https://editcredits.com/news/ Development notes from Evgeny Potapov, the editor building Edit Credits.en https://editcredits.com/news/a-fairly-big-update/https://editcredits.com/news/a-fairly-big-update/2026-11-02Evgeny PotapovInterface & workflowI went in to tidy up a few controls in Edit Credits. A few days later, I’d reworked most of the inspector. The controls had grown one feature at a time. Each addition made sense on its own, but together they meant a lot of scrolling — and sometimes stopping to work out which setting affected what. Even I was getting lost in parts of my own interface. That seemed like a good reason to sort it out. The long sliders have given way to compact number controls. You can type a value, use the arrows, or drag it left and right while watching the preview. A double-click brings it back to its default. Position, structure and typography also have clearer places of their own, so more of the useful settings fit on screen together. I’ve also spent a lot of time on Project / This block. The controls stay familiar; the switch tells the editor where to apply the change. Local differences have a consistent violet accent, with explanations when you need them. The same idea carries through to individual cells, and you can now format just a word or a few characters, then reset that formatting without rebuilding the whole cell. Real credits have a habit of breaking tidy examples. Names get long. Job titles get longer. A company wants its logo above its team. So I’ve extended manual line breaks to more places, including Freeform, and added image headers. Logos now share a small editor for cropping, trimming transparent margins and inverting colours. It opens after upload and when you click the image again. Long rolls have had some attention too: clearer project-wide and individual gap settings, card information that stays with you as you scroll, and preview navigation that lets you keep working on the selected block. The roll controls take up less room, with a motion curve you can expand when you actually need it. Freeform now has the same compact controls and text-editing tools as the main editor. There are plenty of smaller changes around all of that — quieter block actions, clearer layout controls and a confirmation before deleting a block. The update is now live. I’ve also been checking it against existing projects, not just a tidy new demo. The screenshots show the old interface alongside the updated version. The aim is simple: less time hunting through settings, more time getting the credits right. https://editcredits.com/news/custom-fonts-and-png-cards/https://editcredits.com/news/custom-fonts-and-png-cards/2026-10-21Evgeny PotapovFonts & exportWork on Edit Credits hasn’t stopped. I’ve just been spending more time on the smaller things that show up when people start using it on real projects. Yesterday started with custom fonts. A user reported an upload error, and I got the same error myself with a perfectly valid TTF file. That’s fixed now. I also added a personal font library, so uploaded fonts can be reused across projects. Shared projects keep their fonts available to the other people working on them. I also added PNG Cards export. If your project uses only static cards, you can now get one transparent image per card and set the durations later in your video editor. There’s a choice between project resolution and ×4, and both show an approximate export time before you start. And I fixed a rather annoying scaling bug. Switching a project from 2K to 4K was making the text look smaller. It now keeps the same layout and proportions. Text shouldn’t suddenly shrink just because someone asks for a bigger master. https://editcredits.com/news/tidying-up-the-block-editor/https://editcredits.com/news/tidying-up-the-block-editor/2026-10-04Evgeny PotapovInterfaceI realised the top of each block had become rather crowded. The controls had arrived one at a time, and at some point they had stopped feeling like a structure and started feeling like a collection of buttons. So I gave the block header a clearer order. The name and the things I use most often stay within reach, while less frequent actions have their own panel. That also saves a little vertical space — something that starts to matter when a project has a lot of blocks. I also added colour markers. There are seven colours, so a block can be marked as approved, needing attention, or simply something to come back to. The colour is quieter when the block is open and more noticeable when it is collapsed. It is only a note in the editor; it does not change the finished credits. The comparison below shows the old design, the revised header, and the same block with its actions open. A small change, but the editor already feels a little less crowded. https://editcredits.com/news/making-the-credit-roll-feel-right/https://editcredits.com/news/making-the-credit-roll-feel-right/2026-08-25Evgeny PotapovRoll & motionI’m still working on the end credits editor. Last time I wrote about why I started building it. The short version is that credits look like a simple job right up until you have to make them for a real project. The hardest part so far has been the humble credit roll. Just some text moving up the screen. How complicated could that possibly be? Apparently, very. Make it too slow and the audience has time not only to read every name, but also to reflect on the meaning of life. Speed it up and the text can start to judder. Even better, the same speed may look fine in one project and noticeably worse in another. I wanted to remove as much of that guesswork as possible. The editor now has ready-made speed modes: Slow, Normal, Fast, Very Fast, plus a few options for people who really need to get those credits finished right now. It takes the project’s resolution and frame rate into account automatically. You choose a pace and immediately see how it looks. To get there, I read a slightly unreasonable number of articles and recommendations and ran tests at different resolutions and frame rates. So far the modes are holding up well and the movement looks much more stable. I hope I have covered the important details, but I definitely don’t want to pretend I have solved every problem with moving credits. This subject has far more nuances than it first appears. At that point, the problem seemed solved. Then I wondered: why should the entire roll move at one speed? Maybe the logos should stay around a little longer. A long technical section can move faster. The final copyright notice may need to remain on screen for a moment before everything disappears. That is how the motion curve appeared. You can place a few points on it and literally draw how the credits should move: faster here, slower there, gently stop, wait for a moment, then continue. You don’t have to do it blindly. Move through the graph and the Preview immediately shows which part of the credits is on screen. At some point I realised I had spent twenty minutes slowing down logos, stopping the copyright notice and playing the whole thing again. Not because anything was broken. It was simply unexpectedly satisfying to control how the credits “breathe.” This is probably my favourite new feature so far. The editor is still far from finished, but the roll is beginning to feel less like text moving somewhere and more like a proper part of the edit. If you have worked with long credit rolls and have your own ways of keeping them smooth, I would love to hear about them. There may be an important detail I have missed. I’d like to compare my tests with other people’s real-world experience and use it to make this a genuinely useful tool, not just something that works well for me.