Video & audio editing

The unglamorous middle of every video — trimming, cutting, pacing, mixing — is exactly the work you can hand off in plain language.

Ask for

Cut the dead air and speed up the boring stretch in the middle — 4x feels right.

Duck the music under my voice, and fade everything out at the end.

Two ways to make a cut

An agent can make edits at two levels, and the difference matters:

• As Mixture edits (the default). The agent tells Mixture where the cuts, speed-ups, and punch-in zooms go — they land as ordinary, non-destructive edits on your timeline, exactly as if you’d made them in the clip editor. Your footage is untouched, and every cut point, zoom, and rate is yours to nudge, move, or delete on the canvas afterwards.
• In the file itself. Because the agent has your machine, it can also edit media locally — trim a half-hour recording down to the usable five minutes with ffmpeg before it ever hits the project, stitch takes, or convert formats. That’s baked into the file, so it’s the right tool for heavy prep, not for creative decisions you might revisit.

A good agent does the heavy reduction locally and the creative cutting in Mixture — so the edit you review is always still adjustable. If you care which, say so: “keep it all adjustable in Mixture” or “just give me a pre-trimmed file”.

What agents know how to do

• The whole cut vocabulary — trims, cuts, speed regions (fast-forwarding a span), and punch-ins, expressed as edits on the same clip editor model you use by hand.
• Edit every take at once. With linked media — screen, camera, and mic from one recording session — a cut or speed-up the agent makes lands frame-locked on all of them.
• Mix the audio — volume and ducking animated over time, fades sized to transitions, music placed as a composition-wide track under scene-level dialogue.
• Prepare files properly. Media an agent produces or converts is encoded cut-friendly, so scrubbing and cutting stay frame-accurate.

You stay in control

Cuts and speed regions show on the timeline exactly as if you’d made them in the clip editor — adjust any of them by hand, and the agent works with your version from its next read.