Everything in the editor,
written out.
The front page argues that an agent can drive this. This page is the other half of that claim: there has to be something worth driving. All of it runs in a browser tab, and most of it is also reachable through the 59 tools an agent can call.
01
The timeline
The part you will spend your day in, built to the conventions you already know.
- Unlimited video and audio tracks, resizable, with per-track mute, hide and sync-lock
- Pointer and razor tools, blade at playhead, edge trimming with headroom
- Ripple delete and ripple insert
- Snapping that sticks, with the playhead taking priority
- Linked audio and video that move together until you tell them not to
- Mark in and out, nested timelines, multiple timeline tabs
- Speed retiming, and unlimited undo
02
Picture
A full inspector, at the depth an editor coming from a desktop tool expects to find.
- Transform, crop, opacity, blend modes
- On-canvas handles — drag the frame, rotate it, crop it, rather than typing numbers
- Keyframes on position, scale, rotation, opacity, crop and volume
- Linear, hold and smooth interpolation
- Exposure, contrast, saturation, temperature, tint, highlights, shadows, levels, vibrance
- Colour wheels, hue curves, tone curves and .cube LUTs
- Blur, sharpen, noise reduction, motion blur, film grain, vignette, glow, chroma key
- Scopes, so the grade is a measurement rather than an opinion
03
Transitions and layouts
Cuts you can soften, and frames you can share between shots.
- Six transitions — cross dissolve, dip to black, dip to white, wipe, slide and push
- Adjustable duration and alignment, with equal-power audio crossfades
- Screen layouts: side by side, top and bottom, picture in picture, 2×2, main and sidebar, three-up
04
Sound
Enough to finish on, without exporting to something else first.
- Waveforms, per-clip gain and dB keyframe envelopes
- Linear and smooth fades, track mute and solo
- Cross-correlation audio sync for dual-system sound
- AI denoise with a dry/wet mix
- Ducking under speech, and loudness measured on export
05
Words
Transcription is not a feature here, it is the thing several other features stand on.
- Whisper transcription with word-level timestamps, at three quality settings
- Captions generated from the transcript, styled, with presets and group restyling
- Text clips with outline, background and alignment, and ten animations
- Text-based editing: delete a word from the transcript and the picture goes with it
- Silence removal, tight, balanced or loose
- SRT and VTT sidecars on export
06
Finding things
The part that stops being optional once a project has three hundred clips in it.
- Semantic search over your footage — describe the shot, not the filename
- SigLIP 2 embeddings, so “the shot where she turns around” finds the shot where she turns around
- Scene sampling that promotes real cuts rather than sampling on a metronome
- Face tracking: every face in a clip, each with its own path
- Merge two sightings of one person; bind a mask, label or blur to a head
- Multicam angle switching
07
Motion graphics
In the same timeline as the cut, which is the whole point.
- Animated titles, end cards and infographics as first-class pool items
- Written as code — spring physics, interpolation, sequences
- Editable props: change the headline or the colours without touching the code
- Authored by your agent, or by you, or both
08
Out
Rendered in the background while you carry on with the next cut.
- H.264, H.265, VP9 and AV1 — whatever your hardware can encode
- MP4 and WebM, 720p to 4K, or match the timeline
- Background rendering with progress, and no watermark on anything
- SRT and VTT subtitle sidecars
Open a tab and cut something.
No installer and no sign-up. Point it at a folder of footage and start.