How to edit a funscript

PeakSync Script Studio is designed for people who want to edit motion data without learning a professional video-editing workflow. Start with a new script, an existing .funscript, or the sample; then use the visual timeline and focused controls to adjust timing, smoothing, range, and movement. You can edit and preview without signing in; saving, exporting and device Test Mode require an account.

Editing is free. No credits are used when you edit or save. For a script you will use more than once, refining it here is often more useful than generating it again.

---

1. Open or import a script

Three ways in:

The header tells you what you're holding:

• LOCAL DRAFT — a new or imported script has not been saved to your account. A saved script instead shows PERSISTED · REV 4, where REV 4 identifies its current revision.
• SAVED — the current changes have been stored. After an edit, a saved script shows UNSAVED until its next save completes. A guest draft shows Sign in to save.

Select the script name in the header to rename it. A new blank draft starts as New script; imported and generated scripts keep their existing title.

The first save asks you to confirm the script metadata and creates an account script. After that, valid edits to a saved script are saved automatically after a short pause; you can also use Save or Ctrl/Cmd + S. Each save creates a new revision rather than overwriting the previous one.

---

2. Import video for synchronized editing

Import the exact video this funscript was made for. Script Studio keeps the video, playhead and script position on the same timeline, so you can compare every action with the frame it belongs to. You can also play and edit the script timeline without a video.

If the matching video is already shown, you can start editing. Otherwise, press IMPORT VIDEO in the toolbar and choose the matching MP4, MOV or WebM from your computer. Use the same cut that the script follows — a different intro, missing scene or edited version shifts every moment after the change, even when the rest of the video looks identical.

Once the video appears above the timeline:

1. Press Play or drag the video progress bar to reach the passage you want to inspect. The timeline playhead and live script-position readout move with it.
2. Use PREV ACTION / NEXT ACTION to land on script nodes, or -FRAME / +FRAME to compare the motion one frame at a time.
3. Select a node and adjust it. Click Seek beside Time or press J to bring the video back to that node's exact millisecond so you can check the change against the picture.

If the video's length differs from an existing script timeline by at least a second, or nodes run beyond the video, Studio tells you:

Video duration differs from the script. Open Timeline length to review the durations; nodes were preserved.

That message does not block editing. Check that you chose the same cut. Open Timeline length to review both durations, add or remove empty time at the end, or use Trim to video to remove nodes past the video's end. Trimming is an explicit, undoable edit. Importing a video never silently trims or stretches an existing script. For a new blank script, importing a video can set the initial timeline length to the video's duration.

Video and script are stored separately. A video imported with Import Video stays local to the current editing session; it is not added to the funscript or its saved revisions, so you may need to choose it again after refreshing. When you edit a script made from a video on this browser, Studio can restore the video that PeakSync kept locally with the task. That browser copy is unavailable on another device or after its site data is cleared. Saved script revisions remain in your account.

---

3. Read actions and timing on the timeline

This is your funscript. Each dot is one action — a position from 0 to 100 at an exact millisecond. The line between the dots is the motion your device will follow.

The footer shows labels for the major time marks, minor for the smaller grid marks, the current zoom in pixels per second, the action count and your selection. Grid intervals change with zoom; read those values instead of assuming each square is one second. For a dense script, work on passages rather than editing every dot one by one.

Zoom in to edit individual actions

At a distant zoom the script can look like a solid wall: you can see its shape, but not individual actions. Use Zoom in timeline or the waveform zoom gesture to spread out a passage until each action is a dot you can grab. The time grid and snapping interval adapt as you zoom.

The red segments are Speed Guard marking motion above the limit you've set. Learn how to limit script speed with Speed Guard.

---

4. Navigate with keyboard shortcuts

Clicking through 1,381 actions one at a time is not realistic. Press SHORTCUTS.

The handful that carry the work:

Use Ctrl on Windows/Linux or Cmd on Mac.

Jump, judge, nudge — that loop is most of the work. Configurable shortcuts can be reassigned or disabled; the dialog also has a Reset button. Esc is a fixed reference, not a reassignable action. In Scale, Esc restores all nodes to before entering the mode, including released drags. During a range drag, it cancels the pending band; while Add node is idle, it returns to Select mode. In Clamp, Normalize, Smooth, Repeat fragment or Phase Shift, it discards the preview. Selection is kept and applied edits are not undone. While recording a shortcut, Esc cancels recording. D performs the Deselect button action and does not fire while typing or in dialogs. During Scale, Clamp, Normalize, Repeat fragment or Phase Shift, D is blocked: apply or cancel the preview first. J runs Seek Playhead to Node when exactly one node is selected, including with the inspector collapsed or in Waveform Focus. It leaves the selection and node positions unchanged and does nothing with no selection or multiple selected nodes. It does not fire while typing, composing text or using dialogs or menus. Reassign or disable it in Shortcuts; the Seek button tooltip follows your current binding. If an older custom shortcut already uses J, it keeps J and the new action starts disabled. In Clamp and Normalize, Undo / Redo changes preview parameters, not saved nodes. A drag or a held arrow key is one local step. Focus a waveform handle and use ↑ / ↓ for 1, Shift for 10, or Home / End for the legal limits. Ctrl/Cmd + Enter applies the preview as one global Undo step.

R opens Repeat fragment only when a continuous passage of at least two nodes is selected; P opens Phase Shift for one or more continuous selected nodes. Continuous means there are no unselected nodes between the first and last selected nodes. Both shortcuts are configurable in Shortcuts, and their button tooltips show your current binding. They do not open tools while you are typing, composing text or using a dialog or menu. Finish the active preview before opening another. If an existing custom binding already uses R or P, it keeps that key; assign a different key to the new tool in Shortcuts.

The Shortcuts dialog contains the current bindings and searchable function descriptions.

---

5. Edit a selected node

Click a dot and the right-hand panel shows exactly what it is: TIME 10569 ms, POSITION 54.

• The slider and the 0–100 buttons set the position in steps of ten.
• Seek beside Time, or J, moves the playhead and loaded video to that exact moment, so you can compare the stroke with what is happening on screen. That comparison is the only way to judge whether it is right.
• The Seek button uses an arrow pointing to a vertical line. Waveform Focus keeps its four-corner icon and Shift + F shortcut; it changes the workspace layout rather than the playhead time.

(The video pane is blacked out in this guide. On your screen it shows your video.)

5.1 Select a passage directly

The waveform starts in Select mode with the normal arrow cursor. A plain click on any node selects only that node and deselects all others, including when the clicked node was already selected. Dragging a selected node still moves the whole selection; Shift / Ctrl/Cmd + click continues to add or remove individual nodes.

Selection determines which nodes your next edit affects; it does not change positions, timing or Undo history.

1. Start on empty plot space and left-drag across a time interval in either direction. On release, Studio replaces the selection with every node between the inclusive time bounds. Starting on a node keeps node selection and movement behavior instead of starting a range.
2. For precise boundaries, enter From (ms) and To (ms) in the right inspector, then click Select nodes. Both endpoints are included.
3. Choose Add to selection in the inspector to make ordinary drags and numeric submission append to the existing selection. Choose Replace to return to replacement behavior. Overlapping ranges do not duplicate nodes, and gaps between separate ranges are not selected.

Release the mouse to finish the selection. Finish or cancel an active Scale, Smooth, Clamp, Normalize, Repeat fragment or Phase Shift preview first. Use Ctrl on Windows/Linux or Cmd on Mac. These mouse gestures are fixed references in Shortcuts, not reassignable single-key bindings.

Add nodes deliberately

Find Add node in the Selection group of the Waveform Edit Bar. Click it to enter a persistent crosshair mode, then click empty waveform space to insert a node at that time and position. You can add several nodes without reopening the tool. Existing-node clicks and drags still select or move nodes. Click Add node again or press Esc while idle to return to the default arrow-cursor Select mode. For a blank draft, activate Add node before clicking the waveform to create the first action.

5.2 Deselect without deleting nodes

Click the bordered Deselect button or press D (the configurable default) to deselect all nodes. Deselect does not delete nodes or change their stored positions or timing.

During Scale, selection controls are hidden and the Deselect shortcut is blocked. Choose Apply Scale to keep the result or Cancel Scale to restore the session baseline, then deselect. The Deselect tooltip shows your current shortcut; it does not fire while typing or in dialogs.

With no nodes selected, transforms such as Normalize operate on the entire script. Select another passage before applying a local edit. To delete nodes, use the separate Delete command instead.

There is one Waveform editing help button at the far right of the Transforms group. It opens a single reference containing both Selection & editing gestures and Tools & transforms guidance, including Repeat fragment, Phase Shift and your current shortcuts. The Selection group has no second help button.

---

6. Use the Waveform Edit Bar

The Waveform Edit Bar sits directly above the waveform and stays available when the right inspector is shown, collapsed or hidden by Waveform Focus. Its groups follow the editing workflow:

Read the bar from left to right as History → Selection → Transforms. On a wide desktop, transform buttons appear in this order: Scale → Shift → Repeat → Normalize → Clamp → Invert → Smooth → Waveform editing help. As the bar narrows, commands move into More transforms; Scale stays visible at smaller widths than Shift and Repeat. At narrow widths, Transforms contains all seven commands in the same order. Undo and Redo never move into either menu.

With no selected nodes, Normalize, Clamp, Invert and Smooth act on the entire script. Scale, Shift and Repeat require a selection. Select two or more nodes to limit NORMALIZE, CLAMP or INVERT to them. With one selected node, Scale, Normalize and Clamp are disabled; use Position or drag the node directly. The sidebar explains: Select at least 2 nodes to use Scale, Normalize, or Clamp. Whole-script Normalize and Clamp also require at least two nodes. SMOOTH needs at least three selected nodes because the first and last nodes anchor the selected range.

SMOOTH, CLAMP and NORMALIZE offer a non-destructive preview — configure the result, compare the original dashed curve with the cyan preview, then Apply or Cancel. Node timing never changes, so the script stays synchronized with the video.

While a transform preview is open, the Transforms group changes to its Apply and Cancel controls. Smooth opens a compact Context Strip immediately below the edit bar for scope, Smoothness, result and Apply / Cancel. Smooth, Scale, Shift, Repeat, Normalize and Clamp all show the primary Apply action first, followed by the bordered Cancel action. Normalize and Clamp keep their draggable waveform handles; their exact numeric fields remain in the inspector. Finish or cancel a preview before switching transforms, selecting nodes, editing positions or entering Test Mode.

6.1 Smooth abrupt movements without changing timing

SMOOTH reduces rapid changes in motion direction while keeping every node at its original timestamp. It uses the real time between nodes, so a fast reversal is softened more than the same shape spread over a longer interval. It does not add, remove or retime actions, so use it when a passage feels too sharp but is already aligned with the video.

1. Choose the scope. Clear the selection to smooth the entire script, or select at least three adjacent nodes with SHIFT / CTRL/CMD + CLICK to work on one passage.
2. Click SMOOTH in the Transforms group or its responsive menu. The Context Strip opens directly below the edit bar. The original shape remains as a dashed line while the cyan curve previews the result; nothing has changed in the script yet.
3. Adjust Smoothness from 0 to 100. A fresh editor starts at 50; 0 is the original curve, and higher values progressively reduce faster direction changes. The value and preview update as you move the slider. Arrow keys change by 1, Page Up / Page Down by 10, and Home / End jump to 0/100.
4. Check the number of nodes that will change, maximum position change, position range and Peak Speed. Compare the cyan curve with the video before committing.
5. Click APPLY to save one smoothing pass as a single Undo step, or CANCEL to leave the script untouched. CTRL/CMD + ENTER applies the preview; ESC cancels it.

The first and last node in each continuous selected group stay fixed as anchors. If the selection has gaps, Smooth treats each group independently and never bridges the unselected nodes; groups with fewer than three nodes remain unchanged.

If Smoothness is 0, or the preview says that no node positions change at the current value, APPLY stays disabled. Increase Smoothness or select a continuous range with an editable interior. Changing the slider always recalculates from the curve captured when the preview opened, so moving it back to an earlier value restores that value's exact preview rather than stacking multiple passes.

6.2 Keep positions inside a range with Clamp

CLAMP sets a floor and ceiling for position values. Actions below the Minimum move up to that boundary, actions above the Maximum move down to it, and everything already inside the allowed range stays exactly where it is. Timestamps and the number of actions do not change.

1. Choose the scope. Deselect to clamp the entire script (at least two nodes), or select two or more nodes with SHIFT / CTRL/CMD + CLICK to limit the change to those exact nodes.
2. Click CLAMP. Every preview starts with limits equal to Current, the lowest and highest positions in the current scope. Opening alone changes nothing. After adjusting the limits, a line such as Current 72–96 → Limit 10–90 compares the original positions with the requested limits. Canceling discards trial values; reopening recalculates Current instead of remembering earlier limits.
3. Drag the two handles or enter integer Minimum and Maximum values from 0 to 100. Minimum must be at or below Maximum (a flat multi-node scope starts with equal bounds). The fuchsia rail is the allowed range; the striped outer zones are the values that will be clipped.
4. Compare the original dashed curve with the cyan preview. Changed actions appear in amber, and the panel reports how many actions will be clipped. You can also drag the amber limit handles directly on the waveform. The sidebar stays in sync. Bringing a limit back restores original values, because every preview uses the same frozen source. Stripes mark clipped zones only over selected runs, not gaps in a sparse selection.
5. Click APPLY to commit the preview as one Undo step, or CANCEL to leave the script untouched. CTRL/CMD + ENTER applies the preview; ESC cancels it.

For example, with a 10–90 range:

If Minimum exceeds Maximum, Studio shows an error and disables APPLY. Equal bounds are allowed for a flat Clamp range. If all positions in the scope are already inside the requested range, it shows No actions require clamping and also leaves APPLY disabled, so no empty Undo step or unsaved revision is created.

Clamp is different from NORMALIZE: Clamp preserves every value already inside the range, while Normalize proportionally remaps the whole selected position range to new boundaries. Use Clamp when you want hard safety limits without reshaping the motion between them.

6.3 Stretch a visible selection directly

Use SCALE when you want to make a selected passage taller or shorter directly on the waveform. Select at least two nodes with different positions, then click SCALE in the Waveform Edit Bar. Use direct range selection to choose the passage first. Studio draws an envelope around the selected time and position range. Scale stays disabled for an empty selection, one node, or nodes that all have the same position; it never falls back to the entire script.

• Drag the Upper handle to change the maximum while keeping the current minimum fixed.
• Drag the Lower handle to change the minimum while keeping the current maximum fixed.
• Focus a boundary handle and use ARROW UP / ARROW DOWN for one-unit adjustments, add SHIFT for ten units, or use HOME / END to reach the valid boundary.
• Release a handle to update the preview. Apply Scale applies the whole session as one Undo step. CTRL/CMD + ENTER applies the same action. Cancel Scale or ESC restores all nodes to before entering Scale, even after releasing multiple drags.
• Apply Scale stays disabled until the preview differs from the curve shown when Scale opened. If Undo restores that original curve, Apply becomes disabled again and CTRL/CMD + ENTER does nothing.

For example, moving the upper boundary of [20, 30, 50, 70] from 70 to 100 produces [20, 36, 68, 100]. The lower boundary remains 20, timestamps do not change, and actions outside the selection remain untouched. Move the lower boundary to 0 in a second gesture to fill the entire 0–100 range; while Scale is active, the two boundary changes can be undone independently.

Scale and Normalize share proportional range math but serve different workflows: Scale is a fast, visual manipulation relative to the current selection boundary; Normalize always maps from the source frozen when its preview opened, with presets and exact target values. Both support waveform dragging and an explicit Apply step.

The Waveform Edit Bar keeps Undo / Redo and selection status visible. During Scale, its Transforms group shows Apply Scale, Cancel Scale and the single Waveform editing help button. Both actions keep the selection. Narrow layouts collect inactive transforms into one menu in the standard order. The status reads N nodes selected · Pos A–B · Scale preview · Esc to cancel. Use the History group Undo / Redo or their configured shortcuts: while scaling they restore preview gestures; after Apply Scale, Undo restores the whole session. There is no duplicate Undo beside Scale. Confirm with Apply Scale before saving or exporting changes. With multiple nodes selected, the right inspector shows their time and position ranges; select one node to access its precise position fields.

6.4 Remap motion to a target range with Normalize

For a local edit, select a passage before opening Normalize. Deselect deliberately returns its scope to the entire script.

The compact Normalize Preview panel shows a one-line mapping, such as Current 80–100 → Limit 0–100 · ×5. The multiplier means a fivefold expansion; hover it to see the amplitude before and after. Current range · Initial appears beside Target range when it matches Current, and Preview only sits beside the scope. The waveform retains Preview only — Apply to commit. Source bounds appear only after Current in the mapping summary. With no change to apply, Apply is disabled. Flat sources cannot be normalized.

NORMALIZE proportionally maps the lowest and highest positions in a scope to new target boundaries. Every position between them moves by the same proportion, widening motion that uses too little of the available range or compressing motion that feels too broad. Timestamps and action count stay fixed.

Drag the purple target handles directly on the waveform, or use the sidebar slider, numbers and presets. Every opening starts at Current: a source of 80–100 starts with handles at 80 and 100. Choosing Full explicitly moves the lower target to 0. The compact sidebar keeps one Target range rail; it does not add a Source rail. All parameter changes use the frozen original positions, so repeated adjustments do not accumulate rounding drift. Cancel / Esc discards the whole session; pointer cancellation discards only the current gesture. Panning or resizing during a drag also cancels that gesture. Offscreen selections can still be configured precisely from the sidebar; the waveform does not show misleading offscreen handles.

1. Choose the scope. Use Deselect to normalize the entire script, or select at least two nodes with SHIFT / CTRL/CMD + CLICK to remap only those actions. Selected nodes do not need to be adjacent. With exactly one selected node, Normalize stays disabled and shows Select at least 2 nodes to use Scale, Normalize, or Clamp. It never silently falls back to the entire script.
2. Click NORMALIZE. Studio calculates the Source Range from the lowest and highest positions in the scope, then opens Normalize Preview without changing the script.
3. Compare Current source bounds with Limit target bounds in the mapping summary, then set the target with the two handles or the integer Minimum and Maximum inputs. Every opening starts at Current, including after applying, canceling or undoing an earlier edit; no previous target is reused. Canceling or pressing Esc discards uncommitted target changes; finish the preview before switching transforms. Minimum must be lower than Maximum.
4. Use Full (0–100), Safe (10–90) or Gentle (20–80) for a quick target. You can fine-tune either boundary after choosing a preset.
5. Compare the original dashed curve with the cyan preview. Changed actions appear in amber, and the panel shows the amplitude multiplier. Its tooltip gives the amplitude before and after — amplitude is the distance from the lowest position to the highest.
6. Click APPLY to commit the preview as one Undo step, or CANCEL to leave the script untouched. CTRL/CMD + ENTER applies the preview; ESC cancels it.

For example, normalizing a Source Range of 20–80 to a Target Range of 0–100 produces:

Positions between the endpoints are mapped proportionally and rounded to whole values. Unlike CLAMP, Normalize moves values that were already inside the target range; that proportional remap is what preserves the relative shape while changing its total depth.

If every scoped action has the same position, Studio shows Selected actions have no amplitude range. If the source already matches the target, it shows Already normalized. Equal or reversed target boundaries show a validation error. In all three cases APPLY stays disabled, so the preview creates no empty Undo step or unsaved revision.

6.5 Extend a pattern with Repeat fragment

Use Repeat fragment to continue a passage whose motion you want to reuse. Its toolbar button is REPEAT, with a loop-arrow icon; the default shortcut is R. This creates new nodes, not a playback loop.

1. Select a continuous passage containing at least two nodes at different times, then click REPEAT or press R. On narrow screens, find Repeat fragment in Transforms or More transforms.
2. Set Additional copies. The original is not counted: 2 adds two copies after it, giving three occurrences in total. Type a whole number or use − / + to change it by one.
3. If the first and last positions differ, Join duration sets the time in seconds to move from the end of one copy to the start of the next. It must be positive. A longer join makes that connecting movement slower and uses more timeline space. Matching endpoint positions join directly; this field is not needed.
4. Check Target and Overwrites above the waveform. The original passage stays in place; nodes in the following copied range are replaced. Nodes after that range stay at their original times. Copies must fit inside the script timeline; reduce the count or cancel and extend Timeline length if more room is needed.
5. Click Apply Repeat or press Ctrl/Cmd + Enter to keep the result. Click Cancel Repeat or press Esc to keep the original script.

For example, repeating a one-second passage with matching endpoint positions and Additional copies = 2 adds two seconds of the same pattern immediately after the original. Existing nodes in those two seconds are overwritten; later content is not pushed back.

6.6 Align a passage with Phase Shift

Use Phase Shift when the shape is right but its timing is early or late. Its toolbar button is SHIFT, with a horizontal double-arrow icon; the default shortcut is P, not the keyboard Shift key.

1. Select one node or a continuous group, then click SHIFT or press P. The responsive menu uses the full name Phase Shift.
2. Enter the Time shift in seconds. Positive delays; negative advances. For example, +0.250 moves the selection 0.250 seconds later, and −0.250 moves it 0.250 seconds earlier. The −0.050 s and +0.050 s buttons adjust by exactly 50 milliseconds each time; there is no separate direction selector.
3. You can also drag the Phase Shift bar horizontally on the waveform. With that bar focused, Left / Right moves by 0.050 seconds and Home / End moves to the earliest/latest allowed position. Grid snapping affects dragging, not the fixed 50ms buttons or exact numeric input.
4. Check Target and Overwrites. Node positions and the spacing within the selection stay the same, but the original selected nodes move away from their old times. Existing nodes in the destination range are replaced; nodes only passed over on the way stay unchanged. The result must remain between time zero and the script's end.
5. Click Apply Phase Shift or press Ctrl/Cmd + Enter to keep the result. Click Cancel Phase Shift or press Esc to discard the preview. A zero offset has no change to apply.

Preview controls for both tools: parameters replace the usual editing buttons in the same bar. Apply comes before Cancel; narrow layouts may shorten their labels. The expand icon fits the full preview into view without seeking the video, and ? explains the current limits. Undo / Redo changes preview parameters while the tool is open. After Apply, one Undo restores the whole operation. While dragging the Phase Shift bar, Esc cancels that gesture first; press it again to cancel the session. Close an open help popup first if it has focus. Finish the preview before changing tools, playing, saving or exporting; Apply updates the script in the editor, while Save persists it.

---

7. Limit script speed with Speed Guard

Speed Guard compares the script's Peak Speed with the Speed limit you set in Studio. Segments above that threshold appear red on the waveform. Changing the number alone changes the warning, not the saved motion.

How fast is right is entirely personal, and it changes with the device, the video and the mood. There is no correct number here, only yours.

To hold a script to your limit:

1. Open the script in Studio and set the Speed limit you want to check against.
2. Select at least two nodes if you want to repair just that passage. With fewer than two selected, the repair runs on the entire script.
3. Press Fix Overspeed Segments. Timing stays where it is; the repair changes positions to reduce motion above the limit.
4. Save the edited script, or wait for an existing saved script to finish auto-saving.

The repaired actions become part of the saved script. The Player's Speed Limit is a separate percentage control for device output during playback; it does not edit or save the funscript.

---

8. Find parts of the script to adjust

The script traces what the video does. These are the places people most often want something other than a faithful trace — knowing where to look is most of the skill:

• Pace. As above. The most common thing to adjust, and the easiest.
• Cuts. A hard cut is a large visual change, so the trace steps across it. If you'd rather not feel the edit points, smooth them.
• Quiet passages. Where little happens, the trace picks up fine detail. SMOOTH it if you want those stretches calmer.
• Range. A script may live between 70 and 100 and never use the bottom of its range. NORMALIZE opens it out, if you want the full stroke.
• Camera movement. Where the camera moves rather than the subject, the trace follows the camera. Whether you want that is a judgement call — this one is yours.

---

9. Make room with Waveform Focus, Fullscreen and playback speed

Waveform Focus

At desktop widths, choose Waveform Focus in the timeline utility controls or press Shift + F. Waveform Focus keeps the video, navigation, Waveform Edit Bar and waveform visible, while hiding the Editor title/action bar and the complete right inspector. The extra width goes to node editing, and the height freed above the video goes to the waveform. The imported video remains mounted, synchronized and interactive.

An active Scale, Normalize, Clamp, Smooth, Repeat fragment or Phase Shift preview stays open when you enter or leave Focus. Use the same Apply / Cancel controls in the edit bar or Context Strip. The first press of Esc cancels an active gesture, preview, menu or dialog; when none remains, Esc exits Waveform Focus. You can also use Shift + F again or click the same control, whose tooltip changes to Exit Waveform Focus.

Node numeric fields, exact transform values, Delete and Speed Guard repair remain inspector-only. Leave Focus to use them; your selection, playhead, playback and uncommitted preview stay intact.

Fullscreen

FULLSCREEN — or press F — hides the browser's toolbars and gives the timeline the whole screen. For detailed work, that extra space makes a real difference. EXIT FULLSCREEN, or F again, brings the toolbars back.

Fullscreen and Waveform Focus are independent: Fullscreen changes the browser window, while Focus changes the Editor layout. You can use either one or both; leaving one does not leave the other.

Playback speed

Choose Speed in the editor's View menu for 0.5×, 1× or 2× playback. Slowing down keeps the video and script playhead together while giving you more time to judge a passage. Without a video, the same controls preview the script on its own timeline.

---

10. Test changes on connected hardware

TEST MODE uses a connected, saved device so you can feel a fix without leaving the editor. Sign in and finish or cancel any active transform preview before opening it. You can preview the waveform without a device; Test Mode is for physical output.

It plays a bounded window of what's on screen, capped at 30 seconds. You're testing a correction, not auditioning the script.

The button says Stop Test, not pause. A stopped test cannot be resumed; you start a new one. SAFETY STOP is here too, and works exactly as it does in the Player.

---

11. Save, export or open in Player

The first save, export and Test Mode require sign-in. A saved script also auto-saves valid edits after a short pause; wait until the button reads Saved before leaving if you need the account revision. Export downloads the current script but does not save a new account revision. Finish or cancel a transform preview first to include its result in the download.

Export a portable copy of anything you care about. Choose .funscript for other funscript software, or CSV for a simple at,pos table of actions. The export dialog starts from the script title; edit the name if needed. Its suffix follows the format you choose, and the one-time filename does not rename the script in Studio. You can also download either format from Account → Scripts.

---

Where next: Your first funscript