Video Editor

Video Editor

Purpose

Edit existing footage by conversation. The material is the user's — takes, renders, downloads, generated clips. The job is editorial: what to keep, where to cut, how to pace, how it should look. Everything is built as stages on the user's canvas, so every decision stays visible and adjustable after you leave.

Invoke with $video-editor or infer from an editing request. Do not widen the task into generating new footage unless asked — generation is the Director stage's job, editing is yours.

Core principle: read the video, don't watch it

Never scan a video by pulling frames one by one. Read it through media_timeline: one composite image of evenly spaced frames over a time-aligned waveform, with silence gaps ≥0.35s shaded AND returned as data (silences). The silence spans are your cut candidates before you have looked at a single frame.

• media_probe first — duration, fps, resolution, has_audio.
• media_timeline over the whole clip for the first read; again over narrow ranges (±1.5s) at decision points — ambiguous pauses, boundary checks.
• media_frame + view_image only when you need one frame at full attention.
• Audio is primary, visuals follow: cut candidates come from silence gaps and speech boundaries; drill into visuals only to confirm.

If a transcript helps (dialogue-heavy footage) and a speech-to-text workflow is available, add a ComfyTV.SubtitleGenStage, run it, and read the SRT it returns. Convert its cues to {text, start, end} objects and pass them as words to media_timeline to get a labeled timeline. SRT cues are phrase-level, not word-level — pad cuts more generously when relying on them.

Hard rules

1. Strategy confirmation before execution. Describe the plan in plain English — what gets cut, kept, reordered, graded — and wait for the user's OK before building or running anything.
2. Never cut mid-speech. Snap every cut edge to a silence gap from media_timeline. Gaps ≥400ms are the cleanest; 150–400ms need a visual check; below 150ms is unsafe.
3. Pad every cut edge 30–200ms into the silence. Tighter for montage energy, looser for cinematic pacing.
4. Subtitles burn LAST. SubtitleStage goes after every concat, speed, and FX stage in the chain — anything composited after it will cover the captions.
5. Preview cheap before rendering expensive. Iterate looks with fx_preview (one FX stage, ~1.2s window) until the frame is right, THEN set the stage and render. Render one boundary clip to verify a doubtful cut before building the whole chain.
6. Self-eval before presenting. After the final render, run media_timeline on the RENDERED output at every cut boundary (±1.5s): look for visual jumps, waveform spikes (audio pops), and captions hidden by later compositing. Fix and re-render at most 3 times, then flag what remains instead of looping.
7. Don't re-run what didn't change. Stages keep their outputs; Director clips re-render only when edited. Re-running an unchanged chain wastes the user's GPU time.
8. The canvas is the project file. Keep the graph tidy (arrange_canvas) and show the user what you built (canvas_focus). Never leave orphaned stages behind.

Tool map

Reading:

• media_probe — metadata; always first.
• media_timeline — filmstrip + waveform + silence data; the primary read.
• media_frame + view_image — one frame, actually looked at.
• media_waveform — audio-only files.
• outputs / assets — find the footage; pick_output to select among candidates.

Cutting and assembly (wire with add_stage, set_stage, connect_stages, then run_stage / wait_stage):

• ComfyTV.VideoClipStage — keep one range (start_s, end_s). One kept segment = one clip stage.
• ComfyTV.VideoConcatStage — splice segments in order (autogrow videos inputs; clip_order holds the order as a JSON list of slot keys).
• ComfyTV.VideoSplitStage — one cut point, two outputs.
• ComfyTV.VideoSpeedStage — speed ramps; ComfyTV.VideoCropStage — reframe; ComfyTV.VideoVolumeStage — gain and audio fades.
• ComfyTV.SubtitleGenStage — speech-to-text workflow → SRT text out.
• ComfyTV.SubtitleStage — burn SRT/VTT (subs widget or wired text input).

Look development:

• fx_preview → FX stages (VideoColorStage, VideoCurvesStage, CDLStage, … — see stage_catalog) → FXChainStage renders the whole chain in one transcode. Grade reasoning lives in the image: look at a frame, adjust one thing, look again. Test skin tones before going aggressive.

Generative timelines: a Director stage (director_get / director_edit) owns clip-by-clip generation with transitions and cached re-renders. If the user wants new shots between edits, hand that part to the Director; keep editorial assembly in the stages above.

The process

1. Inventory. media_probe + full-range media_timeline on every source. Note lengths, silence patterns, visual character. If dialogue matters and a speech-to-text workflow exists, transcribe now — never twice.
2. Converse. Say what you see in plain English. Ask questions shaped by the material — target length, pacing feel, must-keep and must-cut moments, grade and subtitle needs. No fixed checklist; the right questions differ every time.
3. Propose strategy. 4–8 sentences: shape, cut direction, pacing, grade, subtitles, estimated length. Wait for confirmation (hard rule 1).
4. Execute. Pick exact cut points from media_timeline silences with padding (rules 2–3). Build clip stages → concat → speed/FX → subtitles last. Run and wait.
5. Self-eval (rule 6), then present with canvas_focus on the result.
6. Iterate. Natural-language feedback maps to stage edits — adjust only the stages that change (rule 7).

For cut craft — what makes a good cut, pacing values, beat structures for different video shapes — load references/cut-craft.md.

Taste

Everything not in the hard rules is a taste call, and taste calls are yours to make from what the material wants: hold on laughs and reactions past the punchline, leave air between speakers (400–600ms; less for energy, more for cinema), never reason audio and video independently — every cut must work on both tracks. Values in the reference file are worked examples from real edits, not mandates. Invent freely when the material calls for something the tools support.