Riverside Eye Contact: Where It Works, and How to Fix Everything Else

Riverside’s eye contact works inside its editor, on one track or on all tracks at once. Its help center lists three limits. The track has to be recorded on Riverside in a web browser. Screen share tracks and external uploads can’t be corrected. And a track that already has Enhance video applied can’t take eye contact as well.

That covers the main Riverside use: a remote interview recorded in the studio, with each guest joining from a browser. It leaves out the rest of a typical week of video: a Zoom call, a Loom, a phone video, a camera clip, or footage from another tool that you imported into Riverside to edit.

Riverside’s wording doesn’t mention tracks recorded in its phone apps. If the Eye contact toggle doesn’t appear on a track, treat that track as not supported and correct the file instead.

Riverside records a separate video track for each speaker, and that is the best input for eye contact correction: one face that fills the frame. Correct each speaker’s track on its own rather than a combined layout with everyone in it. The corrected file keeps the original length, frame rate and audio, so it stays in sync with the other tracks.

StoryCut corrects videos up to 10 minutes with the pack and on Pro, and up to 30 minutes on Business, which has unlimited eye contact. An episode longer than 30 minutes has to be split into parts first. For clips cut from an episode, correct only the clip you publish: it is quicker, and it uses one credit.

If you record in Riverside’s browser studio and edit there, use its eye contact. It is one toggle per track, on a plan you already pay for, with no export and re-import. Riverside Pro also removes filler words and adds AI B-roll, which StoryCut doesn’t do.

A separate tool makes sense for the recordings Riverside won’t correct, or if you don’t need a recording studio and only want the gaze fixed. StoryCut’s $9 pack covers 5 videos with no subscription, and the credits never expire.