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Wondershare’s Filmora offers the standard trimming, transitions, and overlays, along with effects we’ve come to expect in enthusiast-level video editing software. Since our last look, the company has added more advanced and modern features like those you find in more-established competitors—it now offers motion tracking, for example. Filmora can get the job done, and its interface is clear and pleasing, but you’ll have to do without some of the fine control you get with competitors.

Pleasing Interface

Filmora’s Full Editor view resembles that of most video editing applications, with a three-panel layout for source content, video preview, and timeline across the bottom. It has a clean, simple, and dark interface, with non-skeuomorphic controls. You can switch between black and light-gray window borders, and the program respects your system dark or light mode setting. You can’t pull off panels, but you can full-screen the video preview and adjust the relative sizes of the panels.

When you start a project, you have a choice of Widescreen, Instagram (1×1), Portrait, Standard, or Cinema aspect ratios. From File > Project Settings, you can set a custom size if you like, as well as choosing the frame rate.

Important mode-switching buttons are always at the top left of the interface: Media, Audio, Titles, Transitions, Effects, Elements (graphics), and Split Screen. At the top right are buttons leading to tutorials, help, your account, the Save feature, the app’s message center, and the ability to download more content from WonderShare FilmStock, such as effects, videos, photos, and audio.

You can easily shrink and expand the timeline with Ctrl-Mouse Wheel or move back and forth with Alt-Mouse Wheel. There’s a search bar for anything you have in the source panel, and clear Undo and Redo arrows. Buttons above the timeline offer Delete, Crop, Speed, Color, Green Screen, Motion Track, Keyframing, and Edit—the last of which opens a panel showing expandable entries for most of the previous ones.

The number of tracks looks limited at first, but whenever you add another video clip below your main one, another track is added so you can keep overlaying. As with the Connected Clips in Final Cut Pro, these added clips in new tracks move in sync with the main track above them. It’s a great way to keep your effect overlays where you want them. PiP works easily, with WYSIWYG resizing handles in the preview.

The program enforces a magnetic timeline approach: Whenever you drag a clip onto the timeline, it snaps right to the previous clip, so there’s never any empty space in the movie. Auto-Ripple is also on by default to keep your movie gap-free, but you can turn this off if you prefer. You can trim from the start or end of a clip, but the current-position line shows a scissors, letting easily split the current clip. There’s no trimming in the source tray, however, so professionally trained editors may not feel at home. Also missing are advanced editing modes like slip, slide, and roll, but for consumers, that’s probably for the best.

A plus sign on each clip lets you easily add it to the timeline at the insertion point. In addition to the timeline view, there’s a Storyboard view that simply shows clip thumbnails, with spots for transitions in between. Helpfully, tracks on the timeline show audio waveforms.

Instant Cutter

Instant Clutter is a tool you can use during clip import and is intended for use with large high-res content. It’s very simple, with but one purpose, as its name implies. You can drag multiple clips onto its window, but only if you’ve selected its Merge sub-mode. The Trim mode is just for trimming the ends of a single clip, and its interface doesn’t even show more than one clip in the left-size source tray. You can Add Segments, which means creating a new clip based on your trimmed original, but you can’t explicitly split a clip. For some test clips I got an error saying they weren’t supported, however.

Filmora offers 100 transitions, and now you can search for them by name as you can in PowerDirector and Adobe Premiere Elements. There are ten categories, including Basic, 3D, Ripple & Dissolve, Speed Blur, Warp, Lifestyle, Slideshow, Linear, Plain Shape, and Filmstock. You can designate those you use often as Favorites, for easy access. Filmora uses unusual schematic diagrams to show what the transitions do; most programs simply show a sample A to B animation.

When you add transitions either with the plus sign on the right side of its thumbnail, the program places it inside the edge of the clip—I find this odd, since you normally want the transition to span the current and next clip. Thankfully, you can do this easily by dragging the transition’s timeline entry with the mouse; it automatically snaps to the midpoint between clips. You can also edit the amount of time a transition spans by dragging its edge. Double-clicking a transition entry opens a panel where you can decide whether the transition is overlapped, prefixed, or postfixed to the clips.

Special Effects and Color Editing

As mentioned earlier, it’s easy to create PiP (picture-in-picture) effects, and you can move and resize PiP windows right in the video preview by clicking on the appropriate timeline clip, dragging the crosshairs in the middle of the edges and corners. Chroma Key (aka green screen) worked very well and automatically for my test footage even with frizzy hair, which can often be difficult to mask.

The Effects panel includes 12 categories from Shake to Night Life to Instagram-Like, which uses familiar names like Amaro, Brannon, and Hefe. These can add drama to your video just as they to do still photos. Distortions like mirror and water ripple, as well as a set of light leak and film style overlays are also included. Nearly thirty LUT (lookup table) effects are included, many named after the movies and shows whose colors they emulate—Harry Potter, Game of Thrones, and so on. Those who pay for the subscription version of Filmora get more effects and objects, including movie templates, and color filters

The Motion Tracking tool works simply and fairly well. There aren’t a whole lot of settings in it, but that’s actually a refreshing change from the overstuffed collections of options the competition often includes. You draw a box around the object you want to track, hit Start Tracking, and then choose what you want to follow the track—a file of your own or a selection of mosaic blurs. Filmora does a good job tracking objects and people, and even displays a message saying the object you’re tracking must be visible the entire time. The mosaics aren’t placed on top of the track automatically, and it would be nice to be able to use text or graphics as well as the mosaic blurs.

The advanced Color options button above the timeline can open up either Color Correction or Color Match. The first offers presets (such as Warm, Vignette, Walking Dead) as well as adjustments like Exposure, Brightness, Contrast, Vibrance, and Saturation—all while displaying a live histogram. The control is impressive, though you don’t get the color wheels that more-advanced editors now have. Color Match was slightly counterintuitive, but I finally figured out that the Reference image’s color would be applied to the Current frame (along with its entire selected clip); the tool performed this operation convincingly.

Filmora, or More?

Wondershare Filmora has an eye-soothing interface and offers lots of nifty effects, text tools, and filters along with basic video cutting and good output options. Enthusiast video editors should be fine with Filmora, and its rendering speed is among the best. Those who really dig into various effects like denoise and stabilization, however, will wish they’d spent a bit more for more-advanced software. Filmora is reasonably priced, but we still recommend our slightly more expensive Editors’ Choice winners for enthusiast video editing software, Final Cut Pro, PowerDirector, and VideoStudio, because of their fuller toolsets, better effects, and more-extensive support for new techniques and formats.

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Final Words

To use Auto Reframe, you can start a new project or use its two-finger tap menu choice on a clip in the source panel. As with the similar tools from Adobe and Apple, my results were unconvincing when I tested this using footage from a football game. Auto Reframe failed to keep the action in the center, just as the other two had.I was also unable to test the other major new feature, support for the soon-to-be-discontinued Touch Bar, since my Air lacks a Touch Bar and my previous MacBook Pro with one suffered a recent fatal hard drive error while running Final Cut.On my performance test on the M1 Air, Filmora took 4:55 (min:sec) for the same project that took 1:12 on my Windows test PC. Of course, that’s not comparable. What is comparable is that the same project rendered in just 50 seconds in iMovie—that exemplifies the difference between a program that’s M1-native (iMovie) versus one that uses Apple’s Rosetta 2 translation engine to run existing apps. A Wondershare rep told me that a native version would be coming out in .

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