Walkthrough · Video Director
An AI editor that cuts your clips into an ad.
Drop in your clips, say what the ad is for, and it cuts them into a branded spot with the words, the music and a narrator. Change anything by telling it what to change.
The whole walk · seven stops
From the footage you have to the cut you'd have paid an editor for
Seven stops, in the order the studio runs them. Where it is, how the footage comes in, how you trim, what the director writes and scores, how the cut gets made, how you change it by talking, and where the keeper goes.
Your client has a folder of footage from the shoot, and needs a cut for Friday.
Video Director is in the sidebar under Video, once you've picked the client's kit. Here's exactly where to click.
Step 1 · Open Video Director
It's in the sidebar, under Video
Pick the client you're working on. Then open Video in the left sidebar and click Video Director. It cuts from that client's footage and uses their colours, fonts and logo.
First, the footage goes on the timeline, and the director reads every clip.
Video Director understands what's in each scene, what's said, and where the type can go. Or it casts an actor and shoots the takes for you.
Step 2 · Drop the footage
Drop your clips and shots onto the timeline — each one is understood on the way in
Click Add a shot, or drop an image or video file. Pull from the client's kit or upload from the desk. Each clip is read as it lands: what happens in each scene and when, what's said, where the subject sits and where type can go. That reading is what the director cuts from. Or, if you have no footage yet, open The Style, pick a UGC style — Street Interview, Unboxing, Testimonial, Try-On, Walking & Talking — and cast an actor: a take reel lands on the timeline and in the kit, already read, ready to cut.
click, or drop
You trim each clip to the moment that matters.
The trim is the edit. One clip can give you three moments, and nothing regenerates when you change your mind.
Step 3 · Trim to the moment
Click the star on a clip and trim it to the moment that matters — the trim is the edit
You don't cut the clip; you pick the slice of it to show. Open the trim and window the clip to the two seconds that matter. Want two moments from the same clip? Drop it onto the timeline twice and trim each differently. Drag the slots to reorder. Nothing regenerates when you trim, so the beat that landed stays exactly as it was.
You set the words and the sound, or you leave them to the director.
Kicker, headline, subline, CTA into the safe zones. A music bed to your direction, a narrator timed to the frames.
Step 4 · The words and the sound
Set the words and the sound, or leave them blank — the director writes and scores from the brand
The Words has four lines: kicker, headline, subline, call to action. Fill any you care about and leave the rest blank — the director writes them from the client's brand and places them in each shot's safe zone, off the subject, in the kit's fonts and colours. The Sound is direction, not scripts: describe the music feel and the bed composes to match, or turn the bed off and let the footage carry it. Add a narration direction and the house narrator reads lines timed to the frames, with the music ducking under her.
Then you tell it what the ad is for, pick the aspect, and create.
The cut plays in the preview right away, scrubbable and numbered, without rendering a thing.
Step 5 · Create the cut
One line of direction, the aspect, Create Video Cut — and the cut plays in the preview
Say what the ad is for in the line at the top, pick the aspect, name the project under Look, and click Create Video Cut. The director cuts the windows you set (or picks the moments itself from what it read), writes the missing lines, places the type, scores the bed, spots the narrator, and the cut plays right there — scrubbable, numbered, without rendering anything. What you're watching is a real finished director cut from uploaded clips.
You watch it, and you say what to change.
Each note under the preview becomes a new numbered take, instantly. Nothing you liked gets overwritten.
Step 6 · Iterate by talking
Say what to change under the preview, and the cut changes — each turn a new numbered take, nothing rendered
Under the preview is the Iterate bar: change anything, by talking. Re-cut a window, hold the opener longer, drop a shot, bring the logo forward, warm up the music, ask for a square version. Each turn lands as a new numbered take beside the last, so nothing you liked is overwritten and you can flip between them. None of it regenerates footage, so it's instant. You're directing an editor, not re-rolling a generator.
When the take is right, you render it, and the project is on Brand Videos.
An MP4 with the soundtrack baked in, reopenable on the timeline, or hand it to Claude to keep going.
Step 7 · Render and keep
Render the keeper — an MP4 with the soundtrack baked in — and it's a project on Brand Videos
When a take is right, render it. Rendering is your click, never automatic, and the file lands in a couple of minutes: an MP4 with the music and the narration baked in, and a looping GIF beside it. The cut is already a project on the client's Brand Videos page — reopen it and every clip, image and trim loads back onto the timeline. Or hand the project to Claude and keep iterating in conversation.
Or you say the whole thing to Claude, and it directs the edit.
The same cut, re-cut and rendered in conversation, with the playbooks named for the cut you want.
Or · Say it to Claude
Claude is the same director in conversation — it cuts, re-cuts, scores and renders on your word
Everything above can be said instead of clicked. Claude finds the clips in the client's kit, reads what's in them, cuts the windows, writes and places the type, scores and narrates, and hands you a live preview. You react in plain English — re-cut, hold, drop, bring forward — and it renders only when you say render. The playbooks are named for the cut you want.
“Cut me a 9:16 ad from the trail-run clips in the kit — punchy, hard cuts on the beat, end on the shoe. Then a narrator that hypes the grip, and render #2 when I say.”
- Bring your footage. Video Director cuts clips you have, generated or uploaded. Composing an ad from product stills is Motion Ad Studio's job; the two cross-link.
- Preview and iteration are instant, and rendering lands in about two to three minutes. Generating new footage is the step that costs, and you always see that before it fires.
- Rendering is your click, never automatic. A render mints a real deliverable, so the studio waits for you to ask.
- Music is optional here. Your footage can carry the impact on its own; toggle the bed on or off and regenerate it from your direction any time.
- Generated takes carry no music and no baked-in text, on purpose. Both are layers the director adds after, so every window stays cuttable and restyleable.
Pick the client's kit. Drop the footage. Say what the ad is for. Watch the cut, then change it by talking.