顿！我是基诺的卢克(https://kino.ai). 基诺让你和你的agents和队友们一起制作精彩的视频。 存储镜头和资产，一个丰富的视频编辑器，以及团队成员的评论链接都被捆绑在一起。 你的同事和Codex / Claude Code可以在同一个时间线上工作，同时审查指出和录像全部在一个地方。 见https://kino.ai/walkcover-video和我们的发布视频(完全由Kino制作！)上的基本概述 https://kino.ai/发布-video
Opus 5.5现在可以编辑视频，制作伟大的运动图形。 但使用原始的agent带，你需要用文字或快速的一次性UI来描述微小的编辑，你无法引用在设备上共享的镜头，来自队友的反馈作为Slack的截图。
基诺是密码第一。 所有编辑，所有运动图形，所有时间线项目在周围拖曳，所有队友评论，所有3D场景都以代码表示，构建在Remotion上。 这很难说得对，因为我们发现我们造了一个React的“你看见的你”编辑器，然后我们变成了一个视频编辑器。 对于我们的发布视频，我告诉Claude - 与基诺找到macOS Leopard安装磁盘，并重塑我们的整个视频以匹配。
Kino也完全合作与实时，我们的发布录影带 5+agents同时编辑了时间线我的朋友唐纳德的集群在几分钟内工作唐纳德做了一个agent轮廓来让视觉效果发挥作用，我用LLM的颜色通过我们的LUT支持对所有媒体进行分级，我们两个都做了微小的调整沿途的时间线。
为了让这个代码第一编辑器与视频镜头一起工作，所有的东西都会被转录，嵌入，描述，并被面部检测。 拖进去后你可以在本地清洗你的镜头，但我们上传一个低调的代理，这样你的队友和云推论就可以看到它。 这个本地洗涤器加上自定义的亲媒体解码器，意味着您可以从您的新iPhone右侧将一个250GB ProRes剪辑拖入您的 Kino 时间表。 我们为ProRes、BRAW、R3D等专业编码器建立了定制解码器，以及更多(见我非常成功的九点HN文章https://news.ycombinator.com/item?id=50198052)。 在网络科迪兹和Mediabunny等图书馆之前
我从小制作YouTube视频，在麻省理工学院的本科毕业期间，大部分工作是记录镜头、管理硬盘、手动同步Primee项目状态
2023年我们的第一个发布宣布基诺是"硅谷与好莱坞相遇". 更像是好莱坞的Palantir；我们用我们的前方部署的工兵在显示，像幸存者和A24的牛肉。 虽然很匆忙，但感觉是改善全世界视频编辑的最慢方式。 由Avid Media Composer(英语：Avid Media Composer)所制，以及严格的工作室安全规则，我们无法触摸边疆模型，也无法使编辑 >10x更快。 因此在2025年，我们重建了基诺作为一名真正的编辑，我们打赌了编码即刻编辑。
基诺的一切都有URL：项目，剪辑，镜头，评论和回复，甚至一个单一的帧和绘制它的代码线。 生活在一个地方的项目和媒体以及所有可以找到的东西意味着你的agents和团队有一个单一的，可编辑的真相来源视频制作。 在更低层次上，我将Kino连结不断粘贴到我的agent，无论它是否确保Codex确切知道我指的是哪个时间线项目(成千上万)
我们有团队在基诺管理全公司的媒体，他的创始人离开指出，例如“我们需要使用这个剪辑”，而他的agent则可以应用。 全职电影人也使用基诺。 他们倾向于像“toxenmaxxer”软件开发者，15+agents在单个项目上标注
完整的编辑器是免费的，包括无限进出口，实时合作和MCP访问，供您自己的agent使用。 Pro是每个编辑每月25美元，新增无限MCP工具调用，共享链接，更多存储，YouTube搜索，以及和你的团队一起编辑的能力。 你可以在https://kino.ai上下载。 我们还没有发布 Kino用于纯网络浏览器，目前只有Electron.
如果你亲自制作视频，如果你有ProRes媒体，并想尝试突破基诺，如果你有遗留的视频编辑项目可以带入，或者你想给公司做更多内容，我们很想知道基诺如何为你工作。
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Hi HN! I'm Luke from Kino (https://kino.ai). Kino lets you make great videos with your agents and your teammates. Storage of footage and assets, a rich video editor, and review links for teammates are all bundled into one. Your colleagues and Codex / Claude Code can work on the same timeline with review notes and footage all in one place. See a basic overview at https://kino.ai/walkthrough-video and our launch video (made entirely with Kino!) at https://kino.ai/launch-video
Opus 5.5 can edit videos and make great motion graphics now. But with a raw agent harness, you need to describe tiny edits either in words or in quick one-off UIs, you can’t refer to footage shared across your devices, and feedback from teammates comes as screenshots on Slack.
Kino is code-first. All editing, all motion graphics, all dragging of timeline items around, all teammate comments, and all 3D scenes are expressed as code, built on Remotion. This was hard to get right, as we found ourselves building a what-you-see-is-what-you-get editor for React, which we then turned into a video editor. For our launch video I told Claude-with-Kino to find a macOS Leopard install disk and reskin our whole video to match.
Kino is also fully collaborative and real-time, so you can see your teammates' cursors and exactly which part of the timeline they’re currently watching. For our launch video I had 5+ agents editing the timeline concurrently while my friend Donald had his swarm working a few minutes further down. Donald had one agent rotoscoping to make our visual effects work, I had an LLM color grading all media via our LUT support, and we both made tiny tweaks to the timeline along the way.
To make this code-first editor work with video footage, everything gets transcribed, embedded, described, and face-detected. You can scrub your footage locally after you drag it in, but we upload a low-res proxy so your teammates and cloud inference can see it. This local scrubbing plus custom pro media decoders means you can drag a 250GB ProRes clip from your new iPhone right into your Kino timeline. We built custom decoders for professional codecs such as ProRes, BRAW, R3D, and more (see my extremely successful nine point HN post https://news.ycombinator.com/item?id=50198052). None of the performance we’re getting would have been possible before WebCodecs and libraries like Mediabunny.
I grew up making YouTube videos, and during my undergrad at MIT I co-directed a 3.5 hour archival footage documentary on the history of my school and technological development in America (https://regressions.net). Much of the work was logging footage, managing hard drives, manually syncing Premiere project state, and planning our movie in a spreadsheet.
Our first launch in 2023 proclaimed that Kino was "Silicon Valley meets Hollywood." It was more like Palantir for Hollywood; we ran bespoke on-prem Kino deployments with our team of forward deployed engineers on shows like Survivor and A24's Beef. It was a rush, but it felt like the slowest way to improve video editing for the whole world. Bound by the Avid Media Composer and strict studio security rules, we couldn't touch frontier models, and we couldn't make editors >10x faster. So in 2025, we rebuilt Kino as a true editor, and we took a bet on coding-as-editing.
Everything in Kino has a URL: projects, clips, footage, comments and replies, even a single frame and the line of code that draws it. Projects and media living in one place and everything being addressable means that your agents and team have a single, editable source of truth for video production. At a lower level, I now paste Kino links into my agent constantly, whether it’s making sure Codex knows exactly which timeline item (among thousands) I am referring to or which teammate’s comment needs fixing.
We have teams managing their whole company’s media in Kino, spinning up agents to make new videos every day, then using review links to flag issues. One founder ships ads like this: each day he uses Kino's YouTube support to find b-roll he is allowed to use, he edits something, his co-founder leaves notes such as “we need to use this clip instead” and his agent can then apply them. Full-time filmmakers are also using Kino. They tend to resemble “toxenmaxxer” software developers, where 15+ agents iterate on a single project, each trusting Kino as the source of truth for timeline state, graphics, media, everything.
The full editor is free, including unlimited imports and exports, real-time collaboration and MCP access for your own agent. Pro is $25 per editor per month and adds unlimited MCP tool calls, share links, more storage, YouTube search, and the ability to edit alongside your team. You can download it at https://kino.ai. We have not yet released Kino for the pure web browser, just Electron for now.
If you make videos personally, if you have ProRes media and you want to try to break Kino, if you have legacy video editor projects to bring in, or if you want to make more content for your company, we'd love to hear how Kino works for you.
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