What does an AI video editor for marketing teams actually do?

It executes written briefs against your own recordings. Describe the asset a channel needs - the claim it must make, its length from 10 to 600 seconds, its formats - and it returns a cut plan whose segments carry source timecodes. Approve the plan and render; the edit arrives with SRT captions, an EDL in JSON and a QC report.

Can it keep every campaign video on brand?

Within a stated scope, yes. A brand kit is configured once - caption typeface and colours, a logo, an end card per aspect ratio - and applies at render: captions burned in and styled to the kit, the logo watermarked top-right, the end card appended as a two-second still. Intro animations, lower thirds, music and colour grades sit outside that scope.

What footage does it work from?

The recordings marketing already owns: webinars, customer and exec interviews, event sessions. Files load at up to 16 GB and four hours each, retrieval runs on the word-timecoded transcript, and a brief draws on the sessions it names - up to four at a time.

How much footage does £99 a month cover?

Pro carries 600 source minutes a month - ten hours of footage, single camera. Minutes are counted once, when footage is ingested; writing briefs, reading plans, requesting revisions and re-rendering use none. Paid annually, Pro is £1,020 a year.

For marketing teams

The campaign is already
on tape.

The webinar ran. The customers were interviewed. The keynote was filmed. An AI video editor for marketing teams turns those recordings into the campaign's assets: one written brief per channel, a reviewable plan with source timecodes, and a finished edit rendered on brand in every format the media plan calls for.

Briefing takes a paragraph. Sign-off happens on the plan, before anything renders.

Create an edit See pricing

One video or an entire archive.

The problem

Four assets, one queue.

A launch needs the teaser, the proof, the recap and the deck cut - in different lengths, for different channels, by different dates. The raw material for all four usually exists by the time the campaign is planned, often as one long recording - a webinar, an event - waiting to become several short cuts, the same mechanic covered on its own page. What does not exist is edit capacity: every asset joins the same production queue, and the calendar bends around it.

So teams ship fewer video assets than the plan wanted, later than the moment wanted them. The queue is the constraint, not the footage - and adding review cycles for brand and message only stretches it further.

If the campaign starts from one webinar, the kit workflow has a page of its own →

Speed, with sign-off

Briefed in the morning, reviewed the same day.

Each asset is one brief: up to 2,000 characters on what the edit must say, who it is for and how it should end, plus a target length and up to three formats. Requests are accepted immediately, planning runs asynchronously, and what arrives is readable: segments in order, each with its transcript text and source timecodes.

That plan is the sign-off artefact. Whoever approves messaging reads exactly what the edit will say and where every line comes from, before anything is rendered. Strike a segment or reorder the sequence directly - structural plan edits are immediate and free - or ask for a different opening in plain language and read the next version.

Rendering uses no minutes - the footage was counted at ingest - and each plan can render widescreen, square and vertical together. The edit lands with SRT captions, an EDL in JSON and a QC report, ready for the channel owner to publish.

MONDAY’S TEASERPOST /v1/cuts

“Twenty seconds for paid social: the webinar’s sharpest claim about switching costs, opening cold on the number. End on the product name, said by the speaker.”

source_group_ids [WEBINAR]target_duration_s 20aspects ["9:16"]crop_mode "stack"

planningplannedYOUR READrenderingcomplete

Brand kits

Consistency is configuration.

Campaign video drifts off brand one handoff at a time: a freelancer's caption style here, a missing end card there. A brand kit removes the handoff - caption typeface, colours, logo and per-aspect end cards are set once, and every render that names the kit comes back dressed the same way.

The guarantee is deliberately narrow and completely reliable: captions burned in and styled to your type, the logo watermarked top-right, the end card appended as a two-second still. Whether the brief came from the campaign manager or the intern, week one or week forty, the output matches.

What a kit does not do is also worth knowing before you commit: no intro animations, no lower thirds, no music beds, no colour grades. Teams that need those layer them downstream; what leaves here is the composed, captioned, marked edit.

Where teams start

Pro, and the numbers behind it.

Pro

£99 / month

600 source minutes a month (10 hours of footage)
Single camera

ANNUAL · £1,020 A YEAR

Most teams settle on Pro: ten hours of footage a month - 600 source minutes - holds a season of webinars, interviews and event sessions, and every channel edit cut from them renders for nothing. Minutes are counted once, at ingest - briefs, plans, revisions and re-renders use none, so the review culture your brand team wants costs nothing to keep.

All four self-serve plans, the enterprise packages and the allowance model in full are on pricing. What composition itself means - and how it differs from clipping - is argued on the product page.

The objections

Asked in every evaluation.

We have an agency for video - where would this fit?: In the recurring middle. The flagship film stays commissioned work; what stalls campaigns is the channel-sized layer beneath it - teasers, proof cuts, recaps, deck moments - that is too frequent to brief out and too small to justify a production cycle. That layer becomes written briefs against footage you already own, and your agency's craft is saved for the work that needs it.
Brand will not sign off machine-made edits.: They sign off before the edit exists. The plan lists every segment with its transcript text and source timecodes, so what gets approved is the actual argument in the speakers' actual words - nothing is generated, invented or re-voiced, and composition only selects from what was said on camera. The dress comes from the kit brand already approved. If a plan misses, revising and re-rendering cost nothing; only the footage you ingest counts.

Questions

What does an AI video editor for marketing teams actually do?: It executes written briefs against your own recordings. Describe the asset a channel needs - the claim it must make, its length from 10 to 600 seconds, its formats - and it returns a cut plan whose segments carry source timecodes. Approve the plan and render; the edit arrives with SRT captions, an EDL in JSON and a QC report.
Can it keep every campaign video on brand?: Within a stated scope, yes. A brand kit is configured once - caption typeface and colours, a logo, an end card per aspect ratio - and applies at render: captions burned in and styled to the kit, the logo watermarked top-right, the end card appended as a two-second still. Intro animations, lower thirds, music and colour grades sit outside that scope.
What footage does it work from?: The recordings marketing already owns: webinars, customer and exec interviews, event sessions. Files load at up to 16 GB and four hours each, retrieval runs on the word-timecoded transcript, and a brief draws on the sessions it names - up to four at a time.
How much footage does £99 a month cover?: Pro carries 600 source minutes a month - ten hours of footage, single camera. Minutes are counted once, when footage is ingested; writing briefs, reading plans, requesting revisions and re-rendering use none. Paid annually, Pro is £1,020 a year.

Brief the next campaign from the last recording.

Start with one webinar and one channel plan. The first plan you read will show you exactly how the rest of the quarter goes.