Yes, and a different kind of one. Most video tools save your edit as a project file only they can open. An agent can’t read a .prproj, let alone edit it. Kino is built so it can.

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Everything you create is code

Timelines, titles, animated backgrounds: each one is a program. Ask chat for a lower third and it writes one. Connect Claude Code or Codex over MCP and they edit the same compositions you see on the canvas. Already write video as code? Import a Remotion project and keep going.

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Why Kino has to feel precise

Editing video and crafting animations through an agent alone is a slot machine: prompt, wait for the render, look, prompt again. Moving a title two pixels takes a paragraph. Kino is optimized for pixel-perfect selections and edits: the inspector, canvas, and timeline are direct handles on the same code the agent writes. Describe the big change in chat; drag the small one yourself.

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The index feeds the agents

An agent has never watched your footage, so Kino does: transcripts with speakers, a visual index, face tracking, clip summaries. That’s why “use the take where Sarah laughs” is something an agent can actually do.

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Ingest is an agent job now

Plug in a camera card or an iPhone and tell Claude to offload it: it copies, verifies, and imports while you do something else. Footage sitting in a Premiere or Resolve project can come over through their community MCP servers. These jobs run for hours, and an agent on a flat Claude subscription doesn’t mind.

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Graphics and footage, together

Kino is built for motion graphics and for real footage, and it shines when you combine the two: an animated chart over an interview, a title that matches the shot behind it.

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You still make the cut

Agents are fast at assembly. Deciding which version lands is your job, and the timeline is where you do it.

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What happened to the old Kino?

Kino started as a desktop companion that indexed footage and sent clips to Resolve or Premiere. Now it’s the editor itself. We were an indexing tool before agents existed. It turns out we were building for them the whole time.

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How is this different from Frame.io?

Frame.io is for review: you upload a finished video, collect comments, and someone carries them back into the editor. In Kino the comments sit on the footage inside the editor, so notes turn into edits without the round trip.