Terms of use and of sale

1. Who we are

Cutscene is published and sold by Mathieu Neumar, sole trader under French law (“entrepreneur individuel”, EI), 51 rue du Général Leclerc, 94270 Le Kremlin-Bicêtre, France. SIREN 893 491 605 · RNE (SIREN is the French business registration number). VAT not applicable, article 293 B of the French General Tax Code (CGI).

To reach us: mathieu@cutscene.studio. Questions and complaints are handled by e-mail, by a person. The details are in the legal notice.

In this text, “we” means this business and “you” means the person who uses Cutscene. You accept these terms when you open an account and when you order; the part about paid plans applies when you order one. You need an account to make a film (article 3). Without an account, you can look at the templates, the library and the guide, report a share (article 12), and withdraw or cancel online (articles 6 and 7).

2. The service

Cutscene is an online editor. You assemble a film in it from a library of ready-made pieces (templates, shots, transitions, styles, sounds), you put in your words, your pictures and your brand's colours, then you export it as a video file.

• The picture, the sound and the export are computed by your own browser: it mixes the voice-over and your sounds with the music, which goes down under the voice, and the exported file does not go through our servers.
• You need a computer and a recent, up-to-date browser: Chrome, Edge, Arc, Safari or Firefox. If your browser cannot run the editor or export a video, the editor says so before starting. Firefox exports without sound, and says so too.
• The exported film is an MP4 file (H.264 picture, AAC sound), played by common devices and platforms.
• Every exported file carries an invisible watermark: a number drawn at random, with our signature, written in its metadata (which also say it was made with Cutscene) and, by differences of one colour level out of 255, in its pictures. It is not noticed when watching the film (a trained eye looking for it may make out a grain on a flat light background); it makes the file a little heavier (about a tenth). Only we can link this number to your account: it serves to check that a file found elsewhere respects what its plan opens (article 14). What we note of it, and for how long, is set out on the Privacy page. A file exported by the connector installed on your computer without an account key carries a “local” watermark, which identifies nobody. If our servers cannot give it, 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 (article 4): if they do not answer, it is not made, and you can try again.
• You can also export your film as a project for After Effects or for DaVinci Resolve, software made by other companies: a ZIP file, made by your browser like the film, with the files that software opens to rebuild the film (a script, or a timeline and Fusion files), the pictures we draw for each of its elements, its transitions rendered as video, its sound, your own pictures (screenshots, logo) as you gave them, a reference film and instructions. A project exports on the same terms as the film: the formats and the resolution of your plan (article 4), and a Pro piece needs a paid plan. The invisible watermark of the previous point is written into the metadata of the build script or the timeline, of the Fusion files, of the pictures we draw, of the sound, of the instructions and of the reference film, and into the pictures of its videos; your own pictures do not carry it. You get that software yourself, on its own terms: After Effects, which is paid, in version CS6 or later, or DaVinci Resolve 18 or later, whose free version is enough. After Effects is a trademark of Adobe; DaVinci Resolve and Fusion are trademarks of Blackmagic Design. Cutscene is not affiliated with any of these companies.
• In “My pieces”, you can also import an animation file from other software: a Lottie file, a composition After Effects sends through the “Send to Cutscene” script (it is in every project for After Effects and in “My pieces”), a timeline or Fusion nodes from DaVinci Resolve. Your browser reads it (or our server, when you give it to your assistant connected online: article 13) and makes it a scene of your own (article 11); what it cannot read is left out, and the editor or your assistant says so.
• Your films, and the pictures and sounds you put in them, are kept in your browser, on your device. Your account also keeps your films online, for you alone (and for the assistant you connect to it: article 13). On the free plan: 3 films at most, the first ones the editor saves there, without their pictures or sound files, which stay in your browser (a picture your assistant brings into a film reaches it through our servers, 7 days at most: article 10); when 3 films are already on your account, a new film is kept only in your browser (the editor says so), and deleting a film from “My films” frees its place. On a paid plan: all your films, with their pictures and sounds. What is only in your browser is erased when you clear its data, and another device does not have it. In every case, anybody using Cutscene in this browser, even with their own account, sees the films, pictures and sounds it keeps, and can change or delete them: on a shared computer, clear the site's data after use. Keep a copy of what matters: from “My films” you can save a film to a file. That file does not hold your pictures or your sounds: keep them separately.
• You can put a sound of your own in a film, as the voice-over or as a sound effect: an MP3, WAV or M4A file of 20 MB at most, 10 minutes long at most.
• An assistant answers what you ask in words. See “The assistant” below.

We do what it takes for the service to work all the time, without committing to a minimum level of availability or speed. It may be closed for a while for an update or a repair.

Cutscene has no function designed specifically for people with disabilities; this page will say so if that changes.

3. Your account

You need an account to make a film: the editor and the “My films” page only open once you are signed in. The account is free. It keeps your films online (article 2), and is also for sharing with others, for connecting your own assistant (article 13) and for taking out a paid plan, which keeps online all your films and the pictures and sounds you put in them. It is opened with your e-mail address. To sign in, you receive a sign-in link by e-mail; you can also choose a password, or use another way when the sign-in page offers one. Keep access to that mailbox: it is through it that you choose a password, and that you get back into your account if you forget your password.

By opening an account, you accept these terms as they are sent to you, in full, in the first e-mail of your account: keep it. Their date is at the top of this text.

The free account costs nothing and binds you for no length of time: you can delete it whenever you want from My account, with no notice and without having to say why.

An account is for one person. You are responsible for what is done with yours, unless somebody used it without your agreement and through no fault of yours: in that case, tell us quickly.

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 are only for adults, or for minors who have a parent's consent. If a minor ordered without it, their parent can write to us and we will refund the order.

You can at any time download what we keep on your account, or delete it, from My account. What we do with your data is explained on the Privacy page.

A free account nobody has used for two years is deleted, after an e-mail sent thirty days before. An account with a paid plan is never deleted that way.

4. The plans and their prices

Prices are in euros and are the total to pay for each period: on a monthly subscription, each month; on a yearly one, in one payment for the year. VAT not applicable, article 293 B of the French General Tax Code (CGI): no tax is added. There is no set-up fee and no cancellation fee.

The assistant's credits. Each plan gives a number of credits a month (the table). Only the requests the artificial intelligence handles take any (article 13), according to what they cost us at the model's provider, at the price it publishes, converted into euros, with the tax we pay on it, the assistant's instructions being already ready there (we keep them ready, at our own cost). A credit measures what a request costs us: 1 credit for a tenth of a euro cent of that cost. Within the price of your plan, a credit is worth €3.75 ÷ 2,600 (Pro) or €9.75 ÷ 6,900 (Studio): that value is what counts if you change your mind. A short request takes a few, a long one more; a request to the stronger assistant of Studio takes about three times more. If other uses of the artificial intelligence are added one day to the editor's assistant (having it write a piece, a small 3-D object), they will draw on these same credits. The pieces your own assistant writes take no credit (article 13). Should the same request come to take more credits (a provider's price, another model, longer instructions), that is a reduction of what your plan includes: article 9 applies. The credits come back at the start of each one-month period (on a yearly plan, each month of the year), on the same day of the month as your order, or as the opening of your account on the free plan; those left over are not carried over. When none are left, the assistant answers with its rules until they come back, and the rest of the editor does not stop. A request that has started goes to the end of its answer, even if it takes more than what was left; should it have to be taken up again to correct a refused change, it stops there and tells you. What goes beyond is never charged to you nor taken from the next month. The credits have their own price within your plan; they are not bought without it and are not exchanged for money. What they count when you change your mind is said in article 7. You see what you have left, when they come back and what your last requests took, in My account.

The free plan's exports. On the free plan, you have 3 exports a month. An export is a film or a project for After Effects or DaVinci Resolve, in one format (article 2): the same film, or the same project, in 16:9 and in 9:16 makes two; a still picture your own assistant exports is not one. What you export from the editor and what your own assistant exports with an API key from your account (article 13) count together. The month is the credits' one: it starts on the same day of the month as the opening of your account (or as the end of your last paid plan), and your export count resets at the start of the next one; those left over are not carried over. So that opening several accounts does not get around this limit, the exports of all the free accounts made from one internet connection also count together: at most 6 in 30 days, each counting for 30 days from the moment it was made. A connection is recognised by its IP address (for an IPv6 address, by its first 56 bits): a connection shared by many people (an office, a school, some mobile operators) therefore reaches this limit sooner, for all those people together. What we keep of it is set out on the Privacy page. Opening an account is never refused because of the connection. When one of these limits is reached, the editor and your assistant say so before making the file, with the day an export comes back, and nothing is counted; starting, editing and saving your films are not counted and go on. An export you stop in the editor, or that fails there before the file is made, the editor gives back to you when our servers receive its request (not if the page is closed or the connection cut at that moment), twice a month at most. An export your own assistant starts counts, even if it is stopped or fails. Paid plans have no monthly export limit.

The price of a paid plan has two lines, each with its own price: the access to the service, and the assistant's credits. Pro: Access to the service €15.25 + the assistant's credits €3.75 = €19 a month, or Access to the service €135 + the assistant's credits €45 = €180 a year. Studio: Access to the service €39.25 + the assistant's credits €9.75 = €49 a month, or Access to the service €351 + the assistant's credits €117 = €468 a year. Both lines appear on the order page, on the payment page and on the invoice.

The details of what each plan includes are on the Pricing page. They are copied word for word onto the order page, into the confirmation e-mail and into the contract we keep: that is what you are owed. What is marked “Coming” there does not exist yet and is not part of what you are buying.

Payment is by bank card (Visa, Mastercard, Cartes Bancaires, American Express), on the secure page of our payment provider, Stripe. We neither see nor keep your card number. The first period is paid on ordering, the following ones at the start of each.

Changing plan is a new order, with its 14 days: you cancel the current plan, it stops at the end of the period already paid for (article 6), and you order the other one from that day on. To change without waiting, write to us: we will stop the old plan so that you can order the other and, once your new order is paid, we will refund the days that remain of the old one.

5. Ordering

1. You choose a plan and a period on the Pricing page. You must be signed in to your account.
2. The order page tells you once more what you are buying, the price, the duration and how to stop. Until you have paid, you can go back and change plan or period.
3. You tick the box asking for the plan to start at once (see “Changing your mind”), then you click the “Order with obligation to pay” button: your order is placed, and you undertake to pay for it.
4. You are then taken to Stripe's secure payment page, where you enter your card and confirm the payment (its button says “Pay and subscribe”). The contract is concluded when the payment is accepted, and your plan is active at once. If the payment does not go through, or if you leave that page without paying, the order is cancelled: nothing is charged and nothing is due.
5. You receive a confirmation e-mail straight away: your order, these terms as you accepted them, and the withdrawal form. Keep it.

The contract may be concluded in French or in English. If you order in English, you receive both texts. Where they differ, the French text applies, unless the English text is more favourable to a consumer.

We keep each order, with its confirmation and the terms that applied that day, for the whole duration of the contract and ten years after its end. You can find them in My account (“Download the contract”), and we will send you a copy if you ask us. You can also download these terms: do so and keep them, it is important for future reference.

If you ask us, we will send you these terms in a format accessible to people with a disability.

6. Duration, renewal, stopping

• Monthly subscription: the contract has no fixed duration. It is paid in advance, month by month, and goes on until you stop it.
• Yearly subscription: you commit for one year, paid in advance in one payment. The contract then renews from year to year until you stop it, and each renewal commits you for a new year. Between three months and one month before each renewal, we will send you an e-mail reminding you of the last day to say no.

You can stop whenever you want, online, from the Cancel your contract page (a link leads to it from My account), at no cost and without giving a reason. We will confirm by e-mail the date on which the contract ends.

• On a monthly subscription: your request is recorded at once, nothing more is charged, and you keep your plan until the last day of the month already paid for (one month, to the day, after your last payment). That month is not refunded, except in the cases listed further down.
• On a yearly subscription: nothing more is charged, you keep your plan until the end of the year paid for, and that year is not refunded, except in the cases listed further down.
• Until then nothing changes, and you can go back on your decision: the “On second thoughts, I'll carry on” button is in My account.
• If the period under way has not been paid for (a payment that was declined), stopping takes effect at once and nothing is due.

The period already paid for is not refunded, except in the following cases:

1. You change your mind within 14 days of your order: the price is refunded, less what was provided to you until then (article 7).
2. On a yearly subscription, a serious reason durably prevents you from using Cutscene (for example: a long illness, the loss of your job, the end of your business), during the first year as during a renewed year. Say so on the cancellation page and send us proof of it, at mathieu@cutscene.studio or by post to our address (article 1): we will reply within ten working days and, if the proof establishes it, we will stop the subscription and refund the days that remain, counted from your request.
3. On a yearly subscription, we did not send you, in time and in the form the law asks, the e-mail that reminds you of the renewal: you can then stop at any time after that renewal, at no cost. The cancellation page offers it when we know of it; otherwise write to us (mathieu@cutscene.studio). We will refund, within thirty days, what you paid for the new year, less the part for the days elapsed up to your request (article 19).
4. The plan does not do what was announced: your rights are those of the legal guarantee, among them a price reduction and a refund (article 8).
5. We remove or reduce something you use and you end the contract for that reason: we will refund the part already paid for the period that remains (article 9).
6. We stop the service, or we close your account: we will refund the part already paid for the period that remains (articles 14 and 16).
7. You change plan without waiting for the end of the period, by writing to us: once your new order is paid, we will refund the days that remain of the old one (article 4).
8. Whenever the law gives you a right to a refund (article 15).

When a paid plan stops, nothing is erased and your films stay yours. Those you kept online, and their pictures and sounds, stay on your account for as long as you leave them there and your account exists (a free account unused for two years is deleted: article 3): you can open them again from “My films” and carry on in your browser. What you change in them is still saved on your account, but not the pictures or sounds you add, which stay in your browser; a new film is saved on your account only if it holds fewer than 3. You can remove a picture or a sound from your account whenever you want, from My account. What the free plan does not allow, such as export in 4K or without the end line, is no longer possible.

If a payment fails, we will write to tell you and the charge is tried again, several times, over the following days. If it still fails, the subscription ends, we will write to tell you that too, and your account goes to the free plan: nothing is erased.

7. Changing your mind: the right of withdrawal

You have 14 days from your order to change your mind, without giving a reason: the law calls this the “right of withdrawal”, and says “to withdraw from the contract”. The simplest way is the Withdraw from contract here page: it tells you, before the button, how much will be refunded; you confirm, and you receive an acknowledgement by e-mail. Cancelling is not withdrawing: during those 14 days, only withdrawing refunds.

What we refund. When you ordered, you asked for your plan to start at once (the box of the order page): the law then asks you to pay for what was provided to you until you tell us that you withdraw, in proportion to the price (Code de la consommation, article L221-25). If you change your mind within the 14 days, we refund the price you paid, less what was provided to you until you tell us: the access to the service for the time gone by (counted to the minute) and the assistant's credits you used, at their value. Nothing else is kept, not even the payment fees. If you used no credit, only the time gone by counts, to the minute. The time is counted from the payment of your order to the sending of your declaration online, or to the receipt of your e-mail or letter, to the minute (a minute begun is not counted), out of the period paid for (a month, or a year). The credits are counted at their value (article 4): the value of a month's credits divided by their number; never more than the credits your plan gave you, so that they keep at most the price of a month's credits (Pro: €3.75; Studio: €9.75). The refund is never negative. For example, if you change your mind after 3 days having used 400 credits: you get back €19, less €1.52 for the access (€15.25 × 3/30 days), less €0.57 for the credits (400 × €3.75 ÷ 2,600), that is €16.91. Had we not collected your request for the plan to start at once, or not given you this information before your order, everything would be refunded, as the law provides. The refund leaves within 14 days, to the card used for the payment, at no cost to you.

For the free account, there is nothing to refund: changing your mind means deleting it, at any time and not only within 14 days, from My account (article 3). You can also write to us.

If the fourteenth day is a Saturday, a Sunday or a public holiday, you have until the first working day that follows. The exact date is written on your order page, in the confirmation e-mail and in My account.

For your plan to be active as soon as you pay, without waiting for those 14 days to end, the law asks that you say so yourself by ticking a box when you order. In it you acknowledge that you could no longer change your mind if the contract were “fully performed” before the end of the withdrawal period, and that if you change your mind you will pay for what was provided to you until then (above). For a subscription, full performance does not happen before the end of the period: so you keep your 14 days.

This right applies once per order: a renewal does not give a new one; a change of plan, which is a new order, does. The films you exported before changing your mind remain usable (article 11). We grant this right to business customers too.

The boxed text below is the one the law asks us to give you, word for word.

The form below is the one the law offers. You do not have to use it: the Withdraw from contract here page, an e-mail or a letter saying clearly that you withdraw is enough.

8. If the service does not work as it should: the legal guarantee

If the plan you paid for does not do what the Pricing page and these terms say, write to us: we will put it right at no cost. French law gives you that right for the whole duration of your subscription. In short: you only have to show that the defect exists, not when it appeared; we must bring the service into conformity without undue delay, at no cost and without major inconvenience for you; if we do not, you may obtain a price reduction or, unless the defect is minor, end the contract and be refunded in full. The box also covers updates, very serious defects and the separate guarantee against hidden defects. French law requires us to reproduce this box. It is given below in French, the official text.

The trader responsible for these guarantees is Mathieu Neumar, sole trader under French law (“entrepreneur individuel”, EI), 51 rue du Général Leclerc, 94270 Le Kremlin-Bicêtre, France, mathieu@cutscene.studio.

9. When the service, the prices or these terms change

The service evolves: we add pieces and functions, we fix faults, we adapt the service to technology, to security and to the law. These changes cost you nothing.

If a change removes or reduces something you use in a paid plan, we will tell you by e-mail at least fifteen days before, with the date. Unless the change has only a minor impact on you, you can end your contract at no cost within thirty days of our e-mail or, if it is later, of the date of the change: write to us (mathieu@cutscene.studio). We will then stop your subscription and refund, within fourteen days, the part already paid for the period that remains, counted from your request.

• Price of a monthly subscription: we may change it by telling you by e-mail at least fifteen days before. The month already paid for keeps its price. You can cancel before the new price applies: your subscription then stops at the end of the month already paid for, without your having paid the new price; otherwise it applies to your first monthly payment from the date the e-mail announces.
• Price of a yearly subscription: it does not change during the year paid for. If it changes at the renewal, the renewal reminder e-mail says so at the top, with the old price and the new one: you can refuse the renewal until the last day, and your subscription then stops at the end of the year already paid for.
• The free plan: your free account has no fixed length. If we want to reduce what the free plan includes, we tell you by e-mail at least fifteen days ahead, with the reason, what changes and the date. From that date, the editor asks you, in one click, whether you go on with the new version; until you have accepted it, what the free plan gave you does not change for you, but we may then end your free account, telling you by e-mail at least thirty days ahead; until then, you can download your data from My account. You may also delete your account whenever you like, from My account.
• These terms: we only change them for a reason that we give you in writing (the law, the evolution of the service, a badly written rule), by e-mail, with what changes: at least three days before when the change takes nothing away from you (an addition, a feature you do not have to use, a correction, a clarification, a change in your favour), at least fifteen days before for any other change. The rules of a feature we add apply only to your use of it. With a free account: you can delete it before then, from My account. With a subscription, monthly or yearly: a change that takes nothing away from you applies on the date announced, and you can always cancel at no cost (your subscription stops at the end of the period already paid for). For any other change, the terms of your order remain yours until the renewal (on a monthly subscription, your first monthly payment from the date the e-mail announces, at least fifteen days after it; on a yearly one, your first yearly renewal from that date), unless the law imposes the change or it is more favourable to you. If you do not agree, you cancel before that renewal, at no cost: your subscription stops at the end of the period already paid for, and the new version never applies to it. This point does not let us change the length of your contract, its price or what your plan includes: for those, only the rules written above apply and, for the free plan, the point before this one. We never treat you as having accepted a change you were not told about.

10. What you put in your films

Your texts, your pictures, your sounds, your logo and your films stay yours. You assign nothing to us.

For the service to work, you only allow us, free of charge and on a non-exclusive basis, to: store what you keep on your account and make backup copies of it (reproduction); display it to you and to the people you show it to (communication to the public); resize and convert it to display or export it (technical adaptation); add to it, when you export, the invisible watermark of article 2 (technical adaptation); mix your sounds with the music to let you hear them and to export them (technical adaptation); and, when you make a free-form request to the assistant, pass the description of your film (its title, its shots, its texts, its colours, the name of your brand) to the language model for the time it takes to answer (reproduction); and, when your own assistant asks for it (article 13), pass to it, and so to its provider, which you chose, the films kept on your account and their brand, and draw pictures of those films for it (reproduction, communication to the public, technical adaptation); and, where its app shows Cutscene's window, play those films there and, when your account keeps your pictures, show reduced copies of them there, which your browser makes and sends us (reproduction, communication to the public, technical adaptation); and, for the pieces you keep in “My pieces” (article 11): draw them on our servers or, for a sound written as a score, make it from its score and measure it, to check them, pass them to your own assistant when it asks, and so to its provider, with what their checks say and their check pictures, and, where its app shows Cutscene's window, play them there, in several versions (reproduction, communication to the public, technical adaptation); and, when your assistant connected online gives us a file to import (article 2), read it to make a scene of “My pieces” of it (technical adaptation); and, when you give us the address of a site, in the editor or through your assistant, read its public pages, take screenshots of them and take your brand from them for your film (reproduction, technical adaptation); and, for a picture that comes into a film without going through the editor (a picture of a site our server reads, a file you send from Cutscene's window), decode it and encode it again without its metadata, keep it as set out in the next paragraph and send it to the editor in your browser (reproduction, technical adaptation); what your assistant's provider then does with them is governed by the contract you have with it. This permission applies worldwide, because the service is online, and only while the content is on your account or on our servers, plus the time it takes for our backups to be erased (thirty days at most). It only serves to provide you with the service and, for the invisible watermark, to check that a file found elsewhere respects what its plan opens (article 14). We may entrust these operations to our technical providers (hosting and computing, including the drawing of pictures; language model), within the same limits; the model's provider erases requests within thirty days at most, except in the two cases set out on the Privacy page (a use that breaks its rules, a legal obligation).

A picture can come into one of your films without going through the editor. Our server reads the public site whose address you give us: it takes your brand (its name, its logo, its colours, its fonts) from its home page, and takes screenshots of that page and of two pages at most that the home page links to. Or you send us a picture from the Cutscene window your assistant shows you, with “Put in the film”, where that window offers it. With a plan that keeps your pictures online, such a picture is kept on your account like those you add in the editor. With a plan that keeps your pictures in your browser (the free plan), it waits on our servers until you open that film in the editor, which takes it into your browser; we then erase it from our servers, an hour at most after the editor has read it, and in any case 7 days at most after it last arrived, whether or not you opened the film (from our backup copies, within 30 days at most). From “Your brand” in the editor, the pictures read on your site go straight into your browser, and are kept like those you add there. A site is read 6 times an hour at most for an account, and the whole service reads a limited number an hour: past that, the editor or your assistant tells you when to try again. We claim no right in these pictures: what they show remains with whoever holds its rights (you, for your own site).

We only read a site at your request, in your name, and only its public pages. You only give us the address of a site you have the right to use this way: that of your own product, or that of a third party who allows you to. A screenshot shows what the page shows to everyone, including, if there are any, the names, faces or words of other people. Look at it before you use the film: you are responsible for it, as for any picture you put in your films (last paragraph of this article), once you keep it in a film you export or share, and you remove from the film any screenshot you do not want to keep. We are responsible for what our server does: reading only the public pages stated above, and nothing else (article 15).

We do not show your films, your logo or your name as examples without your written agreement.

You guarantee to us that you have the right to use what you put in your films: your own content, and that of others (a brand, a screenshot, a photo, a piece of music, a person's voice, a recognisable person) only with their agreement. For what you keep on your account without sharing it, we are only a hosting provider: we do not choose it (except the pages our server captures on the site you give us, as stated above), we do not look at it, and we remove it if it is reported to us as illegal.

11. The films you export

In a film you export, everything that comes from you is yours. For the rest, the pieces of the library that we made (shots, transitions, styles, effects, sounds, music), we allow you, on a non-exclusive basis, worldwide, for the full term of copyright and at no price other than that of your plan, free or paid, to: reproduce them in your films; adapt them with the editor's settings, then edit, crop, shorten, subtitle or dub the exported film; show, publish and distribute those films, and let your clients, your broadcasters and the platforms do so, on every medium (websites, social networks, video platforms, online advertising, television, cinema, trade shows, points of sale) and for every use, commercial and advertising included, without having to credit us. The pieces of the Community page are given to you by their authors, on the terms of article 12.

• This permission remains valid after the end of your subscription for the films you exported while it ran.
• With the free plan, the film carries a small end line; it must not be removed.
• A project for After Effects or DaVinci Resolve (article 2) is treated as an exported film: this permission applies to it, and in that software you may also change our pieces in it (their layers, their motions, their colours) to make your own films from it, as many as you like. You do not give, sell or publish the project, or its elements, as a template, preset or library. The rest of this article applies to it as to a film: with the free plan, its end line is a picture laid over its last two seconds, which must not be removed. The fonts are not in it: the project's list of fonts says where to get them, under a free licence (below).
• What is not allowed: extracting the pieces to resell or redistribute them on their own, or making templates or a library out of them outside Cutscene. Sharing in Cutscene a template that started from one of ours remains allowed (article 12, rule 1).
• The sounds and the music were made by us, for Cutscene: they come from no catalogue. You must not claim them as yours in a system that tracks rights (Content ID, for instance), and we never claim rights over your films.
• We guarantee that we have the right to give you these permissions. If somebody claimed rights over one of your films because of one of our pieces, write to us: it is for us to answer for it.
• The typefaces are the works of their authors, under an open-source licence (SIL Open Font License). They set no condition on your films. The list is in the credits.
• A piece of “My pieces” (a scene you kept as a piece, a scene made from a file you imported (article 2), or a piece your assistant wrote for you: article 13): we claim no right in what your assistant or you wrote in it (a graphics program, motions, a score, the assembly of shapes and their settings, its name), nor in the animation of a file you imported; what it takes from our pieces (a scene kept as you set it, the settings, the library's animations, effects and objects it names, our code that makes its shapes and its sounds, our icons and the instruments of our synthesizer) stays ours, and you use it in your films on Cutscene on the terms of this article. What an artificial intelligence writes is not always protected by copyright and may take up a program or a melody somebody else published: as for what you put in your films, you guarantee to us that you may use it (article 10). Likewise, a file you import may be somebody else's work (a downloaded animation, for example): you import it only if you have the right to use it in your films. You can share it with the other people of Cutscene (article 12), except, for now, a sound written as a score, a 3-D object or a scene made from an imported file, and what holds one: you still use it in your films, which you export like the others. Your pictures are never in it, nor the words of your films: they stay in your films; a piece holds only its name, its description and, for a composed scene or a 3-D object that shows words, example texts. A scene made from an imported file keeps its animation (its shapes, their colours, their motions) and the names of its layers (a text layer named after its words takes its number), but neither the words it shows nor its pictures: they go into your film when you add the scene to your film, and are not kept otherwise. A piece that stands on a Pro piece is Pro: a film that uses it exports with a paid plan. A sound written as a score is made of notes (its score) that our program plays, like an instrument, wherever the film plays: it is neither a recording nor a voice, and it holds no sound file. A 3-D object of “My pieces” is assembled from our shapes: it holds no 3-D file from elsewhere, and no picture, and its letters are traced in your brand's fonts, under a free licence (above).
• A voice-over or a sound effect you created with your ElevenLabs account, or a sound you brought, is not one of our pieces: you use it on the terms of whoever gave it to you, that is, what your ElevenLabs plan allows (with their free plan, no commercial use, and what you publish must cite “elevenlabs.io” in its title; what one of their services in beta creates may not be used commercially) or the sound's licence. We claim no right in it, apart from the permission of article 10 that makes the service work, and we grant you none.
• When your film holds a voice or a sound created by an AI, the exported file says so in its metadata (the IPTC value “compositeSynthetic”). ElevenLabs also says it marks what it creates with an inaudible watermark. You must not remove or change that statement or that watermark to hide that a sound was created by an AI. How to read them: How to tell whether a sound was created by an AI. A project for After Effects or DaVinci Resolve says so at the top of its instructions, in its sound file and with a marker on the sound, because a file made from the project no longer carries that statement: if that sound could pass for authentic (article 13a), say clearly in the film you make from it that an AI created it. A sound written as a score is made by our synthesizer, which is not an AI, from its score; the score itself is most often written by your assistant, which is one. The exported file therefore does not carry that statement for it. If it imitates a real sound closely enough to pass for authentic (the real sound of a product, for example), say so in the film, as for a sound created by an AI (article 13a).

12. What you share with others

You can offer all users a piece you made (a template, a style, a shot, a transition, a piece of “My pieces”). It is shared without your pictures, without your sounds, without your voice-over, without your logo and without the name of your brand. It appears on the Community page once checked. Sharing is only for adults.

From the editor, or from the share card your own assistant shows you in Cutscene's window (only in Claude and ChatGPT: article 13), it is you who give a name, tick the box and click.

A piece of “My pieces” (article 11) is shared from “My pieces”, in the editor's library, or from the share card: it leaves as your account keeps it, with its name, its description and, for a composed scene, its example texts, under the name you give the share. A piece of “My pieces” that a film shared as a template, or a style, holds leaves with it in the same way. Sharing a piece does not take it out of “My pieces”: if you change it afterwards, what is shared does not change until you share it again (it is then a new version of the same share). What it takes from our pieces is named in it, never copied, and stays ours (article 11); a piece that stands on a Pro piece stays Pro once shared. A film or a piece that holds a piece somebody else shared cannot be shared. For now, a sound written as a score, a 3-D object or a scene made from an imported file of “My pieces” cannot be shared with the other people of Cutscene, neither alone nor in a shared scene, template or style; the films that use it export like the others.

A checked piece is shown on the Community page, on its own page, in the editor, and to the assistants that the people who use Cutscene connect to it (online, or installed on their computer): they can find it, read its name, its description and its settings, put it in a film and, where their app shows Cutscene's window, play it in their conversation, with its name, its kind (template, style, scene, transition, effect) and the mark “Pro” when it stands on Pro pieces. A piece shared under an earlier version of these terms, which did not name the assistants, is shown to them only once its author has given it the permission of this article. Neither your public name nor the number of votes is sent to an assistant. Shares are ranked as whoever looks at them chooses: “Popular” (the votes that count, all time), “Rising” (the votes that count of the last 7 days, divided by the sum of the number of days since it was first checked and two), “New” (newest first) or “Most used” (how many times films kept or exported them, all time, each account counted only once a day for a kept film and once for an exported one). The Community page shows them by “Popular”; above its first page, when the list holds more than 8 shares, a “What's new” row shows the 4 latest checked. The editor, and an assistant that asks for no other, show them by “Most used”. Equals go newest first. No share is put forward for payment. An account sends at most 10 shares to be checked in 24 hours (a share sent again within that time counts once, and a share deleted still counts until 24 hours after it was sent); beyond that, it stays in “What I shared” and you can send it later.

When you share a new version of a share (from the second on), you can write one line, “What changes” (120 characters at most, on one line). It is read with the version by the person who checks it, under the same rules as its name, and nothing of it is shown before. Once the version is accepted, the piece's page shows it in its history (the 20 latest accepted versions), with the version's number and the day it was accepted, for as long as the piece is shared; the first version is listed with its number and its day, without a line. It is not sent to assistants. Saving again, unchanged, a version not yet sent makes no new version.

The four rules for sharing:

1. It is your work. You made what you share yourself, or your own assistant made it for you, at your request. Starting from an existing template is allowed; copying one is not. A program published elsewhere is not your work, even when your assistant wrote it for you.
2. No brand, no company, no person. Nothing in what you share (its name, its description, its texts, the line “What changes” of a new version) names a brand, a company or a person, and it contains no logo and no screenshot. Your public name follows the same rule: no brand, no company, nobody else's name.
3. Nothing illegal or hurtful. Nothing insulting, hateful, misleading or against the law.
4. It works. The film plays to its end, and nothing in it flashes to the point of being a nuisance.

If your public name does not respect rule 2, we may remove it: your shares stay, without an author's name, and we will write to tell you why, with the same explanations and the same remedies as for a share.

What you allow by sharing. You keep the rights you have in your piece and you assign nothing to us. For each piece, at the moment you tick the box and share it, you give, free of charge, on a non-exclusive basis and for the whole world, the two permissions below, and no other:

1. To us, for as long as the piece is shared (and thirty days more, the time it takes for our backups to be erased): to reproduce it (store it on our servers, copy it into the editor of whoever takes it, and pass it to the assistant that person connected to Cutscene, and so to that assistant's provider); to communicate it to the public (show it and make it available in Cutscene's library, with its name, its description, the history of its versions and previews, and make it available to those assistants, with its name, its description and its settings, and play it in the Cutscene window their app shows); to adapt it for that only (draw previews from it, convert it when technology changes, translate its name and its description); and to let users use it as point 2 says. We do not use it in our advertising without your written agreement.
2. To each user of Cutscene, for the full term of copyright, for the films and the pieces in which they put yours, or which they derived from it, before it was removed from the library, and for the versions they later derive from them: to reproduce it in their films; to adapt it in their films (change its texts, colours, angle, duration, the order of its shots, keep only part of it, add other pieces, effects, sounds and music to it); to show, publish and distribute those films, and let their clients and the platforms do so, on every medium (websites, social networks, video platforms, online advertising, television, cinema, screens at trade shows and points of sale) and for every use, commercial and advertising included; to start from your piece to make another one and share it in turn, if it respects rule 1. They may neither resell it nor redistribute it on its own, nor use it in a way that harms your honour or your reputation.

It is you who choose to do this free of charge, as the law allows: nothing is paid to you, by us or by the others. Your public name is shown next to the piece if you chose one; you can change or delete it whenever you want. You do not ask to be credited in other people's films; you keep the right to say that the piece is yours. You guarantee to us, and to the users, that the piece is your work, or your own assistant's at your request, that it does not take somebody else's work (a program published elsewhere, even under a free licence, included) and that you can give these permissions, for whatever in it is protected.

You can remove a share whenever you want, from My account: it leaves the library, nobody can take it any more, and the first permission stops; the second one continues for the films the piece was already in, and for the pieces others had already derived from it and shared. After the removal, we only keep one copy of it on your account, which you alone can see, until your account is deleted: it is the only reproduction that continues. It serves to keep its identifier, and to read a decision again if you contest it.

If you delete your account, your shares are removed in the same way and that copy is erased. We only keep, for five years, the record of your permission (which piece, which version, which terms, which day), without the piece: those who used it must be able to prove they were allowed to.

How it is checked.

• A member of the Cutscene team looks at each share before it is visible, within 3 days at most. Automatic checks (does the film play to its end, does it flash) are run when it is submitted, and that person reads their results.
• Only one check can refuse a share on its own: a template almost identical to one already in the library (fewer than a third of its shots differ) is not accepted as a share. The screen then says which template, and how many shots are the same (rule 1). If you think this is a mistake, write to mathieu@cutscene.studio: a person will check and reply, and you keep the right to go to court. Apart from technical limits (a file that cannot be read, a template of fewer than two shots, more than 50 shares per account), everything else is decided by a person.
• If your share is refused, or removed later, you can read the reason in My account and we also send it to you by e-mail: the rule concerned, what was found, how it was noticed, and whether the decision follows a report. You can fix it and share again.
• If you disagree with a decision, you can contest it for six months by writing to mathieu@cutscene.studio. It is read again by a person, who replies within fourteen days, with reasons: the decision is upheld, changed or reversed; if it is reversed, your share is put back online. You keep the right to go to court.
• Anybody, with or without an account, can report a share through the “Report this share” link on its page. We acknowledge receipt if an address is given, we decide quickly, and we say what was decided. We do not tell the author of the share who reported it, unless that is indispensable for them to be able to answer and after asking the person who reported it, or if a court orders it.
• If an account repeatedly shares manifestly illegal content, we may suspend sharing for that account, after a warning, for a period that we state.
• Votes: each account can vote for a piece shared by somebody else, once per piece, and take its vote back whenever it wants; a vote is not changed in any other way: it is taken back, and can be given again. Nobody votes for their own piece nor for a piece of Cutscene's, and an account gives at most 50 votes in 24 hours. A vote is given by clicking oneself on the piece's page: no assistant votes. Nothing is given in exchange for a vote. One check only decides whether a vote counts, and it is automatic: a vote counts, in the number shown and in the rankings, once the account that gave it has a confirmed e-mail address and is more than a day old. It shows from that moment; before that, it is kept without being published, and the page tells whoever gave it so, with the reason. A vote is therefore published at the latest one day after the account that gave it was opened; if that account's e-mail address is not confirmed by then, as soon as it is. We do not verify that the person used the piece, nor when, and we do not contact them about their vote. Beside the button, we show the number of votes that count and the day of the latest vote. Votes are kept for as long as the account that gave them and the account of the piece's author exist; a piece that is removed shows none any more. We also look, over the last 14 days, at the days on which a piece gets at least 3 votes, more than half of them from accounts less than a day old when they voted or without a confirmed e-mail address; this takes no vote away. If you are the author of a piece and you doubt that votes are genuine, write to mathieu@cutscene.studio saying why: it is free, we will look into it and reply.

12 bis. Comments

• Under each shared piece, accounts can write short comments. It is a space of personal contributions: what a comment says is its author's responsibility alone, not Cutscene's nor the piece's author's. Writing a comment is only for adults: before your first comment, you declare that you are an adult and you accept the rules below.
• What you allow by commenting. You keep the rights you have in your comment. By publishing it, you allow us, free of charge, non-exclusively, worldwide and for as long as it is online (plus thirty days, the time our backups take to be erased), to reproduce it (store it on our servers) and to communicate it to the public (show it to everybody under the piece, on the piece's page and through its own link), as you wrote it, only its spaces joined into one paragraph. Nothing else: it is shown nowhere else, nor in our advertising.
• Who writes, and how many: an account whose e-mail address is confirmed and which is more than a day old; at most 20 comments in 24 hours, of which at most 5 under the same piece (a deleted comment still counts until 24 hours after it was written). A comment is a text of at most 280 characters, in one paragraph, without a picture, a link, an e-mail address or a telephone number. The screen refuses at once a text that is too long, or in which it recognises a link, an e-mail address, a telephone number or an invisible character, and says why; a link it does not recognise is shown as text, never as a link, and removed afterwards under rule 3. That is the only automatic check of what you write: nothing else is checked before publication. The limits above are counted automatically. If you think the screen is wrong (a word taken for a link, for instance), write to mathieu@cutscene.studio: a person looks and answers you; you keep the right to go to court.

The four rules of a comment:

1. Respect. No insult, no mocking of a person, no harassment, no hatred, no attack on anyone for who they are.
2. Nothing illegal. No threat, no defamation, no sexual or violent content, no incitement to commit a crime or an offence, no copy of somebody else's work.
3. No advertising, no link, no fake opinion. No advertising, no link, no address or number to contact, not the same message written again and again, and no opinion given in exchange for something, written on somebody else's behalf or under several accounts.
4. Privacy. Nothing that lets anyone reach or find somebody (an address, a number, a full name they did not make public), and nobody pretends to be somebody else.

An opinion on the piece, even a harsh one, is allowed: it is never removed for being negative.

• Publication and checks. A comment appears as soon as it is written, without being read first. A member of the Cutscene team then reads, every day, the new comments and those reported to them: they remove those that do not respect these rules or the law. No automatic tool spots or decides a removal. We ask neither whether nor when you used the piece: only the day of the comment is known, and shown. Nothing is given in exchange for a comment. We write to you about a comment only to tell you why we removed it, to tell you that your comments are stopped, or to answer your appeal; we do not contact you to check what you wrote.
• What is shown. Under the piece, each comment with the day it was written and its author's public name if they chose one (otherwise “A user”), never their address; ordered by date, newest first. A comment written by the Cutscene team is marked “The Cutscene team”; a reply published under the right of reply is published by the team, and begins with “Right of reply”. The piece's author has no other power over the comments than everybody's: they can neither hide them nor order them. Cutscene never sends a comment to an assistant, and no assistant writes one through Cutscene. Comments are public: search engines can read them.
• Editing or deleting your own. A comment cannot be edited: you delete it whenever you want, with one click, and write another one. Its words are then erased at once (from our backups, within 30 days at most). Otherwise, it stays online with no maximum length of time set, as long as the piece is shared and your account exists: it disappears with the piece, or with your account.
• Reporting. Under each comment, “Report” lets anybody, with or without an account, tell us that it is illegal or against these rules, as for a share. The author of a piece who doubts that a comment is genuine reports it in the same way, free of charge, saying why.
• Removal. If we remove your comment, you read the reason in My account and receive it by e-mail: the rule concerned or the law, what was found, and whether the decision follows a report; that message also warns you that another comment against the rules may get your comments stopped. Its words are kept for one year after the decision, so that you can appeal and we can answer a request from the courts, then erased; they are erased at once if you delete your account before then. You can appeal for six months by writing to mathieu@cutscene.studio: it will be read again by a person, who will reply within fourteen days, with their reasons; if the decision is reversed, your comment is put back online, if the piece is still shared. You keep the right to go to court.
• If an account that already had a comment removed writes another comment against these rules, we may stop it from writing comments for 30 days: it receives the reasons for the decision and its end date, with the same remedies. What it already wrote stays, except what we remove one by one. If we learn that a comment was written by a minor, we remove it, with the reasons as for any removal.
• We may close the comments of the whole service for a while (when the team is away, for instance): they are no longer shown nor written, nothing is erased, and they come back as they were when they reopen; the reasons for decisions already taken stay in My account.

13. The assistant

In the editor you can write what you want to change instead of doing it by hand. Simple requests (a colour, a duration, a piece of the library) are handled by rules, at once.

Free-form requests are handled by an artificial intelligence (a language model supplied by a provider). This is written under the line where you type, and on each answer concerned. Each one takes credits from your plan, according to what it costs (article 4): 120 credits a month: enough to try, about 15 free-form requests with the free plan; 2,600 credits a month, about 330 free-form requests with Pro; 6,900 credits a month, about 280 free-form requests (the stronger assistant takes about three times more a request) with Studio. Simple requests take none. When none are left, the assistant says so and answers with its rules until they come back. An order placed under a version of these terms earlier than the one that brought in the credits (the second version of 14 October 2026) keeps what that version gave it, 100 free-form requests a day, up to 350 a month, until its first renewal thirty days or more after the e-mail that announces the credits to it (article 9); an account opened under such a version keeps, on the free plan, its 15 a day, up to 25 a month, until the date that e-mail announces to it. With the free plan, there is also a daily cap on the total number of free-form requests across the whole service: once it is reached, the assistant answers with its rules until the next day.

The assistant may misunderstand a request. It only changes your film, and each change can be undone: read the result before keeping it or publishing your film.

You can also connect your own assistant to Cutscene (Your assistant page), if it accepts connectors (for instance Claude or ChatGPT, depending on what your subscription with them allows), in two ways: online, by adding the address https://app.cutscene.studio/mcp to your assistant then clicking “Allow” on our page; or with a key that you create in My account, for an assistant installed on your computer. It can then read, create, change and delete the films kept on your account, see their brand, look at your films as pictures and, connected online, where its app shows windows, show them to you playing in its conversation, with your pictures (those your account keeps, or those you drop in the window), and let you choose a template, a style or a piece others shared there. It can also have the public site whose address you give it read (by our servers when connected online, depending on its app; by your computer with the connector installed on it), to take your brand and screenshots of its pages from it (article 10).

Connected online, it can also write pieces of your own in “My pieces” (a transition, an effect, a style, a scene made of elements, an animation, a camera move, a sound written as a score for our synthesizer, a 3-D object assembled from our shapes), keep a scene there as a piece, import into it an animation file you give it (article 2), check them, show them to you in several versions in its conversation (a 3-D object, in a scene that shows it; a sound is not shown there: you listen to it in the editor), list them and delete them. With a key, the assistant installed on your computer can also share a piece you made: it needs your agreement, and that share counts as if you had made it yourself (article 12). With Cutscene's connector installed on your computer, your assistant writes its pieces in a folder of your computer and checks them on your computer, with no limit on their number or on checks; it does not see “My pieces”. This connector also exports a film, as a video or as a project for After Effects or DaVinci Resolve, into a folder of your computer; connected online, your assistant does not export: you export in the editor.

Your assistant can also search the pieces others shared, use them in your films and show you what would leave if you shared a film, or its style. Connected online, it shares nothing itself: you share yourself, from the editor's share window or, where its app shows Cutscene's window and only in Claude and ChatGPT, from the share card it shows you there, by giving a name, ticking the rule and clicking “Share” (« Partager » in French). That click is yours: the share counts as if you had made it in the editor (article 12); the same goes for sharing a piece of “My pieces”. With another application, or with a key, the card is not offered: you share from the editor or, with a key, through the assistant installed on your computer, as said above. No assistant votes (article 12); Cutscene never sends a comment to an assistant (article 12 bis).

What your assistant does with the access you gave it counts as done by you (article 3). We always answer for what our service does: if a Cutscene tool does something other than what your assistant asked, or if an access that was removed still works, it is for us to answer for it (article 15). If somebody else used that access without your agreement and through no fault of yours, you do not answer for it: remove the access and tell us.

What your assistant reads on your account (your films, their brand, your pieces, the pictures it looks at), and what its Cutscene window shows, goes to the provider of that assistant, the company that offers it to you, which you chose: it handles it under the contract you have with it. We are not its customer for this, and it does not act for us. That window is shown in a page of that provider: the pictures your account keeps reach it as reduced copies, through a link that holds for ten minutes only, and only for an access or a key given with the box that says so (the “Allow” page, or the making of the key); that link stops at once if you remove that access or that key; a picture you drop in the window stays on your device, unless you send it into your film with “Put in the film”, where the window offers it: it then goes from your device to our servers (article 10). What you write on the share card of that window (the share's name) and the preview picture it draws from what leaves pass through that provider before they reach us. This connection calls no model of ours and takes no credit from your plan: it is your assistant that thinks.

Check what it does. Each film kept on your account keeps its 20 previous versions, and your assistant can go back to one of them. A film deleted from your account, by you or by your assistant, goes to your account's bin. It stays there 30 days, less if the bin is full, then is erased within the following hour (if the service is stopped at that moment, as soon as it starts again). The bin holds 9 films at most with the free plan and 300 with a paid plan: when a film goes in and the bin holds more, those that have been there longest are erased at once, until it holds no more than that number. If your paid plan stops, the free plan's number applies from the next film deleted: those beyond it are then erased all at once. While a film is in the bin, your assistant can bring it back, if there is room on your account; the editor itself does not show the bin. A piece deleted from “My pieces”, by you or by your assistant, is erased at once with its versions: the films that use it keep it. A piece written again keeps its 20 previous versions; a film that uses it, when your assistant opens it online, takes its latest version. Your plan keeps a number of pieces and a weight (the table of article 4): beyond them, a new piece is not kept, nor a piece written again that weighs more, until you have made room; what is already kept stays, even if your plan keeps fewer.

A piece your assistant writes online goes through automatic checks on our servers: a quick check at each writing, and a full check when it asks (the same as for every piece of the library), except, for a transition, while its checks are not available online: it is then only read by our servers (its shape, its graphics program), and no check is counted. Your plan gives a number of them a day (the table of article 4), the day running from midnight to midnight in universal time (UTC); with the free plan, they are made only once your e-mail address is confirmed and your account is a day old. For every account together, our servers spend at most 20,000 seconds of computing a day on these checks, half of it at most for the free plan: once that is reached, no more checks are made that day (for the free plan, as soon as its share is). A check the service could not start is not counted. Without a check, the piece is kept all the same and can be used in your films; it is checked at its next writing, or when your assistant asks, another day. To check a sound written as a score, our servers make it as it will sound in a film and measure that it can be heard, that it is not too loud and that it lasts no more than 4 seconds; nobody listens to it, neither we nor your assistant. A 3-D object is checked alone in a scene: that it is not too heavy to display, that it does not flash enough to disturb, that it moves and that it takes your brand's colours. A check does not promise that you will like a piece: look at it in your film, and listen to a sound in the editor. A piece never holds a program that runs anywhere but in the drawing of its pictures.

You can remove an assistant's access whenever you want, in My account, “Connected applications”, with “Remove access”: it stops at once. Access given with “Allow” also stops by itself when your assistant has not used it for 90 days, and when the way into your account changes (a password is chosen, changed or removed, or another way of signing in is untied): you then need to allow your assistant again. A key is not affected by those changes: you remove it yourself. As a precaution, we also remove applications' access, and the keys, in the case set out on the Privacy page (an account opened through another way of signing in, whose address had never been confirmed), and every access if a leak makes us remove every password.

13a. Your voice-over and your sound effects with ElevenLabs

You can create a voice-over or a sound effect with your own account at ElevenLabs, a service run by another company, by pasting your ElevenLabs API key into the editor. Your browser calls ElevenLabs itself: your key and what you ask (the text to say, the voice chosen, the description of the sound effect) go straight to them, without going through our servers. Your key is never sent to our servers; the voice's text, and the name of a created sound effect (taken from its description), stay in your film like its other texts (article 2). Their terms ask that an API key be used only in an environment you control: create a separate key for Cutscene, and remove it at ElevenLabs when you no longer use it.

Your key is held by the open tab, and your browser forgets it when you close the tab (unless the browser itself reopens that tab or restores your session). If you tick “Keep the key on this computer”, your browser keeps it on this computer until you click “Remove the key” or clear the site's data. It never goes into a film, a backup or your account. On a shared computer, do not tick that box.

What you create this way falls under your contract with ElevenLabs: your account with them pays, and what your plan with them allows is set out in their terms. ElevenLabs reserves its services for people aged 18 or over (or of age where they live): under that age, do not create a voice or a sound effect with ElevenLabs. In the editor, a sound effect is created in three takes, and each one counts against your ElevenLabs plan: the editor tells you so beforehand, as it tells you the number of characters of a voice. Cutscene uses none of your plan's credits for this, does not resell ElevenLabs, does not act for them and creates nothing with a key of its own. We answer for what the editor does: if it asks ElevenLabs for more than you asked, or if your key went anywhere other than ElevenLabs through our doing, it is for us to answer for it (article 15).

A created voice is marked “Voice created by an AI” in the editor, and a created sound effect “Sound created by an AI”. If a voice or a sound created by an AI resembles a real person, object, place or event and could pass for authentic (your voice, a client, a public figure, a user giving a testimonial, the real sound of a product), you must say clearly in the film that it was created by an AI, at the latest when it is heard; in a work that is evidently creative, a mention that does not spoil the film is enough (EU Artificial Intelligence Act, Article 50(4) and (5)).

A sound you bring is not marked: the editor does not ask you where it comes from. If it was created by an AI, it is up to you to say so in the film when needed (the previous paragraph), and you can tell the assistant as you give it the sound (“it is made by an AI”): the editor then marks it as created by an AI, and the exported file says so in its metadata.

Your own assistant connected online (article 13) prepares the voice (its text, its voice, fitting the shots to it), but does not create it: you create it in the editor, with “Create the voice”. The connector installed on your computer can create it, with your key set in its settings (ELEVENLABS_API_KEY): it stays on your computer.

An AI may create for somebody else a sound identical or close to the one it created for you: what you create is not exclusive.

14. What is not allowed

• Putting in a film, or sharing, something the law forbids or that you have no right to use.
• Having us read a site you do not have the right to use this way (article 10), or using that reading for anything other than your brand and the pictures of your films.
• Trying to break the service, to get around its limits or what a plan allows, to access somebody else's account.
• Running the service with bots so heavily that it disrupts other users, or reselling access to it.
• Removing the end line of a film of the free plan (article 11); removing the invisible watermark of an exported file (article 2) to hide that it was exported beyond what its plan allows, or copying the watermark of one file onto another.
• Making a voice say what a real person did not say, or imitating their voice, without their consent.
• Making a fake testimonial or endorsement (a client, a user, an expert who does not exist or who said nothing of the kind).
• Using a voice or a sound created by an AI for a political or electoral campaign, or to deceive somebody in order to obtain money or data.
• Removing or changing, in an exported film, the statement that says a sound was created by an AI, to hide it.

If that happens, we may remove the content concerned. An invisible watermark found in a file is only an indication: because of it, we neither suspend nor close your account without first telling you in writing what we found and leaving you fifteen days to answer. If it is serious or repeated, we will tell you in writing what the problem is and which rule it breaks, and you have fifteen days to put an end to it or to answer. After that, we may suspend the account, then close it. If the content is manifestly illegal or if the security of the service is at stake, we may suspend the account at once; we only close it after leaving you those fifteen days to answer. We always tell you in writing why, under which rule, and how to contest the decision; you can also go to a court. If the account had a paid plan, we will refund the part of the price for the time that remains.

15. What we are responsible for

We are responsible for the proper performance of the contract, as the law provides for online sales. We are not responsible when the problem comes from you (a browser that is too old, although we had told you; data erased on your side), from the unforeseeable and insurmountable act of somebody outside the contract, or from a case of force majeure.

The content of your films is yours: you are responsible for it, including towards those whose brand or image you might use.

In case of a security incident, we fix it as fast as we can; we may close access to the service for a while or ask you to sign in again; and we will tell you if your data is affected.

Nothing in these terms takes away from a consumer a right the law gives them.

16. Deleting your account, or the end of the service

You can delete your account whenever you want from My account. Download first what you want to keep: the deletion is final. What your browser keeps on its side (your films, your pictures, your sounds, your brands, and your ElevenLabs key if you asked it to keep it) is not on your account and is not erased: any account can open them again in that browser. To erase them too, clear the site's data in your browser. What the law obliges us to keep afterwards (your orders, and enough to say who put an item of content online) is explained on the Privacy page.

If you have a subscription, it ends at the same moment: a deleted account can no longer have a plan. The screen tells you so before you confirm, with the date up to which your subscription is paid: if you delete your account today, your plan stops today and the period already paid for is not refunded, except within 14 days of your order: deleting your account then means changing your mind, and you are refunded as article 7 says (the price, less the access for the time gone by and the credits used). After those 14 days, your account is deleted only if you tick a box saying so, with the number of days and the amount you give up: to use your plan to the end, cancel first (article 6), and delete your account after that date. A period that has not been paid for is not due. We will confirm by e-mail the date on which the contract ended and, if there is one, the refund.

If we were ever to shut Cutscene down, we would tell you by e-mail at least sixty days before, you could get your films back, and we would refund the part already paid for the period that remains, without that taking away your other rights. For a yearly subscription, we provide the service until the end of the year paid for whenever that is possible.

17. If you buy for your business

These terms apply too. For a purchase made for a professional activity, the following is added:

• Payment in full by card on ordering, then at the start of each period. No discount for early payment.
• In case of late payment: late-payment interest at three times the French legal interest rate, due from the day after the due date, and a fixed sum of €40 for recovery costs. The law asks us to write this; as everything is paid in advance by card, it almost never applies.
• On the payment page, tick the box for buying as a business: its name, its address and, if it has one, its VAT number are then put on your invoices. Your invoices are in My account, “Invoices and card”.
• Our liability towards a business customer is limited, for any damage and except in cases of gross negligence or intentional wrongdoing (“faute lourde ou intentionnelle”), to what it paid us during the previous twelve months. The legal guarantee of conformity is reserved by law for consumers and non-professionals (“non-professionnels”: organisations not acting for business purposes).

18. Complaints, applicable law

A problem: write to mathieu@cutscene.studio first. A person will reply, in French or in English, within ten working days at most.

These terms are governed by French law. If you are a consumer living in another country, you keep the protection of the mandatory rules of your country. A consumer may bring a case, as they choose, before the court of the place where they lived when they ordered or when the problem arose, or before any other court the law designates.

19. The articles the law asks us to reproduce

For the yearly subscription, which renews by itself, the French Consumer Code asks us to reproduce these articles in full. They are in French, their official text. In short: we must remind you in writing, between three months and one month before the last day to refuse a renewal, that you may refuse it; if we do not, you may end the contract at no cost at any time after the renewal and be refunded, within thirty days, what you paid in advance for what remains; and cancelling must be possible online.

Pour les contrats de prestations de services conclus pour une durée déterminée avec une clause de reconduction tacite, le professionnel prestataire de services informe le consommateur par écrit, par lettre nominative ou courrier électronique dédiés, au plus tôt trois mois et au plus tard un mois avant le terme de la période autorisant le rejet de la reconduction, de la possibilité de ne pas reconduire le contrat qu'il a conclu avec une clause de reconduction tacite. Cette information, délivrée dans des termes clairs et compréhensibles, mentionne, dans un encadré apparent, la date limite de non-reconduction.

Lorsque cette information ne lui a pas été adressée conformément aux dispositions du premier alinéa, le consommateur peut mettre gratuitement un terme au contrat, à tout moment à compter de la date de reconduction.

Les avances effectuées après la dernière date de reconduction ou, s'agissant des contrats à durée indéterminée, après la date de transformation du contrat initial à durée déterminée, sont dans ce cas remboursées dans un délai de trente jours à compter de la date de résiliation, déduction faite des sommes correspondant, jusqu'à celle-ci, à l'exécution du contrat.

Les dispositions du présent article s'appliquent sans préjudice de celles qui soumettent légalement certains contrats à des règles particulières en ce qui concerne l'information du consommateur.

Par exception au premier alinéa du présent article, pour les contrats de fourniture de service de télévision au sens de l'article 2 de la loi n° 86-1067 du 30 septembre 1986 relative à la liberté de communication et pour les contrats de fourniture de services de médias audiovisuels à la demande, le consommateur peut mettre gratuitement un terme au contrat, à tout moment à compter de la première reconduction, dès lors qu'il change de domicile ou que son foyer fiscal évolue.

Lorsqu'un contrat a été conclu par voie électronique ou a été conclu par un autre moyen et que le professionnel, au jour de la résiliation par le consommateur, offre au consommateur la possibilité de conclure des contrats par voie électronique, la résiliation est rendue possible selon cette modalité.

A cet effet, le professionnel met à la disposition du consommateur une fonctionnalité gratuite permettant d'accomplir, par voie électronique, la notification et les démarches nécessaires à la résiliation du contrat. Lorsque le consommateur notifie la résiliation du contrat, le professionnel lui confirme la réception de la notification et l'informe, sur un support durable et dans des délais raisonnables, de la date à laquelle le contrat prend fin et des effets de la résiliation.

Un décret fixe notamment les modalités techniques de nature à garantir une identification du consommateur et un accès facile, direct et permanent à la fonctionnalité mentionnée au deuxième alinéa, telles que ses modalités de présentation et d'utilisation. Il détermine les informations devant être fournies par le consommateur.

Les dispositions du présent chapitre, à l'exception de l'article L. 215-1-1, ne sont pas applicables aux exploitants des services d'eau potable et d'assainissement.

Les dispositions du présent chapitre sont également applicables aux contrats conclus entre des professionnels et des non-professionnels.

Lorsque le professionnel n'a pas procédé au remboursement dans les conditions prévues à l'article L. 215-1, les sommes dues sont productives d'intérêts au taux légal.