Overlay Export
Overlay export produces files containing only the subtitles, rendered on a transparent background — no video. These files are meant to be layered on top of the picture in an editing or color grading application. The video master is never touched; subtitling becomes an independent layer that a colorist, editor or broadcaster can switch on, off, or recompile at will.
This is the standard delivery format for demanding broadcast and cinema workflows.
When to use it
- Broadcast delivery — provide the untouched video master and a separate overlay layer for the channel to integrate per its specifications
- Final color grading — let the colorist composite subtitles after the grade, without re-encoding the master
- Multilingual versions — one master, several subtitle layers in different languages
- Free overlay mode — export bilingual subtitling, title cards, or freely positioned text (see free overlay mode)
The two formats
Scene Cut offers two overlay formats, each suited to a different workflow.
ProRes 4444 overlay
File > Export > Overlays > ProRes 4444 overlay…
Generates a single video file spanning the project's full duration, with alpha channel. Frames without subtitles are fully transparent; frames with subtitles show only the rendered text. The colorist drops this file as a top layer on their timeline, and the subtitling appears at the right moment with the right style.
Two codecs are available:
| Codec | Characteristics | Use |
|---|---|---|
| HEVC + alpha (default) | Compact, excellent visual quality | Reviews, approvals, standard deliveries |
| ProRes 4444 | No destructive compression, large files | Archive masters, cinema deliveries |
Export is frame-by-frame with BT.709 color tags, which guarantees a perfect color match with the video master once recomposed.
TIFF overlays
File > Export > Overlays > TIFF overlays…
Generates a TIFF image sequence with alpha channel — one image per moment when a subtitle is visible. This format is preferred in workflows where compositing is handled frame by frame, or when the broadcaster requires delivery as separate images.
A Separate files (one per entry) option toggles between:
- Composite (default) — subtitles that overlap in time (typical of bilingual work) are merged into a single TIFF per moment
- Separate — each entry produces its own file, even when they overlap
Output resolution
Both exports offer an output resolution picker independent of the source resolution:
| Resolution | Format |
|---|---|
| 1920 × 1080 | Full HD |
| 2048 × 1080 | DCI 2K — standard cinema |
| 2048 × 858 | DCI Scope 2K — 2.39:1 cinema projection |
| 3840 × 2160 | 4K UHD — 4K TV broadcast |
| 4096 × 2160 | 4K DCI — 4K cinema |
| 4096 × 1716 | 4K Scope — 2.39:1 4K cinema projection |
| 1080 × 1920 | Vertical HD — portrait social media |
| 2160 × 3840 | Vertical 4K |
If a video is loaded, its native resolution is selected by default. If it doesn't match any preset, it appears at the top of the picker labeled (source).
Export scope
If a loop region is defined, the ProRes 4444 overlay export offers a choice between the full video or only the looped portion — useful for generating a quick approval clip without re-rendering the whole sequence.
TIFF export always covers all subtitles in the project (or the selection if entries are selected in the list).
Compositing in an external application
The generated files integrate directly into the major editing and color tools:
- DaVinci Resolve — drop the ProRes 4444 file or TIFF sequence onto the top video track; the alpha channel is recognized automatically
- Premiere Pro — import as footage with straight (non-premultiplied) alpha
- Avid Media Composer — use AMA Link for ProRes 4444 files; import the TIFF sequence via "AMA File-Based Import"
- Final Cut Pro — drag the file onto the connection track (connected clip) above the master