Bring your footage, say what you want made, and cut it together with an editor that does the work with you.
This is the editor itself, not a picture of it. Press play, scrub the strip, mute a track.
A rough cut, a supercut, a vertical reel from a two hour shoot. Describe it once and Narrative delivers a finished edit on a timeline you can still open and change.
high quality edit
The transcript, captions, versions, the frame and the models behind it all live in the same editor as the conversation.
Say what you want. The agent reads the footage, makes the cut and tells you what it did.
Anything you would say to an editor, you can say to this one. It works from the words, not a menu.
Each turn is a version. Step back to any of them, or put the project back to how a turn left it.
Fast for small changes, Balanced for most edits, Max for long footage and hard briefs.
Start in 16:9 and ask for 9:16. Both speakers stay in the shot, stacked.
Wedding films, podcasts, match highlights, product demos. Different footage, the same first step: say what you want.
Two hours of a wedding, one sentence: a three minute highlight with the vows in the middle. It was on the timeline before my coffee was cold, and I moved two cuts.
Every episode used to cost an afternoon of finding the good bits. Now I ask for the five best moments as verticals with captions and open the timeline to check its work.
It found every goal in a ninety minute match, including the one the camera nearly missed. And with every version kept, nobody on the staff can break the cut.
Our unboxing demos went from a freelancer and a week to a sentence and ten minutes. It is a real editor, so when legal wants a frame changed, I change the frame.
Pick the plan that fits what you make.
A cut a week: the whole editor, on a starter budget.
Cutting every week: twice the credits, five times the footage.
For a team cutting every day, with the credits to match.
All plans include a 3-day trial. Cancel any time.