Privacy

Version of 2 November 2026

Since 2 November 2026: a picture can come into one of your films through your assistant, or from “Your brand” in the editor. Our server reads, at your request, the public site whose address you give us (your brand, and screenshots of its pages); or you send us a file from the Cutscene window your assistant shows you, where that window offers it. We say what is read and kept, where and for how long: with a paid plan, like your other pictures; with the free plan, on our servers until the editor takes them into your browser, 7 days at most (points 2 and 3). Nothing else changes.

You need an account to make a film: we keep your e-mail address. Your films, your pictures and your sounds are kept in your browser, where the exported file is made too: that file, we never see.
Your account also keeps your films on our servers: 3 at most on the free plan, without their pictures or sounds; all of them, with their pictures and sounds, on a paid plan. A picture your assistant brings into a film on the free plan waits on our servers until the editor takes it, 7 days at most (point 2). They are shown to nobody else, and you can remove them from it whenever you want. Nothing is sold, nothing is used for advertising.
If you connect your own assistant (Claude, ChatGPT…) to your account, what it reads there, and what its Cutscene window shows, goes to its provider, which you chose (point 5).
A free-form request to the assistant goes, with the description of your film (never your pictures or sounds), to our provider Anthropic, in the United States.
If you create a voice or a sound effect with your ElevenLabs account, your text and your key go from your browser straight to ElevenLabs, under your contract with them: your key never goes through us; the voice's text stays in your film, like its other texts (point 2).
Every file you export carries an invisible watermark: a number drawn at random, which only we can link to your account. We note what you export with your account, for 1 year, to have what each plan opens respected (point 2).
On the free plan, to count your 3 exports of the month, and so that opening several accounts on one internet connection does not get around that limit, we note the time of each export with your account and a one-way code computed from your connection (never your IP address), for 31 days (point 2).
To know which networks bring people to us, we count the visits of the links we post and the accounts opened through them (plain totals per day, with no cookie and nothing about you), and the editor asks you once, if you like, how you first heard about Cutscene (point 2).
You can download or delete everything from My account, whenever you want. After a deletion, the law has us keep your orders, and enough to say who had put an item of content online.
A question about your data: mathieu@cutscene.studio.

This is a translation. The French version is the binding one.

1. Who is responsible for your data

Mathieu Neumar, sole trader under French law (“entrepreneur individuel”, EI), 51 rue du Général Leclerc, 94270 Le Kremlin-Bicêtre, France, who publishes Cutscene. Contact for anything about your data: mathieu@cutscene.studio. There is no data protection officer: the law does not ask for one for an activity of this size.

2. What stays in your browser, what is sent to us

Your films, and the pictures and sounds you put in them, are kept by your browser, on your device. Those copies are tied to this browser, not to your account: anybody using Cutscene in this browser, even with their own account, sees them and can change or delete them. An exported file is made by your browser and you save it on your device: it is never sent, whatever the plan.

What is sent to our servers:

As with any site, your IP address and the name of your browser come with every page requested. Our servers keep a technical log of them, for the security of the service.
Your films, which your account also keeps, so that you can find them on another device and your own assistant can work on them: on the free plan, 3 at most, the first ones the editor saves there, without their pictures; on a paid plan, all of them, with the pictures and sounds you add to them, within the room your plan gives. The editor sends a film each time it saves it, as long as your account has room for it. With each film, your account keeps its 20 previous versions, so that a change can be undone, and who made its last change: you in the editor, or your assistant. You can delete a film from “My films” and remove a picture or a sound from My account, whenever you want. What an account had sent there on a paid plan stays there when it goes back to the free plan, for as long as you leave it there and your account exists (a free account unused for 2 years is deleted: point 3).
The pieces you keep in “My pieces”: a scene you keep as a piece from the editor, a scene made from an animation file you import (a Lottie file, a composition from After Effects, a timeline or Fusion nodes from DaVinci Resolve: your browser reads it, and sends us only the scene; if you give it to your assistant connected online, it sends us the whole file, which our server reads for the time of the request, keeping nothing of it but the scene and, if your assistant names a film to it, its words put in that film), or a piece your assistant connected online writes for you. A piece is made of settings of our pieces, of motions and, sometimes, of a graphics program, of a score for our synthesizer (a sound), of an assembly of our shapes (a 3-D object) or of the animation of an imported file (its shapes, their colours, their motions, the names of its layers and of its groups, and those of the fonts it names), with its name, its description if it has one and, for a scene your assistant composed or a 3-D object that shows words, the example texts it writes in it. A piece never holds a file: no picture file, no sound file, no 3-D file. It never keeps your pictures, which the server refuses, nor the words of your films: a scene kept as a piece leaves them in the film; of an imported file, it keeps neither the pictures nor the words, which go into your film when you add it there. Do not write your name, or anything that points to somebody, in a piece's name, description, tags or texts; an imported file gives the piece the name of its animation (or of its composition, of its clip), failing that the file's name, and the piece keeps the names of its layers and of its groups (a text layer named after its words, as After Effects first does, takes its number): check them before you import it. Your account keeps 20 of them at most on the free plan, 200 with Pro and 1,000 with Studio, and 4 MB, 40 MB or 200 MB at most with their previous versions. With each one, it keeps its 20 previous versions, where it comes from (a scene, a piece, or written whole, by your assistant or from an imported file), who made it (you in the editor, or your assistant) and what its last checks said. A film that uses a piece carries it with it. You delete a piece whenever you want, from “My pieces” in the editor: it is erased at once, with its versions.
When a piece of “My pieces” is checked: the piece, which our server sends to a separate service that draws it (or, for a sound, that makes it from its score and measures it; nobody listens to it) (point 5); and, with your account, how many checks you made that day, quick and full, to hold the number your plan gives (point 3). While a transition's checks are not available online, a transition is not sent there: our server only reads it.
The pictures of a site, and those your assistant brings into a film. When you give Cutscene the address of a site (from “Your brand” in the editor, or to your assistant connected online, depending on its app), our server reads its public pages, at your request and in your name: its home page, and at most two pages it links to. It takes the name, the logo, the colours and the fonts of your brand from them, and a separate service (point 5) takes screenshots of them, at the size of a computer screen and, if a scene of your film shows a phone, of a phone. A screenshot shows what the page shows to everyone: if a public page of that site shows personal data (a person's name, face or words), they are on the screenshot. Only give us the address of a site you have the right to use this way, normally that of your product, and remove from the film any screenshot you do not want to keep. To read that site, our servers give that site, and the services its pages load, only their own internet address and a name that says it is Cutscene, never anything about you; of what they read they keep only your brand and those pictures, with the address of the page each one comes from, in your film, and their log records neither the site's address nor what they read there. When the editor reads the site (“Your brand”), these pictures go straight to your browser: our servers keep nothing of them, and, with a paid plan, the editor then sends them to your account like those you add. What follows applies to those your assistant brings in, and to a file you send from Cutscene's window with “Put in the film”, where that window offers it, which goes from your device to our server without passing through your assistant's provider. With a paid plan, these pictures are kept on your account like those you add in the editor. With the free plan, which keeps your pictures in your browser, they wait on our servers until you open the film in the editor, which takes them into your browser: we then erase them, an hour at most after the editor has read them, and in any case 7 days at most after they last arrived, even if you have not opened the film; they are also erased with the film, when it is erased, and with your account (from our backup copies, within 30 days at most).
If a public page shows you. When someone gives us the address of a site, we take screenshots of its public pages for their films; if one of these pages shows your name, your face or your words, they may be on it. We do not know who appears on a screenshot and we do not look at it, so we cannot tell you. You can object to these screenshots: write to us at the address in “Your rights”, with the page's address. We erase from our servers the screenshots of that page we find there and we tell the accounts that had them taken; those a browser keeps on someone's device are out of our reach. You can also ask the site to remove these data from its page.
For each picture kept on your account, your browser also sends a reduced copy (1,280 pixels at most, without what the camera writes into the file, such as the place), for Cutscene's window that your assistant connected online shows: it is erased with the picture. Our server decodes it and encodes it again itself before keeping it, without any of that information (no place, no camera, no date), whatever the browser sent. That window reads it through a link that holds for ten minutes only, for that film and that picture, and that stops at once if you remove your assistant's access or key; the link passes through the company that provides your assistant, and the picture goes from our server to your device.
If you connect your own assistant to your account: what it reads from your films and your pieces online and what it changes in them, and what its Cutscene window shows (point 5).
When a film starts from a template or takes a style, and when it is saved or exported, the names of the library pieces it uses: their names, nothing else. Neither the film, nor your words, nor your pictures.
When you export a film, just before your browser makes the file, and when your own assistant exports a film or a picture with a key of your account: what you export (a film or a picture, its format) and, from the editor, the film's reference. Neither the film, nor your words, nor your pictures. We note it with your account (the paragraph “The watermarks of exported files”, below).
On the free plan, when you export (a film or a project, in one format; from the editor, or through your own assistant with an API key from your account), just before the file is made: the time, with your account and a one-way code computed from your internet connection (the paragraph “How free-plan exports are counted”, below).
If you answer the question “How did you first hear about Cutscene?”, which the editor asks a new account once: the choice you click on and, for “Other”, the words you add, if you add any (80 characters at most, without links or e-mail addresses, which we remove); or, if you click “Skip”, only that you skipped it (the paragraph “Where people come from”, below).
When you open the share window of a film: the sequence of its shots (the names of the pieces, in order), to tell you whether it looks too much like an existing template. Nothing of it is kept.
When you share a piece, from the editor or from the share card of your assistant's window: the piece, without your pictures, your sounds or your brand, its preview picture, and, for a new version, the line “What changes” if you write one (point 3).
A free-form request to the assistant, when you make one (see “The assistant”).
When you write a comment under a shared piece: what you write and the time; the first time, that you declare you are an adult and accept the rules for comments, with the version of the terms and the date.
A report, a withdrawal or a cancellation, when you make one: these three forms work without an account too.

So as to know how many accounts use each piece of the library (a shot, a transition, a style, a sound) without counting the same account twice on the same day, we do not note your account itself: we note a hash of your account's reference, which changes every day. It is a code computed from that reference (the number the service gives your account, not your e-mail address), from the day and from a secret only the server knows. It is kept with the name of the piece for 2 days, then erased: only totals remain, which identify nobody. Because it changes every day, this count does not link one day to the next. During those 2 days the server can compute it again for your account: it is personal data, it appears in “Download my data” and is erased with your account. This count is also made when your own assistant, connected online, starts one of your films from a template, gives it a style or puts in it a piece somebody shared: our server then counts those pieces in the same way. You can object to this counting for your whole account, in My account, by unticking “Count my uses” (the details are in the point “Cookies and storage in your browser”).

The watermarks of exported files. To have what each plan opens respected (a Pro piece exported without the Pro plan, a film of the free plan whose end line was removed), every exported file carries an invisible watermark: a number drawn at random, with our signature, written in its metadata and, by differences of one colour level out of 255, too small to be noticed when watching the film, in its pictures. A project for After Effects or DaVinci Resolve counts as one export, noted as a film: its number is written in the metadata of the working files we write in it (the build script or the timeline, the Fusion files, the pictures we draw for the elements, backgrounds included, the sound, the instructions and the reference film) and in the pixels of its videos (the reference film, the rendered transitions and, for DaVinci Resolve, the scenes); your own pictures are in it as you gave them, without a watermark. This number says neither your name, nor your address, nor your account: only we can link it to the line of our export log, which keeps it with your account's reference, your plan at that moment, the date and the time, what was exported (a film or a picture) and its format, where from (the editor, or your own assistant with a key of your account) and, from the editor, the film's reference. We use this log to check a file found elsewhere, and to count, in totals and without looking at anyone, how many files are exported (per day, per format, from the editor or from an assistant) and how many accounts export a first and then a second film: nothing is drawn from it for one account alone. At each export, the server also counts your exports of the last 24 hours in it, so that nobody can fill it without end. It is kept 1 year, then erased; it is erased with your account, and it is in “Download my data”. A watermark can be removed, or copied onto another file: for us it is only an indication, never proof on its own, and before suspending or closing your account because of a watermark, we tell you in writing what we found, and you have fifteen days to answer (article 14 of the terms). A file exported by the connector installed on your computer, without an account key, carries the “local” watermark (no account), which identifies nobody: nothing of it is noted. Whoever receives one of your files can read this number in it, if they know where to look, but not whom it points to. If the watermark cannot be given (our servers do not answer, or a very large number of exports was asked for in a short time), the file is made without it: the export never waits for it. On the free plan, an export from the editor waits for our servers to have counted it (next paragraph): if they do not answer, it is not made.

How free-plan exports are counted. The free plan has 3 exports a month (one export: a film or a project, in one format), and at most 6 in 30 days for all the free accounts on one internet connection together (article 4 of the terms). To count them, at each export on the free plan, just before the file is made, we note a line, separately from the export log: your account's reference, the date and the time, and a one-way code computed from your connection. Nothing else: neither the film, nor its format, nor the number of its watermark. The code is computed from your IP address (for an IPv6 address, from its first 56 bits, the share an internet provider usually gives one household), with a key drawn from a secret only the server knows, for this use alone; the address itself is not kept. It does not say your name, but it links the accounts that export from the same connection: it is personal data. It serves only to count the free exports of that connection. When the connection's limit is reached, the editor says so to every free account on that connection, with the day an export comes back; before that, it says nothing of the connection, and it never says which account exported, how many times, or at what time. Each line is erased 31 days after the export. If you delete your account, its reference is removed from its lines at once; the code and the time stay until their 31 days are over, without any account's reference, but still counted for the connection, so that deleting an account and opening another does not reset the connection's export count. This line is noted too when your objection to the export log was accepted: it is a separate processing, which serves only to keep your plan's limit, and it keeps neither the film, nor its format, nor the number of its watermark. You can also object to the code of your connection (“Your rights”). An export you stop in the editor, or that fails there before the file is made, the editor gives back, twice a month at most, when our servers receive its request: its line is then kept, marked as given back, and no longer counts. A still picture your assistant exports is not counted. On a paid plan, none of this is noted; on a free account opened under terms from before 27 October 2026, none either, as long as it has not accepted the new terms (the editor asks it in one click, from the date given by the e-mail that announces them). These lines are in “Download my data”.

Where people come from. The links we post on networks (X, LinkedIn, Instagram, TikTok, YouTube, Reddit…) carry a mark that says where they come from, such as “?ref=ig” at the end of the address: it names a network or a place where we post, never a person. When a page of Cutscene is opened through such a link, we add one to a total: the day, that mark and the kind of page (the home page, the templates, the library, a share, the plans, another one). Nothing else: neither your IP address, nor your browser's name, nor a cookie, nor an identifier, and nothing is written on your device; the programs that read pages (the previews networks draw of a link, search engines) are not counted. If the address of the page where you create your account carries such a mark, we likewise add one to the total of the accounts opened that day with that mark, without keeping it with your account. These totals identify nobody. When you open the editor with a new account, it asks you, above the picture, how you first heard about Cutscene: it is optional, you skip it in one click, and the question does not come back, whether you answer or skip. Your answer and its words are kept with your account; they change nothing in what Cutscene gives you and are used neither for advertising nor to profile you: we only read totals from them, to know where to talk about Cutscene, without ever bringing them together with the marks of the links or with what your account does. They are in “Download my data” and are erased with your account. You can object to our keeping them, at any time and without having to give a reason: write to us at the address given in “Your rights”. An account opened before 1 November 2026 is not asked, and nothing about where it came from is kept.

ElevenLabs. When you create a voice-over or a sound effect, our code, in your browser, calls ElevenLabs when you click: it sends them, with your key, the text to say or the description of the sound effect, the voice chosen, and the model and the sound format, which we set; to show you your voices, it also asks them for the list of your account's voices, and listening to a voice's sample fetches it from the address ElevenLabs gives. As with any site it calls, your browser also gives them your IP address and its name. It receives the sound and, for a voice, the moment each character is spoken. None of this goes through our servers. What allows it: the contract, since this is the function you ask for. What you write, and what ElevenLabs does with it, are a matter for you, for the contract you have with them and for their own privacy rules: for a person who lives in Europe, the controller on their side is ElevenLabs Poland sp. z o.o. (Warsaw, Poland), and the data is kept in the United States, at Eleven Labs Inc., certified under the data protection framework described below for Stripe. Unless you refuse it in your ElevenLabs account (“Data use”), ElevenLabs may use what you send it to train its models. We are neither their customer nor their processor for this. The sound created is then kept like a sound you bring: in your browser, and on your account with a paid plan. The voice's text, and the name of a created sound effect (taken from its description), stay in your film like its other texts, and go with it wherever it goes (your account, your assistant). Do not put in a text what you do not want to entrust to ElevenLabs, such as a product not yet announced.

Your ElevenLabs key stays in your browser (point “Cookies and storage in your browser”): it is never sent to our servers, nor kept in a film or on your account. The connector installed on your computer reads it from its own settings, on your computer.

So as to count the assistant's credits, we note with your account each free-form request (those you write in your own words and that an artificial intelligence handles): its time, the model that answered it (the light or the strong one), what it cost us and therefore the credits it took, for 40 days: this is what counts the month, and what a withdrawal within the 14 days deducts (the credits used since your order). Nothing of what you ask is noted there.

If you make a report, a withdrawal or a cancellation without being signed in, we compute hashes from your IP address and the name of your browser, with a secret only the server knows: a separate one for each purpose, so that they cannot be matched with one another. They serve to limit what comes from the same place within an hour, and to count only one report per person. The address itself is not kept with the hash. A hash does not say your name, but it tells you apart from others: it is personal data. The server holds them in memory, without recording them, and forgets them at the latest when it restarts. Only a report's is recorded, with the report, and erased as soon as a decision is taken (two years at most if none is).

3. What we keep, why, and for how long

What for	Which data	What allows it	How long
Your account: signing you in, opening the editor for you, holding your plan and what it gives you, keeping your films online (and their pictures and sounds, on a paid plan) and your pieces, carrying what you share and the access you give your own assistant	Your e-mail address, your language, your plan; the version of the terms you accepted and the date; if they have changed since, the version we told you about and the date of that e-mail; the last day your account was used; your films kept online, with their 20 previous versions and who made their last change (you in the editor, or your assistant); the pieces you keep in “My pieces” (a scene kept as a piece, a scene made from an imported file, or a piece your assistant wrote: its name and description, settings, motions, a graphics program, a score for our synthesizer (for a sound), the shapes, colours and motions of a 3-D object or of the animation of an imported file, with the names of its layers, and, for a composed scene or a 3-D object that shows words, its example texts; never your pictures nor the words of your films), with their 20 previous versions, where each comes from (a scene, a piece, or written whole, by your assistant or from an imported file), who made it (you in the editor, or your assistant), its weight and what its last checks said; your pictures and sounds kept online (with the name, the type and the size of each file; for a picture, its dimensions) and, for each picture, its reduced copy for your assistant's window; your favourites (seen by you only) and your votes, with their date; if you unticked “Count my uses”, the moment you did; the sign-in links, the sessions and the keys, whose secret is only kept in a scrambled form (with, for a link, a hash of the mark of the browser that asked for it; for a session, the name of your browser; for a key, its name, its first characters and your consent to the sending of what your assistant reads: the version of the text and the moment you gave that consent); each access you give an application by clicking “Allow”: the name it gives itself, the address its answers go back to, what it may do, the dates of the access and of its last use, your consent to the sending of what your assistant reads (the version of the text and the moment you gave that consent), and its codes and tokens, also kept only in a scrambled form; if you choose one, your password, also kept in a scrambled form from which it cannot be recovered (never the password itself), and the day you chose it; the number of failed password tries in a row for your address, the time of the last one and the time until which you must wait: this count is kept under a hash of the address computed with a secret of the server, not under the address itself; the day your mailbox was confirmed for the first time (a sign-in link followed, or Google when it manages your mailbox); if you sign in with Google, the identifier of your Google account (a number Google gives us), the e-mail address Google confirms to us, and whether Google tells us that it manages your mailbox (a Gmail address, or your organisation's Google account); if you come back from Google with an address that already has an account here, that identifier, that address, whether Google manages that mailbox and the page you were going to, for as long as it takes you to confirm the merge	The contract: the account is the means by which the service is supplied to you. It signs you in, holds your plan, keeps your films online (and their pictures and sounds, on a paid plan), carries what you share and the access you give your own assistant; the editor only opens with it. Our legitimate interest for the last day of use (not keeping an account that is no longer used) and for the count of failed tries (preventing a password from being guessed by trying; it is kept for any address typed in the form, whether it has an account or not, so that the form does not say who has one)	Until the account is deleted. A sign-in link: 1 day. A password chosen but not yet confirmed, or the identifier of a Google account waiting to be tied: kept with its link (the password, scrambled), and erased as soon as the link is followed or expires (15 minutes). A merge proposed on the way back from Google and not yet confirmed: 10 minutes. The count of failed tries: 1 day after the last failed try. A session: 30 days without use. The versions of a film: 20 at most, for as long as the film. A film put in the bin, with its versions: 30 days, less if the bin is full, then it is erased within the following hour (if the service is stopped at that moment, as soon as it starts again); the bin holds 9 with the free plan and 300 with a paid plan; when a film goes in and it holds more, those that have been there longest are erased (if your paid plan stops, the free plan's number applies from the next film deleted). A piece of “My pieces”: until you delete it (it is then erased at once, with its versions; the films that use it keep it) or until the account is deleted; its versions: 20 at most. The code an application receives when you click “Allow”: it serves only once, within 10 minutes, and is erased within the following hour. An application's access: its token is good for 60 minutes and is renewed; the access stops when you remove it, and by itself 90 days after its last renewal; it then stays 30 days in the copy of your data, then is erased. A free account nobody uses for 2 years is deleted, after a warning e-mail sent 30 days before.
Paid plans: taking payment, keeping invoices, stopping a subscription	Your e-mail address, your plan, your customer record at Stripe (its reference), your orders (plan, price, date, terms accepted, your request to start at once); your name and your billing address (and, for a business, its name and its VAT number), which you enter on Stripe's page and which appear on your invoices. Your card's data only goes through Stripe: we do not see it.	The contract; the law, which requires contracts of €120 or more concluded online, and accounting documents, to be kept for ten years; our legitimate interest in keeping the other orders as long (being able to prove the contract)	Your orders: 10 years after the end of the contract. The invoices: 10 years, at Stripe and in our accounting records. The technical references of the messages Stripe sends us at each payment: 90 days.
Your withdrawal or your cancellation online	The name, the e-mail addresses and what you wrote in the form; the date and the time; what was done; for a withdrawal, the calculation of what it refunds (the price, the time gone by, the number of the assistant's credits used and their value)	The law for receiving and answering them (it imposes these two functions and their acknowledgement); our legitimate interest in keeping them afterwards (proof)	5 years: the time during which a disagreement can still be brought before a court
What you share with others (Community page)	The shared piece (without your pictures, your logo or the name of your brand), its name, its description, its keywords, a preview picture, its versions and the result of the automatic checks; for a piece of “My pieces” that was shared, which piece it comes from and what its automatic checks said; for each version from the second on, the line “What changes” you wrote and the day it was accepted; the public name you chose; for each version shared, the terms accepted and the sentence you ticked; for each share sent to be checked, the piece's identifier and the time it was sent; the decision taken, its reason, the rule concerned and the e-mail address of whoever decided; the reports received about it (who made them is never shown to the author of the share)	The contract for publishing; the law for decisions and their explanation (EU Digital Services Act); our legitimate interest in keeping the record of a removed share and the record of your permission (proof), and in holding the limit of ten shares to be checked a day, even for a share deleted afterwards (the check is made by a person)	Until the account is deleted. A share that has been removed, by you or by us, is no longer shown or served to anybody, but its record (its name, its versions, the decision and its reason) stays on your account, so that its identifier is never used again. A share that was never published is erased as soon as you delete it. The record of your permission for a piece that was published (which piece, which version, which terms, which day): 5 years after the account is deleted. The time of each send to be checked: 24 hours, even for a share deleted afterwards.
Your votes for the pieces others shared (Community page)	For each vote: the piece and the date. To know whether a vote counts, we read whether your account's e-mail address is confirmed and how long the account has existed; the person who runs the service sees the days on which a piece gets votes mostly from accounts less than a day old, or without a confirmed e-mail address. The public sees the number of votes that count and the day of the latest vote, never who voted	The contract, to give, show and take back your votes: it is a function you choose to use. Our legitimate interest, to spot votes that would not be genuine, as the Code de la consommation asks for opinions to be published fairly (Article L111-7-2); you object to it by taking your votes back	For as long as your account exists and the account of the piece's author exists. You take a vote back whenever you want.
Your comments under shared pieces (the piece's page)	What you write (280 characters at most), the piece, the date and the time; your declaration that you are an adult and accept the rules for comments (we do not check it), with the version of the terms and the date; for a comment we remove, the reason, the rule or the law concerned, whether a report led to it, who decided and when; when we stop you from writing comments for a while, the end of that measure and its reasons. To know whether you may write, we read whether your account's e-mail address is confirmed and how long the account has existed. The public (search engines included) sees the comment, its day and the public name you chose, if there is one (otherwise “A user”; “The Cutscene team” for the team); the person who reads the comments also sees your account's e-mail address; no assistant receives them	The contract, to write, show and delete your comments, and to apply their rules (removing a comment that breaks them, stopping for a while an account that does it again from writing comments): it is a function you choose to use. The law, to handle a report, give reasons for each decision and inform the authorities when it requires it (EU Digital Services Act, articles 16, 17 and 18; loi du 21 juin 2004, article 6). Our legitimate interest in reading the latest ones and removing an illegal comment as soon as we learn of it (loi n° 82-652, article 93-3), keeping the words of a removed comment and the reasons of a decision (proof, an appeal against the decision), and holding the daily limits	For as long as the piece is shared and your account exists. A comment you delete: its words are erased at once (from our backups, within 30 days at most), and its line (the account, the piece, the time) at most 24 hours after it was written, for the daily limit. A comment we remove: its words and the decision, 1 year after the decision (sooner, with your account). A measure stopping you from writing comments: its reasons 1 year after it ends. Your declaration: for as long as your account exists.
A right of reply (somebody named in a comment answers it)	The request, with your name and your e-mail address, and the text of your reply	The law (loi du 21 juin 2004, article 1-1, III)	The request is kept with our e-mails (five years at most after our last answer); the reply is published under the piece, by the team, for as long as the comment it answers.
A report	What you write; your name and your e-mail address if you give them; and in every case the hash described above, or your account's reference, so as to count only one report per person	The law for receiving and answering it (EU Digital Services Act, article 16); our legitimate interest in keeping it afterwards (proof)	For a report made through the “Report this share” link, or “Report” under a comment (what it says may quote the comment). Your name, your e-mail address and your account's reference: 1 year after the decision (two years at most if no decision is taken). The hash: until the decision. The text of the report: 5 years. A report written by e-mail is kept with our e-mails, your name and your e-mail address included: five years at most after our last answer.
Being able to say, as the law asks of whoever hosts content, where an item of content was put online from	The record of what you put online: when you put online, change or delete a film, a picture, a sound, a piece of “My pieces”, a share or a comment, when you change your public name, and when your account is deleted, the date and the time of each operation and the IP address of the connection, with your account's reference and that of the content. This includes each save of a film to your account, on the free plan too, and what your own assistant creates, changes, deletes or brings back there (a film, a piece, a picture, even one waiting for the editor on the free plan): the address noted is then the one it calls from, often a server of its provider	The law (French law of 21 June 2004, article 6, V; decree no. 2021-1362, articles 5 to 7, and the decree that orders their application each year)	1 year. It is stored separately and serves no other purpose.
Having what each plan opens respected: finding which account a file found elsewhere probably comes from; and counting, in totals, the exports and how many accounts export a first and then a second film	For each file exported with your account: the number of its watermark, your account's reference, your plan at that moment, the date and the time, film or picture, the format, the editor or your own assistant, and, from the editor, the film's reference	Our legitimate interest: that the Pro pieces, the formats and the end line of each plan are respected, and finding a use that does not respect them; and knowing whether the service is used (how many files are exported, how many accounts come back to export a second one), in totals and without looking at anyone: nothing is drawn from it for one account alone, and you can object to the log (“Your rights”)	1 year, then deleted; before that, if it is deleted, with your account.
Keeping the number of the free plan's exports, and preventing it from being got around by opening several free accounts on one connection	For each export on the free plan (a film or a project, in one format): your account's reference, the date and the time, and a one-way code computed from your internet connection (with a key drawn from a secret, from your IP address or the first 56 bits of an IPv6 address; never the address itself)	The contract for the number of your account's exports: it is what your plan gives you (article 4 of the terms). Our legitimate interest for the code of your connection: that the free plan is not misused by opening several accounts (that a service is not misused is a legitimate interest; the GDPR says so of preventing fraud, recital 47); you can object to it (point “Your rights”)	31 days after each export, then deleted. If you delete your account, its reference is removed at once; the code and the time stay until the end of their 31 days, without any account's reference, but still counted for the connection.
Reading the site whose address you give us, and bringing into a film the pictures our server reads there or that you send us from Cutscene's window	For each picture: the picture, its name, its size, where it comes from (a site, Cutscene's window), the film it goes into and, for a site, the address of the page it comes from; for a site, also what we draw from it for your brand (its name, its logo, its colours, its fonts), kept in your film. A screenshot may show the personal data the public page shows	The contract: it is what you ask us to do. For the personal data of other people that a public page might show on a screenshot: our legitimate interest, and yours, in making the film of your product with its pages as they are published. A person a screenshot shows can object to it (point 2, “If a public page shows you”); you remove from the film a screenshot you do not want to keep	With a paid plan: like your other pictures, until you remove them or your account is deleted. With the free plan: until the editor takes them into your browser (an hour at most after it has read them), and 7 days at most after they last arrived; before that, with the film or your account if either is erased. Read from the editor: nothing is kept on our servers. Your brand and the page's address: with your film.
Counting the use of pieces and the assistant's credits	Totals per day and per piece, which identify nobody; a hash of your account's reference, which changes every day, with the name of each piece counted, in the editor or by your assistant; with your account, each free-form request to the assistant: its time, the model, its cost and the credits it took	Our legitimate interest for the use of pieces: knowing what is used, sharing the service fairly, preventing abuse; you can object to it (“Count my uses”, in My account). The contract for the credits: it is what your plan gives you, and what a withdrawal counts	The hash with the name of a piece: 2 days. Each request to the assistant: 40 days.
Counting the checks of the pieces of “My pieces”, to hold the number your plan gives a day	Your account's reference, the day, the kind of check (quick or full) and how many; nothing of the piece. For the free plan, we also read whether your account's e-mail address is confirmed and how long it has existed	The contract: it is what your plan gives you	That day and the next (2 days), then erased, or sooner with your account if it is deleted.
Knowing which networks and which links bring people to Cutscene	Your answer to “How did you first hear about Cutscene?” (the choice, the words added to “Other”, the date) or that you skipped it; the day your account was opened. We only read totals from them. The visits of the links (“?ref=…”) and the accounts opened through them: a total per day and per mark (and, for the visits, per kind of page), which identifies nobody; the mark is never kept with an account	Our legitimate interest: knowing where to talk about Cutscene. The question is optional, says what it is for and is skipped in one click; nothing is drawn from it for you alone, neither advertising nor a profile; you can object to it (“Your rights”)	Until the account is deleted, or until you object. The totals of the visits and of the accounts opened, which identify nobody, stay.
Following how the service is doing, in totals: how many accounts are opened, are used and make films, which plans are taken, what the assistant and our services cost, what the Community does	Totals drawn from the data of this table, never an address, a name or anybody's words: the day accounts were opened, their last day of use and their plan; the number of films kept online and of accounts that have one; the orders paid and what was paid back of them; the number of free accounts that reached the end of their exports of the month; the number and the cost of the requests to the assistant; the number of checks of pieces, of applications' accesses and of keys, created and used; the number of shares, votes, comments, reports and favourites; how many accounts can sign in with a password, with Google or with a link, and how many sessions are open. The export log is counted as said above	Our legitimate interest: knowing whether and how the service is used, to run it and decide what comes next. These are only totals, read by the person who runs the service; nothing is drawn from them for one account alone, and nothing in them is brought together with where people come from	Nothing more is kept: the totals are computed when we read them, from the data above and during their durations.
The security of the service	The servers' technical log (IP address, page requested, time); kept in memory only, the number of requests your own assistant makes in a minute, the number of applications that register from the same network address in an hour, and the number of application pages we have no copy of and read on requests from the same network address, also in an hour	Our legitimate interest: protecting the service and those who use it	The log: 30 days at most. What is kept in memory covers only one minute or one hour, and is forgotten at the latest when the server restarts.
Answering your requests	The e-mails we exchange	The contract, or the law when you exercise one of your rights; our legitimate interest in keeping them afterwards (proof)	Five years at most after our last answer

The e-mail address is the only data needed to open an account, and an account is needed to open the editor. Without the address, you can look at the templates, the library and the guide, report a share, withdraw or cancel, but not make a film.

No decision that has legal or similarly significant effects on you is taken by a machine alone, and we do no profiling. What is automatic: the counting of the assistant's credits (when none are left, the assistant answers with its rules), the counting of the checks of pieces (beyond the day's number, a piece is kept without being checked), the refusal of a template almost identical to one already in the library, and the deletion of a free account unused for two years, after a warning; a person looks at them if you ask us to.

The durations on this page do not count backup copies, which are erased automatically within 30 days at most.

4. The assistant

Simple requests (a colour, a duration, a piece of the library) are handled in your browser, without sending anything.

A free-form request is handled by an artificial intelligence. It goes to our server with what is needed to answer it: your request and the few exchanges before it, the title of your film, its shots, its texts, its colours, its typefaces, the name of your brand, the words of its voice-over and the name of the voice, the names of the picture and sound files you attach or that are in the film and the technical reference of the pictures already placed in the film. Your pictures and sounds themselves never leave. Our server passes it all to our provider, Anthropic, which supplies the language model. What allows it: the contract, since this is the function you ask for. Do not put in a request, or in a text of your film, what you do not want to entrust to it.

With us: neither the request nor the film is kept. To count your credits, we keep for each request its time, the model that answered it, what it cost and the credits it took, for 40 days. If you withdraw, the number of credits used since your order is kept with your declaration (see “Your withdrawal or your cancellation online”).
With Anthropic: requests and answers are erased at the latest 30 days later. Two exceptions: if its safety systems detect a use that breaks its rules, they may be kept for up to 2 years (and the result of that check for up to 7 years); and if a law obliges it to. Its contract forbids it from using them to train its models.
Where: this data is stored in the United States; processing may take place in other countries where Anthropic or its sub-processors have servers (Europe, Asia, Australia). See “Outside the European Union”.

The credits of each plan, and how a request takes some, are given in the Terms.

5. Who receives your data

Ourselves; the providers without which the service does not work, which act only on our instructions, under a contract that complies with the GDPR (except Stripe for the part described below); and, when you choose it, the provider of your own assistant and Google for signing in, which act on their own behalf (below).

Who	What for	Where
Google Cloud	Hosting the service, its backups and its technical log; drawing the pictures of a film your own assistant asks to look at, checking the pieces of “My pieces”, and taking the screenshots of the pages of a site whose address you give us (see below)	Belgium (European Union)
Stripe	Taking payments and keeping invoices. Stripe also acts on its own behalf, to fight fraud and meet its banking obligations: see its privacy policy.	European Union and United States
Brevo	Sending all our service e-mails (sign-in and account opening, security notices about the account, orders, reminders, decisions, acknowledgements of receipt)	France
Google Workspace (Gmail)	Receiving and keeping the e-mails you write to us	United States
Anthropic	Supplying the assistant's language model. Our contract is with Anthropic Ireland Limited (Ireland); the data is processed by Anthropic PBC.	United States

Your own assistant. If you connect it to your account (by clicking “Allow” on our page, or with a key you create in My account), it reads, creates, changes and deletes your films online, sees your brand and looks at your films as pictures, at your request; connected online, it also writes pieces in “My pieces”, imports there an animation file you give it (it then sends us the whole file, which our server reads for the time of the request, keeping nothing of it but the scene), checks them, shows them to you in several versions, lists them and deletes them. What it reads goes to the provider of that assistant, the company that offers it to you: of your pieces, their names, their descriptions, their settings, their graphics program, the score of a sound, the shapes of a 3-D object or of an imported animation and the example texts they show, what their checks said and their check pictures, like your films; for an access or a key given before 18 October 2026, or on that day with a box that did not name them yet, your assistant reaches “My pieces” only once you have authorized it again (or made a new key), with the box whose text names them. It is you who choose that provider and what you ask of it: it does not act for us, we are not its customer for this, and it handles what it receives under the contract and the privacy rules you accepted with it, sometimes outside Europe. What allows it: the contract, since this is the function you ask for. It is our server that sends that provider what your assistant reads: if it is established in the European Union, nothing leaves the Union through us; if it is established elsewhere, what your assistant reads goes there, at your request and with your explicit consent (next point). We call no language model for this. You can remove an access whenever you want in My account, “Connected applications”.

Cutscene's window. Where the app of your assistant connected online shows windows (Claude, ChatGPT…), it can also show you your film playing there, let you choose a template, a style or a piece others shared, show you one of your pieces in several versions and, in Claude and ChatGPT only, show you the share card of a film (next paragraph): that window is a page of Cutscene that the app shows in its conversation. What it receives for this (the film, its brand, what is left to complete, a piece and its versions) passes through the company that provides your assistant, like what it reads. The pictures your account keeps reach it as reduced copies (point 2), through a link that holds for ten minutes only, and only for an access or a key given with the box that says so; that link stops at once if you remove that access or that key, and it passes through that company, and the picture goes from our server to your device. When you pause the film, the window tells your assistant what is on screen: the scene, the second, its words and a small picture of that moment, unless it shows one of your pictures. The film's fonts, sounds and thumbnails come straight from our server, under the technical log (IP address, page asked for, time). A picture you drop in that window to see it in your film stays on your device, in the window's memory, while it is open: Cutscene does not receive it and does not keep it, unless you click “Put in the film”, where the window offers it: it then goes from your device to our server, without passing through the company that provides your assistant, and it is kept as point 2 says (“The pictures of a site, and those your assistant brings into a film”). The window is shown in a page of the company that provides your assistant.

When your assistant searches what others shared, it receives the name, the description and the settings of their pieces, never the name of their author, their number of votes or the lines “What changes”; its window can play them. When it prepares a share, or shows you the share card in its window, nothing is recorded until you click “Share” (« Partager » in French): it is you who share, from the editor or from that card. The card is offered only in Claude and ChatGPT (an access given with “Allow” from one of them); with a key, or another application, you share from the editor. So that only your click shares, the card receives a single-use token, valid for thirty minutes, that names your account and your assistant's access (by hashes only our server can recognise), that film and the version of the film it shows; it passes through the company that provides your assistant. We do not keep that token: at the first send, we note only a hash of the random number it carries and the time it stops being valid, without your account or your film, so that it serves only once; that note is erased once that time has passed, within the following hour. What you write on the card (the name) and its preview picture also pass through that company before they reach us. The comments under shared pieces are never sent to an assistant, and no assistant writes one.

To draw the pictures your assistant asks to look at, our server sends the film, and the pictures it shows when your account keeps them (which a paid plan does, and which an account keeps from that time), never the files of its sounds (the score of a sound of “My pieces” is part of the film), to a separate service that does only that, at Google Cloud, in the same region (Belgium). Only our server can call it, and it receives only a hash of your account, never its reference. It keeps nothing once the picture is drawn, except in memory the last film drawn and what was needed to draw it (its pictures, its hand-made pieces), until it draws for another account or it stops, which it does by itself when nobody calls it. A picture your film names by its address on another site is downloaded by this service from that site. The checks of the pieces of “My pieces” are run by a second service of the same kind, which does only that (it draws the piece or, for a sound, makes it and measures it), at Google Cloud, in the same region (Belgium): our server sends it the piece and a hash of your account, never your films or your pictures. It keeps nothing once the check is returned, except in memory what was needed to make it, until it checks a piece of another account or it stops. The screenshots of a site's pages are taken by the first of these services, in a browser opened for that one capture and closed afterwards: our server sends it only the pages' addresses, nothing of your account; it writes nothing to disk, keeps nothing once the screenshots are returned, and its log notes only numbers (pictures, failures, requests).

An application that registers with us to ask for an access (your assistant does so by itself) gives us its name and the addresses to send its answers to, nothing about you. We erase it after 1 day if nobody authorised it, and otherwise 90 days at the latest after its last access ended. One that an assistant registers only once for everyone who uses its connector, from the addresses its provider publishes, waits 30 days for its first authorisation. An application can also, instead of registering, introduce itself through a page it publishes on its own site: when a request for an access reaches our “Allow” page with the address of that page, our server reads that page, without sending that site anything about you, and we keep a copy of it. The copy holds the same data as a registration, the application's name and its return addresses, and the moment it stops being valid: 5 minutes to 24 hours after the reading, depending on what its site says. After that moment, we read the page again at the next request; if its site does not answer, or if we are already reading too many pages at once, the copy may still be used for up to 7 days after the moment it stops being valid, as long as it has not been erased. If nobody authorised it, we erase it 1 day after that moment, within the following hour: at the latest 2 days and one hour after its last successful reading. Once authorised, it follows the rule of a registered application: we erase it at the latest 90 days after its last access ended. The only exception: an authorised application whose return addresses are all ChatGPT's, whether it registered or introduced itself through a page, is kept with no time limit, because ChatGPT uses one same application for everyone who uses the same connector.

If you choose “Continue with Google”, it is you who go through Google to sign in: for this sign-in, Google does not act for us (unlike Google Cloud, which hosts us), and we send it nothing of what you do in Cutscene. Google confirms your e-mail address to us and gives us the identifier of your Google account; we ask it for nothing else, neither your name nor your picture. If that address has no account here yet, one is opened at once, tied to your Google account: there is nothing to confirm. If it already has one, nothing is tied without you: a page offers to merge them. When Google manages your mailbox (a Gmail address, or your organisation's Google account: Google tells us so when you come back), one click is enough. For any other address, Google only tells us that it was verified once: we then ask you for the password of that account, or to open a link sent to that address in the browser where you clicked. The merge that was proposed waits 10 minutes, found by a mark kept in your browser, then is erased. You see the Google account that is tied in My account, where “Untie Google” undoes that tie; when Google manages your mailbox, “Continue with Google” offers to merge again, in one click.

An account opened with Google for an address whose mailbox Google does not manage has not yet proved its mailbox: whoever opened it may not be whoever holds the mailbox today. The first time a sign-in link sent to that address is followed, that Google account stays tied if the browser that follows the link is signed in to that account. Otherwise we untie that Google account, we close the other sessions, we revoke the keys given to an assistant and we remove the access of the applications you had allowed. In both cases, we write so to that address.

Google knows that you sign in to Cutscene, and when. It handles that information on its own behalf, under its privacy policy, including outside Europe; for a person who lives in the European Economic Area or in Switzerland, the controller is Google Ireland Limited (Gordon House, Barrow Street, Dublin 4, Ireland).

The person who checks the shares sees the e-mail address of the account that shares, and the name and the e-mail address of whoever reports, if they give them. The public sees the shared piece and the public name chosen, never the address; it also sees, on a piece's page, the history of its accepted versions, with their line “What changes”. The assistants others plug into Cutscene receive the shared piece (its name, its description, its settings), never its author's public name, address or the lines “What changes”, and their window can play it; what they receive goes to their provider. Under a shared piece, the public sees the comments, their day and their author's public name, if there is one, never their address; the person who reads the comments sees the e-mail address of the account that writes, and the name and the e-mail address of whoever reports a comment, if they give them.

Our Discord server. Cutscene runs a public server on Discord, a service of Discord Inc. (United States). Joining it is optional: nothing of Cutscene depends on it. You join with your Discord account, under Discord's terms of service and privacy policy, and Discord handles your data on its own behalf; for a person who lives in the European Economic Area, the controller on Discord's side is Discord Netherlands BV (the Netherlands). On this server, we see its members' Discord names and what they post there, as well as the overall statistics Discord shows its administrators (numbers, such as how many members arrive or write). We use them to help those who ask a question, to hear their ideas and to enforce the server's rules. For those statistics, Cutscene and Discord are joint controllers (Court of Justice of the European Union, judgment C-210/16 of 5 June 2018): Discord produces these statistics and answers for them; we only read them, and we pass on to Discord any request that concerns it. You can exercise your rights with either of them. What allows it: our legitimate interest in helping the people who use Cutscene and in hearing them. What you post is visible to the server's members and stays there until you delete it, or we delete it when moderating; you leave the server whenever you like, from Discord, and you can object to what we do with what we see there by writing to us at the address given in “Your rights”. Discord Inc. is certified under the data protection framework described below for Stripe. We copy nothing from Discord into Cutscene's database, and Cutscene sends Discord none of your data: the team's private channels there receive totals only about how the service is doing, never a name, an address or an account. Cutscene's links to this server set no cookie and load nothing from Discord: you only reach Discord by clicking.

We sell no data and we give none to anybody else, except to the authorities, in the cases the law provides for: when they ask for it in the manner the law requires, or of our own accord when the law obliges us to report an item of content to them (a threat to somebody's life or safety, and the serious offences it lists).

If you dictate a request to the assistant, it is your browser that turns your voice into text. Depending on the browser, the sound is sent to the dictation service of its maker (Google, Apple, Microsoft), which handles it under its own rules, sometimes outside Europe. We only receive the text. If you prefer, type your request.

6. Outside the European Union

Stripe, LLC (United States): the European Commission has recognised that certified American companies protect data as in Europe (adequacy decision (EU) 2023/1795 of 10 July 2023), and Stripe is certified. If that decision were annulled, the transfer would rest on the standard contractual clauses its contract provides for. Stripe may have this data processed by its subsidiaries and sub-processors in other countries, with the same safeguards.
Anthropic: our contract is with Anthropic Ireland Limited (Ireland). The data is processed by Anthropic PBC (United States), which is not certified under that framework, and by its sub-processors in other countries. These transfers rest on the European Commission's standard contractual clauses (decision (EU) 2021/914), built into its contract. We will send you a copy if you ask for it.
The provider of your own assistant, if you connect one: it is you who choose it, and it is our server that sends it what your assistant reads, and what its Cutscene window shows, once you have allowed your assistant or given it a key. If the company that serves you that assistant is established in the European Union (which is often the case for somebody who lives in Europe), nothing leaves the Union through us. Otherwise, what your assistant reads, and what its window shows, leaves the Union, at your request, perhaps for a country the European Commission has not recognised as protecting data well enough, with no other safeguard from us than sending it only to the assistant you connected: there may be no authority to stand up for you, your rights may be harder to enforce there, and that country's authorities may access this data. This sending then rests on your explicit consent (General Data Protection Regulation, Article 49(1)(a)), which you give by ticking a box of its own, under the text that tells you these risks: on the “Allow” page, and when you create a key in My account. We keep with the access or the key the version of that text and the moment you gave that consent. You withdraw that consent whenever you want by removing the access or the key, in My account, “Connected applications”: nothing more leaves after that, but what has already left stays with that provider, under its own rules. A key created before that box existed does not work for an online assistant: create a new one. With a key given to an assistant installed on your computer, what it reads reaches you first: it is then you who hand it to its provider. Where that provider then handles your data, and what protects it, are set out in its own rules. A picture of your film may show other people (a screenshot of a site, for instance): what your assistant looks at goes to its provider with them; remove from the film a picture you do not want to entrust to it.
Google Cloud keeps the data in the region we chose, in Belgium. If one of its services had to process it elsewhere, it would be with the same safeguards (certification or standard contractual clauses).
Google Workspace (Gmail) (United States): certified under the data protection framework described above for Stripe.

7. Cookies and storage in your browser

No advertising cookie, no third-party tracker, no third-party tool to measure the audience: so there is no banner to accept. The visits of the links we post are counted by our server, with no cookie and nothing on your device (point 2). We ourselves count how many accounts use each piece, as said in point 2: so as not to count you twice on the same day, we note a hash of your account's reference, which changes every day. It only serves to make totals, for ourselves alone, and is erased in 2 days. It is matched with your account only to give you your copy (“Download my data”) and to erase it with the account. Your own assistant is counted in the same way, connected online as connected on your computer with a key from your account. You can object to this counting for your whole account: in My account, untick “Count my uses”. Nothing more is then counted for your account, wherever you work: the editor, in any browser, and your own assistant, online or on your computer. The box is ticked until you untick it, and you tick it again whenever you want. The hash already noted is erased in 2 days; the totals, which identify nobody, remain. On this page online, the box “Do not count my use of pieces from this browser”, at the end of this point, also stops it for this browser alone: that choice is kept by the browser, not on your account. Your assistant installed on your computer also stops with the line CUTSCENE_COUNT=off in its settings.

“cs_session”: keeps your session when you are signed in. 30 days.
“cs_link”: when you ask for a sign-in link, keeps a mark drawn at random in the browser that asked for it. The link signs you in at once there; elsewhere, a page first asks you whether it is really you, and a password that was chosen or a Google account to tie is not saved there. 15 minutes.
“cs_known”: once you have signed in, keeps a value drawn at random and its signature (not your address), which make this browser a known one for your account. Your password tries and your requests for a link are counted there apart from those of strangers, so that nobody can shut you out by getting it wrong on purpose in your place; and the sign-in page opens on “Sign in” rather than on “Create an account” in a browser that carries it. 180 days; it is worth nothing any more as soon as your password is chosen, changed or removed, a Google account is tied or untied, or the mailbox of an account opened with Google is confirmed for the first time (this browser is then given a new one if it is the one that makes the change); erased if you delete your account from this browser.
“cs_google”: for the time it takes to go to Google and come back, keeps what is needed to check that it is your browser that comes back, and the page you were going to. 10 minutes.
“cs_merge”: when you come back from Google with an address that already has an account here, keeps a mark drawn at random: the merge that was proposed is found by it alone, in this browser. 10 minutes.
“lang”: keeps the language you chose. One year.
Online, the name of the “cs_” cookies above starts with “__Host-”: your browser then accepts them only from this site, over an encrypted connection. None is used to follow you: they sign you in and protect the sign-in.
Your browser also keeps, on your device, your films, your pictures, your sounds, your brands, your editor settings and your choice not to be counted; clearing the browser's data erases them. Point 2 says which of these are also kept on your account.
“cutscene.elevenlabs.key”: your ElevenLabs key, when you paste it to create a voice or a sound effect. It is held by the open tab, in its session storage, which your browser clears when you close the tab (unless the browser itself reopens that tab or restores your session); in this browser's storage on your computer only if you tick “Keep the key on this computer”, until you click “Remove the key” (which removes it from both) or clear the site's data. It is read only by Cutscene's page, to call ElevenLabs, and is never sent to our servers. It only serves the function you ask for, so there is nothing for you to accept.

On the payment page you are on Stripe's site, which sets its own cookies to secure the payment.

Do not count my use of pieces from this browserThe setting is kept in this browser: it has to be made again on another device, or if you clear the site's data.

8. When you delete your account

Your films, your pictures and your sounds kept online, with the versions of your films, the reduced copies of your pictures, the pictures waiting for the editor to take them, your pieces of “My pieces” with their versions, the count of your checks of pieces, your favourites, your votes, your comments (those we removed included) and your declaration to comment, your answer to “How did you first hear about Cutscene?”, your applications' access, your keys, your sessions, your password and what you had shared are erased at once. If you had a subscription, it ends and your customer record at Stripe is deleted. If you signed in with Google, the identifier of your Google account is erased with the rest; at Google, it is in the settings of your Google account that you remove Cutscene from the list of services it signs you in to.

What your browser keeps on its side (your films, your pictures, your sounds, your brands, your settings, and your ElevenLabs key if it keeps it) is not on your account and is not erased: any account can open it again in that browser. To erase it too, clear the site's data in your browser.

What stays, because the law obliges us to keep it or as proof:

Your orders and what you declared about them (a withdrawal, a cancellation): 10 years for the former, 5 years for the latter; your invoices, at Stripe and in our accounting records, 10 years.
If your account kept a film, a picture or a sound online, even once (on the free plan too, as soon as the editor saved a film there), or a piece in “My pieces”, or if you shared a piece or wrote a comment: your e-mail address, your account's reference and the dates it was opened and deleted for 5 years; your public name and the reference of your customer record at Stripe for 1 year; and, for one year, the record of what you put online described in point 3. The law asks whoever hosts content to be able to tell a court, on request, who put it online. This data is stored separately: the service uses it for nothing else.
If one of your pieces was published: the record of your permission (which piece, which version, which terms, which day), for 5 years, so that those who used it can prove they were allowed to. The piece itself is erased.

An account on which no film was ever saved (on the free plan, the editor saves up to 3 without your doing anything), which kept no piece in “My pieces”, bought nothing, shared nothing and wrote no comment, leaves nothing, apart from a report you may have made (your name and your e-mail address stay on it for one year after the decision, as point 3 says), the connection code of its free exports (without any account's reference, but still counted for the connection, until their 31 days are over) and the e-mails we exchanged.

Also staying, without any account's reference, but still counted for the connection, are the code of your connection and the time of each of your exports on the free plan, until 31 days after the export: so that deleting an account and opening another does not reset your connection's export count (point 2).

9. Your rights

See what we keep and take a copy of it: the “Download my data” button in My account. The file does not hold your invoices, our e-mails or the technical log: write to us.
Have it erased: the “Delete my account” button on the same page.
Object to the counting of the use of pieces: “Count my uses”, in My account, for your whole account; or the box in the point “Cookies and storage in your browser”, for one browser.
Object to the export log, for a reason that has to do with your situation: write to us. We examine your request in the light of your situation; if we refuse it, we tell you why. If we accept it, we erase what the log holds of your account, and your files then carry the “local” watermark, which identifies nobody. On the free plan, your exports are still counted (the paragraph “How free-plan exports are counted”, point 2).
Object to the code of your connection noted with your free exports, for a reason that has to do with your situation: write to us. We examine your request in the light of your situation; if we refuse it, we tell you why. If we accept it, we remove the code from your account's lines and note it no more: your exports are still counted for your account.
Object, at any time, to our keeping your answer to “How did you first hear about Cutscene?” and its words: write to us at the address given at the end of this point; we erase them, without your having to give a reason, and the question does not come back.
Have your data corrected, restrict processing, or object to other processing based on our legitimate interest (the technical log, what we keep as proof): write to us.
Tell us what should become of your data after your death (keep it, erase it, hand it to somebody): write to us, we will follow those instructions.

For all of this, and for any question: mathieu@cutscene.studio. We answer within a month, free of charge. If you have no account, tell us how we can identify you.

You can also, at any time, complain to the CNIL, the French data protection authority: cnil.fr/en/plaintes, or by post to Commission nationale de l'informatique et des libertés, 3 place de Fontenoy, TSA 80715, 75334 Paris Cedex 07, France.

10. Security, age, changes

Everything goes through an encrypted connection. Session cookies cannot be read by a script. The database cannot be reached from the Internet. A password is never kept as it is: only in a scrambled form, computed slowly on purpose, from which it cannot be recovered. After five failed tries less than a day apart, you must wait before trying again, longer and longer; that wait does not apply to the sign-in link received by e-mail. A sign-in link signs in at once only the browser that asked for it; opened elsewhere, it first shows which address it is for and asks you to confirm. When a password is chosen, changed or removed, or a Google account is untied, we close the account's other sessions and we remove the access of the applications you had allowed; in those cases, and when a Google account is tied, we send an e-mail to its address; if it cannot be sent, My account says so when the change is made there. The keys given to an assistant are not touched (except in the case told in point 5, where they are revoked): you remove them in My account, “Connected applications”. If a leak affected your data and put you at risk, we would tell you, and the CNIL.

Cutscene is a work tool: it is not aimed at children, and we do not ask anybody's date of birth; to share or to comment, you only declare that you are an adult. From the age of 15 you can open a free account without a parent's consent; before that, you need it. In both cases, a parent can ask us to delete the account of their minor child by writing to us (mathieu@cutscene.studio). Paid plans, sharing and comments have their own age rules, given in the Terms.

If this page changes, the date at the top changes; if the change affects what we do with your data, we announce it on this page at the latest on the day it applies. Before using your data for anything this page does not say, we tell you yourself, by e-mail or when you sign in.