Assembly & Export

The Export page lists the files that actually exist, one card per aspect ratio from the latest assembly, with its resolution, duration and quality label. Before the first assembly the cards show what will be published.

The player at the top of the Export page plays the latest 16:9 render, and a switch above it changes to 9:16 or 1:1 in a frame of that shape. Every card and every version in the assembly history has a Preview that opens the render in a player sized to it, with sound, controls and a Download button; Escape or a click outside closes it. Only the start of the file is fetched until you press play, so previewing a large export does not download it. A version in the history is one assembly with all of its ratios, not one file.

A project with a finished film shows a play button and its running time on its dashboard card. It opens the same preview on the latest 16:9 render (or the newest render when there is no 16:9 one) without leaving the dashboard.

Final videos render at the resolution set on the project: 720p (1280×720) by default, or 1080p (1920×1080). Change it in the project settings before generating; clips are produced at that size.

The project's aspect ratio drives the main export. A saved editor timeline also carries 9:16 and 1:1 outputs for vertical and square delivery, rendered from the same cut.

After encoding, every file is decoded and measured: dimensions and duration against the request, integrated loudness and true peak against the export targets (−14 LUFS, −1 dBTP for the web preset), and whether the picture is actually there. A film that is black from beginning to end has a video stream, the right dimensions and the exact expected length — every other check passes on it — so it is now refused as a delivery rather than published. A film that is mostly black is published with a note, because a cut can open or close on black and a fade is black. A file that is not what was requested is not published; loudness and picture notes are shown next to the file in the assembly history.

Each final video shows whether the reviewer passed it (Quality passed), it was delivered while scenes were still flagged (Draft with findings), or it was never reviewed. The label reflects measured review, not an approval you gave to proceed.

Each ratio says whether its export is the cut you have saved, and why. The check compares the exact cut each file was rendered from — not how long it runs, which cannot tell two different cuts of the same film apart, and does not change at all when you fix a caption. If you press Re-assemble when every ratio already came from the cut you have saved, nothing is rendered and no credit is taken — the answer is simply that you already have it, unless re-assembling would move cuts onto the beat (below). A file exported before FilmGen started recording this says so rather than claiming to match. You are only told everything matches when every ratio you asked for actually does.

For a music video FilmGen measures where the song's beats are and moves each cut between two shots onto the nearest beat, a downbeat when one is close, by no more than 0.3 seconds. A cut moves later only when the outgoing shot has the extra frames, and earlier only when the next shot is not sung on camera, so a singing shot never drifts out of sync. The film keeps its length. Re-assembling a film made before this re-cuts it on the beat without regenerating anything: the moved cut is saved as a new editor version on top of yours, and any shot you trimmed or otherwise edited stays exactly as you left it.

The bundle's caption setting (burned in, sidecar, both or none) applies to caption tracks only. Titles, lower thirds, a title card and end credits are always burned into every deliverable while their track is visible, so choosing sidecar captions no longer makes a title disappear. The .srt and .vtt sidecars carry captions only, and a film whose only text is a title card gets no empty caption file.

Assembleon the Export page starts a delivery run on Filmgenic's workers that cuts every scene with a clip against your audio and publishes the result. It survives closing the tab and server restarts, appears in the Producer's run list as a delivery, and costs one credit. It refuses while a production run is still active or paused.

While a delivery run, or the assembly at the end of a production run, is working, the page says so and checks on the run every few seconds and whenever you come back to the tab. It switches to the finished film by itself when the run ends; no reload is needed. A run that is waiting at a checkpoint, such as the final review, is shown as waiting rather than assembling.