one list — and can be dragged earlier or later.

Four endings, shown as real frames of your own project — with the page tilted or flat.

Many small things work faster and more reliably.

The whole Google Fonts library, your own font files and the fonts on your computer.

A frame up to 520 px wide is shown as a phone screen.

How to prepare a Figma frame — written so you can hand it to your AI assistant.