An AI rough cut, built from chapters.

Every project starts with a story. Then the timeline grows faster than the story does, and you lose the thread somewhere around clip two hundred. The Story Graph keeps the story visible the whole way through: before there is a single cut, there is an outline you can read.

A chapter is a beat of the film with a length and a job to do. The job is written down in plain words, where you and the agents can both see it.

This is the demo project from the landing page: six chapters, 1:48 in total.

Each chapter collects its media by role: A-roll, B-roll, music, voiceover, sound effects, and motion. A shot you don’t have yet appears as a placeholder rather than a gap you discover in the edit. In the demo, the In the field chapter is still waiting on a crowd reaction at a screening, about four seconds after the drone shot.

When the graph reads right, Build lays it out on the timeline in five passes:

1. Laying A-roll
2. Cutting B-roll
3. Placing motion
4. Mixing music
5. Setting captions

In the demo the result is the Main Cut: 1:48, 16:9. Build also respects what you already did. The demo build reports “Your edits are kept” and lists them: the locked Cold open, and Meet OpenVids, retitled and cut to 0:18.

Interview films live or die on their beats, and a rough cut that scrambles them is worse than none. In the demo, the rough-cut prompt to the Main agent reads:

“Shape the rough cut around Mara’s strongest answer and keep it under two minutes.”

The agent found a clear opening around Mara’s first answer, kept the interview beats intact, and used the city-night B-roll to bridge the two angle changes. Rough cut v1 came back at 24 clips and 01:48, under the two minutes asked for, as a change you can review.

A rough cut is a first draft, and it should be treated like one. The Story Graph does the assembly. The decisions that make the film yours stay with you:

Purpose

Deciding what each chapter is for, and locking the ones you are happy with.

Performance

Choosing the take, the answer, the pause. You can point an agent at “Mara’s strongest answer”; deciding which answer that is stays with you.

Pacing

Render QA can point out that a section drags, and it marks that finding “Your call”.

The fine cut

Every change lands on a timeline you can take over, so trimming and re-cutting by hand is always open to you.

The demo moves through three workspaces: Media, Story, and Edit. The Story Graph is the middle one. Media comes in, chapters take shape, Build makes the cut, and the Edit workspace is where you and the agents refine it, prompt by prompt.

• Edit video with text promptsThe agents and modes that refine the cut after Build.→
• Motion graphics from one sentenceThe titles and stings Build places on the motion track.→
• What is agentic video editing?Why an editor built around agents starts from the story.→
• All featuresThe feature tour in one page.→