Fix the mask edge and the misheard name.

Select a footage layer and press W, or choose Roto from the Stage toolbar. The Stage switches to that layer's source view, so you mark the original pixels even when the layer is scaled, cropped or partly covered in the composite. Press V or choose Done to go back to selecting.

A clip can carry several masks. They apply from top to bottom, and you can rename and reorder them in the Roto panel. That keeps things readable when one mask isolates the presenter and another isolates the product they are holding.

Subject mask

Brush over the subject or drag a box around it, and Grapple finds the outline. Hold Alt to subtract. If it picks the jacket instead of the whole person, press C to cycle through alternative selections.

Vector mask

Click for corners and drag for curves, then click the first point to close the shape. It suits hard-edged things such as a phone screen, a sign or a window frame.

Paint mask

Paint alpha directly on the current frame or across the whole clip, with the brush size measured in source pixels. Use it for a patch the other methods miss.

Threshold, Feather, Smoothing

Shape the finished subject matte. Feather softens the edge, and Smoothing evens out flicker from one frame to the next.

Subject selection and tracking use models that are included with Grapple and run on your computer. They need no account, provider or separate download.

Mark the subject on a frame where it is clearly visible and choose Apply selection. Set the tracking range with In and Out, then track forward or backward, or step one frame at a time through an awkward movement. Every frame where you made a selection is listed under Frame corrections, so you can go straight back to it.

Vector masks track too, following the texture inside their boundary. Choose how the shape is allowed to move: Position; Position, scale & rotation; or Affine, which can also skew. For a subject that changes shape, move points on a later frame and track on from there.

Stop halts tracking and keeps the frames already finished. If the matte slips at frame 212, frames 1 to 211 stay as they are and the repair starts where the problem does.

Choose Edit Transcript… from the Edit menu. If the project has more than one transcript, pick the source you want. The window lists every line with its speaker, text, timing and status, beside a preview of the original media. Select a line and the preview cues to it. Play the source and the line being spoken is highlighted as it goes.

Fix a misheard word in the Text field and apply it. Add speakers and assign lines to them, or rename a speaker once and every line attributed to them follows. Split at the cursor when one line holds two thoughts, merge with the next line when a sentence was broken in two, and delete a line that shouldn't be there.

For a heavy rewrite you can replace the full transcript text in one go. That clears all timing, so it suits a transcript you plan to re-time rather than one you are polishing.

Grapple waits for you to confirm when a new word was spoken. When you change a line's text, it keeps the original stretch of audio so you can still listen to it, and the Status column shows that the timing needs confirming. Lines created by splitting or merging start without timing.

If the corrected words still fall inside the original stretch, the Timing fields already hold it: listen, then choose Apply timing. Otherwise play the source preview and press I and O at the start and end of the words. The marks fill the Timing fields for you.

The status tells you what is left to do: Timed, Needs timing, or Source window only. A caption shows a line only once its timing is confirmed, so an edited sentence never appears on screen at a moment chosen by an out-of-date timestamp.

From the transcript window, choose Create linked captions… and pick a visual track. The captions start at the composition playhead and run to the end of the source or the composition, whichever comes first. Grapple adds a single text layer that shows the line being spoken at each moment.

Style that layer like any other text: font, size, colour, line height, a backdrop behind the words, a shadow, and its position in the frame. Later transcript corrections change the words on screen and leave your styling alone.

When a caption needs wording that differs from the transcript, such as a shortened line for a vertical cut, move the playhead to that line, select the caption layer and choose Make Caption Text Independent. The layer keeps the text shown at the playhead as ordinary editable text with the same styling, and it stops following the transcript.

Every correction is a project change. Undo and Redo work inside the transcript window as well as in the editor, and the History panel lists each change so you can compare the frame before and after it. A transcript edit that fails leaves the table as it was, so you can fix the entry and try again.

When the same shot is used more than once, you choose how corrections travel. Duplicate Linked Clips makes copies that share later mask corrections, so a fix to one cutaway applies to every copy. An ordinary duplicate starts with the same masks and takes later corrections separately, which is what you want when one copy has been reframed for a different moment.

Ape can read the corrected transcript as well. Ask it for a lower third on the first line Maya speaks, and it works from your fixed text and timing.