Rendering and Output Formats

Pick a format, click Render, and the project goes through the bundled Remotion-based renderer.

Supported formats

FormatCodecAudioWhen to use
MP4H.264 or H.265 (HEVC)AACDefault web video
WebMVP9OpusOpen codec, alpha support
MOVProRes 422 / 4444PCMHigh-quality editorial
GIFnoneSilent looping web graphics

ProRes 4444 and WebM with VP9 alpha both preserve transparency from layers with alpha sources.

Other render and export paths

The table above is the video-editor (timeline) renderer. Other features that produce files use the same codecs but a smaller menu:

WhereOutput formats
After Effects / Blender / Mockup renderAuto (alpha-aware — WebM if the result is transparent, MP4 otherwise), MP4 (H.264, no alpha), WebM (VP9, alpha preserved), MOV (ProRes 4444 with alpha, or ProRes 422 HQ without)
Image export / convertWEBP (default) or JPG
Video convertMP4 (H.264 / AAC) or WebM (VP9 / Opus)

The Auto option on AE/Blender/Mockup renders picks WebM when transparency is detected and MP4 when it is not, so you usually do not need to choose manually.

Quality

For H.264, H.265, and VP9, the dialog exposes:

  • CRF — quality preset, 18 (very high) to 28 (compressed). Default 23.
  • Bitrate cap — optional Mbps maximum.
  • Speed preset — faster encode for smaller projects, slower for tighter compression on long videos.

For ProRes the variant (422, 422 HQ, 4444) determines bitrate.

Motion blur

Fast camera moves — a keyframed zoom, an auto-zoom push-in, a speed-ramped clip — can strobe or judder when every frame is perfectly sharp. Real cameras blur them, because the shutter stays open for part of each frame.

The Blur dropdown in the render bar adds that blur. Pick a strength:

LevelShutterWhat it’s for
OffNo blur. Fastest render.
Subtle90°Takes the edge off fast moves
Normal180°The classic cinematic look — start here
Strong270°Heavier smear on whips and fast zooms
Max360°Full-frame exposure; very soft

Shutter angle is the film term for how much of each frame the exposure covers. 180° means the shutter is open for half the frame interval, which is what most film and television is shot at — hence Normal.

What to expect

  • It’s render-only, never shown in the preview. The preview stays sharp so you can see exactly what you’re cutting. The blur appears in the rendered file.
  • Only moving frames cost extra. Each blurred frame is rendered several times at different points across the shutter and averaged, so a still frame costs nothing. The dropdown shows the multiplier per level — Normal renders moving frames ~16× slower, Max ~32×.
  • Prefer a background render for a long timeline with lots of movement.
  • The setting is saved per project.

Blur is applied to motion the editor knows about: keyframed transforms (including camera-layer and adjustment-layer zoom and pan) and speed-ramped video. Motion inside your footage — a hand-held camera pan in a source clip — is already blurred by the camera that shot it and is left alone. Movement nested inside a compound sequence isn’t detected yet, so those frames render sharp.

Where the render runs

The render runs locally on your machine via the bundled render worker. The editor stays responsive; a progress overlay tracks frame count, ETA, and estimated file size.

Long renders can be cancelled mid-way. The output file is saved partially-complete with _incomplete suffix.

Output destination

Output lands in the board’s media folder by default with the name video_project_<id>_<timestamp>.<ext>. The dialog has a Save as… option to pick a custom location.

The rendered file also appears on the canvas as a new video element next to the source clips.

Background renders

Renders run in their own process. You can keep editing the project, open another board, or quit the editor view — the render continues. A notification fires when it finishes.

Re-render

The export dialog remembers the last settings per project. Open it again, change one parameter, click Render. The previous render file is preserved.

Where to go next

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