Deposition video, ready to deliver
The clock is set from the time read on the record. Index of events, videographer’s certificate and media labels, plus page:line synced transcripts.
macOS · One app, card to timeline
Everything before
the edit.
Every step between the camera card and the moment you open your editing software — in one application. Offload and verify. Rebuild the take a flat battery left unreadable. Sync every camera from its audio, transcribe on this Mac, burn in timecode, place a court reporter’s certified page:line. Then hand your editor a timeline and a manifest. Nothing lost. Nothing drifts.
Every step runs on this Mac. Your footage is never uploaded, there is no cloud account, and nothing leaves the machine unless you send it. Make a Story (Beta), which suggests a cut from an interview, runs on this Mac too, unless you choose a cloud provider with your own key.
One monthly subscription. Everything included.
Start the 14-day free trial
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macOS 14 or later · Apple silicon · notarized by Apple
New in 1.0.2
Speech-only cut
After sync, cut an interview down to the speaking parts. No pre-roll, no dead air, and every cut is an edit on your original media.
32-bit float audio
If your recorder captured 32-bit float, export it that way instead of flattening it to 24-bit.
Watch folders
Drop clips in a folder and Throughline burns in timecode, applies a LUT or makes proxies, once per file.
Make a Story Beta
Suggests a cut from your interview transcript, on this Mac. AI results can vary and may be inaccurate, so you review every pick.
What it does
Sync from audio
Four cameras and a sound bag, aligned to the sample. No slate needed.
Drop in the day's cards → get a synced timeline.
Clean audio, keep sync
Denoise, de-hum and voice cleanup. Each filter corrects its own delay.
Fix a noisy room without re-syncing afterwards.
Transcribe on device
Speech, speakers and timings. Nothing is uploaded.
Search a six-hour deposition for one sentence.
Burn in timecode
Timecode, date and camera name on the picture. Optional, per export.
Hand counsel a reference copy they can cite.
Proxies and exports
Cut-ready media for Premiere, Resolve and Final Cut. All audio tracks kept.
571 GB of rushes → 41 GB of proxies, fast.
Recover a card that stopped mid‑write
A recording cut off by a flat battery or a pulled card will not open anywhere. Throughline gets it back.
A file that will not open → a file that plays. Which cameras.
Signed-off delivery
A manifest of every file, with checksums, and your sign-off recorded against it. Add an RFC-3161 timestamp if you want one.
Prove the file you delivered is the file you made.
Search every transcript
Find a phrase across the whole project, then jump to the clip at that moment.
Stop scrubbing to find the line you remember.
Who is speaking
Names worked out from what the transcript says, each with the line it relied on.
An exhibit that says “Ms. Reyes”, not “Speaker 2”.
Captions that stay put
Place them, time them, burn them in, or hand them to Final Cut as a real caption track.
One transcript behind all four, so they cannot disagree.
Certified page:line
Read the court reporter’s transcript and place its page:line against the recording.
Cite 14:3 and land on the moment it was said.
One set of footage, many options
Bring the cards in once — every camera, every recorder, a whole multi-day shoot in one batch. Then do whatever the job needs.
Recover files that will not open
A flat battery or a pulled card leaves a recording nothing will open — but the picture and sound are still there. Throughline recovers it and writes the result beside the original, never over it. You will need one clip that plays, shot on the same camera in the same mode.
Unlimited recovery, included in the subscription. Most recovery tools charge per file. Throughline does not: every file, every card, as often as you need it.
Proven on real camera files — picture and sound up to where the recording stopped, byte‑exact to the card. Rows marked real battery pull were proven on the file a camera actually left behind when its power died; the others by cutting that camera’s own recordings the way a dead battery or a stopped copy does.
- Panasonic LUMIX S5 II X / S5 II
- .MDT real battery pull, .MOV (H.264 and HEVC) and .MP4, including all four channels of 24‑bit LPCM.
- Panasonic LUMIX S5, GH5, GH4
- .MOV and .MP4, H.264 with LPCM. Clips recorded with AAC sound get their picture back; the AAC sound is not recovered yet.
- Sony α7 IV, α6300
- XAVC HS and XAVC S .MP4, HEVC and H.264 with LPCM, frame order preserved.
- Canon EOS 5D Mark IV, EOS 7D
- .MOV, H.264 with LPCM, 29.97p and 59.94p.
- Canon Cinema EOS .DAT
- XF‑HEVC, proven on a real 39 GiB battery‑pull card. real battery pull
- Fujifilm X‑T30, X‑S20
- .MOV, H.264 with 24‑bit LPCM.
- Nikon Z8
- .MOV, H.264 with LPCM.
- Panasonic LUMIX G9 II
- .MOV, H.264 with LPCM.
- DJI drones
- Mavic 2 Pro, Mavic Air 2, Mavic 3, Mavic 3 Pro: .MP4 / .MOV, H.264 and HEVC, 8‑ and 10‑bit. Flight telemetry is not rebuilt.
- DJI Osmo & Osmo Pocket 3
- Picture byte‑exact, H.264 and HEVC. Their sound is compressed (AAC) and is not recovered yet; the repair says so.
- Field recorders
- Zoom F6 and DJI Mic 2 .WAV left unfinished by a power cut: the length is rewritten, every sample untouched, 24‑bit and 32‑bit float.
- Copies cut short
- Also proven when a copy or card transfer stopped partway, on Canon EOS R5, R5 Mark II, R6, R7, R8, R10 and R50; Nikon Z5, Z6 II, Z6 III, Z9, Zf, Z30 and Z50; Fujifilm X‑T4, X‑T5, X‑H2, X‑H2S and X100VI; Panasonic LUMIX S9; OM System OM‑1 and E‑M1 III.
- AVCHD .MTS
- Sony and Canon camcorders: a cut‑off clip already plays up to the cut — nothing to repair.
Camera not on the list? We are adding camera platforms all the time. Send us a sample clip at [email protected] and we will work with you to get yours supported. Not yet tested: battery‑pull recovery on Canon EOS R‑series bodies, action cameras and iPhone. Not yet supported: sound recorded as compressed (AAC) audio, MXF (Sony FX, Canon XF‑AVC) and camera RAW (.R3D, ARRIRAW, N‑RAW). Throughline tells you so rather than handing back a file that half plays.
Who it's for
Anyone with several cameras, a separate recorder, and a deadline.
- Legal videographers & court reporters Depositions synced, timecoded and burned in, with page:line and a manifest that proves nothing changed.
- Investigators & insurance Recorded interviews and statements, searchable by what was said and verifiable years later.
- Documentary & news The day's rushes synced and transcribed before you are back at the edit.
- Weddings & events Long takes from cameras that never agreed on the time, lined up in one pass.
- Podcasts & interviews Three angles and a sound recorder, synced with no slate.
- Corporate, conference & AV Every room and camera cut-ready the same afternoon.
- DITs & post houses Cards offloaded, verified, synced and proxied before the editor opens them.
- Anyone with a card that died The recording that will not open, recovered.
Get Throughline
Free trial
14 days, no card
- Every feature runs on your own footage.
- Each feature can be used twice.
- Every export covers the first 60 seconds.
- Video it writes is a 720p proof with an overlay.
Subscription
$50 $25 a month
Introductory price. List price $50 a month.
- Everything, at full resolution.
- Unlimited file recovery.
- Two Macs per subscription. Works offline; checks in every 30 days.
- Cancel any time. Any month refundable within 14 days.
After checkout you land on a page with the download, and Polar emails you a link to your licence key. Open Throughline, then Settings → License, and paste the key. Refunds · Terms · Sold by Polar, our merchant of record, which handles sales tax.
Students, teachers, nonprofits, newsrooms, firms and freelancers: see access programs.