CapCut’s policy update raises major red flags for newsrooms

Erika Marzano (above) audience development manager at Deutsche Welle

CapCut - the Chinese, ByteDance-owned video editing app behind countless viral TikToks and Instagram Reels - has become a newsroom staple for fast, mobile-first storytelling.

However, its newly updated terms of service, rolled out quietly on 12 June 2025, should prompt urgent scrutiny from any journalist or editor relying on the platform to produce vertical video.

Under these new terms, users grant CapCut and its partners a global, perpetual, irrevocable, royalty-free license to use any content uploaded to the app. That includes the right to reproduce, distribute, modify, and sublicense the material, without notifying the user or offering compensation. Even more concerning, CapCut considers all uploaded content to be non-confidential.

This has serious implications for journalists. It means editorial footage, branded content, exclusive interviews, or even sensitive raw material could be repurposed, recontextualised, or monetised by a third party without the journalist’s knowledge or consent. Even more concerning, the terms allow CapCut and its partners to use a journalist’s username, face, or voice to publicly identify them as the source of a video, including in sponsored content or advertising. For journalists working in sensitive environments or reporting under their real names, this creates significant risks around visibility and misuse.

A hidden vulnerability in news workflows

For many newsrooms, CapCut is not just a nice-to-have. It has become an essential part of mobile workflows, particularly for TikTok, Reels, and Shorts content. Its user-friendly interface, free pricing option, and integration with trends make it ideal for producing videos on tight deadlines or in low-resource environments. But using the app may now come at a high editorial cost.

Uploading a file to CapCut means relinquishing control, not just over who sees the content, but over who owns the rights. The platform’s terms effectively nullify any exclusivity or confidentiality around journalistic material. This is particularly risky in the case of embargoed stories, sensitive visuals, or location-tagged content from vulnerable regions.

The update creates a paradox. A tool that simplifies production could now undermine the very journalistic standards and responsibilities it was being used to uphold.

Editorial integrity vs. platform ownership

This isn’t just a copyright issue. It cuts to the core of journalistic ethics, especially when it comes to source protection and the editorial independence of publicly funded or mission-driven newsrooms. If a journalist uploads an interview with an at-risk source, a whistleblower, or someone in a conflict zone, that footage is no longer secure. It could, in theory, be accessed, reused, or repackaged by entities entirely outside the journalist's control, including commercial partners of ByteDance.

Additionally, the terms shift all liability for copyright infringement to the user. If a journalist uses stock music or third-party imagery without the proper licence, they alone are responsible. CapCut, on the other hand, offers no legal protection or clarity in such cases. This is a clear risk for newsrooms operating under speed and pressure, where such details can be easily overlooked.

Not just a concern for creators

Initial reaction to the terms has focused on creators and influencers, especially those who rely heavily on CapCut for humorous skits and product videos for small businesses. But the implications for journalism are just as far-reaching. But the implications for journalism are just as far-reaching. The app is used by small newsrooms, freelancers, and social video producers, often without formal legal review or technical guidance.

It’s tempting to assume these risks are theoretical. But the assumption that platform providers won’t enforce or act on these rights has proven misguided in the past. Journalists cannot afford to operate on trust alone, especially not with platforms that serve commercial interests and operate under opaque moderation and monetisation policies.

The use of CapCut also reintroduces questions about platform dependency. Just as newsrooms are learning to navigate their reliance on TikTok for distribution, they must now re-evaluate the risks of producing journalism with tools owned by the same parent company.

What needs to change

Newsrooms need to take a closer look at the tools embedded in their workflows. That includes reviewing internal policies, offering clearer guidance to staff, and, where possible, switching to alternative apps that do not claim expansive rights over user content.

If CapCut must continue to be used, then guardrails are essential. Final edited clips only, no uploads of raw or sensitive footage, and regular audits of platform terms should be the minimum standard. Staff should also be trained to read the fine print, not just on CapCut, but on any third-party app touching newsroom content.

Ultimately, the ease of use can no longer outweigh the legal and editorial risks. Convenience is not neutrality. Treating these tools as neutral platforms ignores the power imbalance between global tech companies and the journalism sector.

Internal workflows are already under pressure

At Deutsche Welle, CapCut was not an official editing tool, although talks were in place to adopt it, maybe even in its Pro version, given the widespread private use, and Adobe Premiere remains the standard editing software. However, CapCut became a popular workaround, particularly among correspondents and journalists abroad needing to quickly assemble and send mobile footage for vertical distribution. Its ease of use made it a go-to solution for fast video contributions, especially on tight deadlines.

The recent policy change has triggered a series of urgent internal conversations, including emails to the Legal department, as we now have to assess the potential risks retroactively. There is currently no formal shift to another platform, but the change will likely require a broader reassessment of internal workflows, editing tools, and content handling policies.

This isn't the first time a major video software provider has walked into controversy. Notably, Adobe faced a near-identical issue earlier last year. In February 2024, it quietly changed its Creative Cloud and Photoshop Terms of Use to state it “may access, view, or listen to your content through both automated and manual methods”. That triggered a swift and vocal backlash, prompting users to threaten switching platforms.

Adobe responded within days, publishing clarifications and tempering language around AI use. It explicitly pledged that it would not use customer content to train generative AI without consent. CapCut may eventually do the same, but until then, editorial teams are left in a legally uncertain grey zone.

A wake-up call for digital storytelling

CapCut’s update should serve as a wake-up call. As storytelling increasingly happens in mobile-first, vertical formats, and as more journalists work from their phones, the tools used to edit, publish, and store that content deserve just as much scrutiny as the platforms that host it.

This is not about abandoning innovation. It’s about understanding that the platforms we rely on are not passive containers. They are commercial entities with their own agendas, risks, and power over editorial content. Journalists and editors must treat terms of service not as background noise but as core editorial policy.

In a landscape where algorithms and formats shape the way stories are told, newsroom autonomy begins with the tools we choose and the rights we’re willing to surrender in the process.

Erika Marzano is an audience development manager at Deutsche Welle (DW) in Bonn, specialising in connecting newsrooms and journalists with their audiences through innovative social media strategies.

She leads central platform management for TikTok and X (formerly Twitter) in audience development. She also serves as a social media journalism trainer, empowering journalists to navigate and leverage digital platforms effectively. Erika’s academic background, spanning modern languages, European and international studies, and journalism, informs her approach to creating impactful digital content and strategies.

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