Editor Harnessfor MacDownload
A tennis player in a red shirt reaching up to serve, alone against a black ground
A006 · Editor HarnessThe editor: the picture, its scopes, the timeline and your agent, in one window.

Editor Harness for Mac

All of the craft. None of the grind.

The professional video editor for Mac that works with the agent you already use. Your agent takes the chores. You make the calls.

Try it free for 7 daysSee the editor

Free for 7 days. For a Mac with Apple silicon and macOS 27 or later. Works with Claude Code, Codex and agents that support MCP.

Sc. 1The grind

Most of editing isn't editing.

It's the hours before and after the part you love: the captions, the syncing, the levels, the checks. Hand those over. Where your agent makes a first pass, the finish is yours.

Day 01 · Work sheetInterview
  1. Caption every lineMade on your Mac from the dialogueHanded off
  2. Sync the camerasLined up by their soundHanded off
  3. Flag the words nobody's sure ofWith how sure it was of eachHanded off
  4. Sit the music under the voiceYour agent drafts it, you set itFirst pass · you mix
  5. Check loudness for every destinationPass, warning or fail, before it goes outHanded off
  6. Choose the take. Tell the story.The part you came forYours

Sc. 2The usual ways

Do it all yourself, or give it all away.

Most videos get made one of two ways. Edit by hand and keep every decision, along with every chore. Or hand it to an app that makes it for you, and let the app decide more of it.

  1. A traditional editor

    By hand

    All of the craft. All of the grind.

    • Caption, sync and loudness tools are there, and you run each one yourself
    • Every version is yours to set up and check
    • The craft gets whatever hours are left

  2. An AI video app

    Hand it over

    None of the grind. Less of the craft.

    • Describe it and get a cut back
    • Made for a quick cut more than a frame-accurate finish
    • Fewer of the tools a finished film needs

  3. A professional editor, with your agent

    Editor Harness

    All of the craft. None of the grind.

    • Timeline, colour, sound and captions, all there
    • Your agent takes the chores, in plain sight
    • You make the calls, and every change is yours to keep

Sc. 3The window

One window. Every room.

Everything where an editor expects it: media on the left, the picture in the middle, the tools for the job on the right and the timeline along the bottom. If you know Final Cut or Resolve, you already know your way round.

The Editor Harness window with an interview open: media on the left, the speaker and his caption in the viewer, the parade and vectorscope on the right, and picture, B-roll and music on the timeline
  1. Media. Every clip in the project, with search.
  2. Viewer. The picture, as large as the window allows.
  3. Scopes. RGB parade and vectorscope beside the picture.
  4. Timeline. Picture, B-roll and music, with the Index a click away.
  5. Rooms. Picture, Colour, Sound, Deliver and Captions, a tab apart under the timeline.
  6. Your agent. Point, say what should happen, send.

Sc. 4The cut

Cut to the frame.

Drag an edit and the readout counts the frames as you go. Retime a clip from the bar above it. Open the Index for every marker and caption, grouped by type and each in time order.

A roll edit between two interview angles: the edit point moves left frame by frame while a readout counts from −00:01 to −00:06
Roll edit · 6 framesTwo angles of the interview. The cut moves; the shots either side of it give and take.
A night aerial clip on the timeline with a green retime bar across it reading Normal (100%)
Retime. Speed lives on a bar above the clip, where you can see it.
The Index with Tags chosen: a Key quote marker at 14 seconds, then the captions in timecode order
Index. Markers and captions, each in time order, with a search field.

Sc. 5Picture

The shot comes first.

The viewer is the biggest thing on screen, because the picture is what you judge. Open a multicamera clip's angles beside it, frame for vertical and set titles without leaving the room.

Angles in Editor Harness: the wide and close cameras of the interview side by side, the live one outlined, with the picture large beside them
AnglesTwo cameras on one interview, lined up by their sound, the live angle outlined.
A vertical 9:16 guide in the viewer, the area outside it dimmed
Reframe. A 9:16 guide shows what the vertical version keeps.
A main title set in white over the bicycle shop's front
Titles. Main titles, lower thirds and end cards, set in the Picture room.

Sc. 6Colour

Grade by eye. Check by scope.

Wheels, curves and a qualifier, with the parade and vectorscope beside the picture they measure. Compare before and after, or split the picture, to see exactly what the grade did.

A canyon in the viewer, split by a wipe: before on the left, in its natural rust and mauve; after on the right, with teal shadows and saturated rust. The RGB parade and vectorscope read the grade beside it
Colour · SplitA 4K clip graded with wheels and curves. Before on the left, after on the right.
Colour wheels for shadows, midtones, highlights and global, with lift, gamma, gain and offset; the shadows pushed to teal and the highlights warmed
Wheels. Lift, gamma, gain and offset, each with hue, amount and saturation.
Curves for luma, red, green and blue, each over its histogram, with the red pulled down and the blue lifted in the shadows
Curves. Luma and each channel, drawn over its histogram.
A colour mask in HSL with hue, saturation and luma ranges, softness and a view-mask switch
Qualifier. Colour masks set by HSL, RGB, luma or 3D, with hue, saturation and luma ranges and softness.

Sc. 7Your agent

Bring the agent you live with.

Editor Harness works with Claude Code, Codex and agents that support MCP. Whichever you use, it does the chores beside the picture, where you can see it, and you make the calls.

Other agents that support MCP can connect too. Names and characters belong to their makers and appear here to show which agents people use, not as an endorsement.

Sc. 8In plain sight

Hand off the chores. Keep the calls.

The agent you already use for your work can now do the chores in your edit, beside the picture, where you can see it.

  1. Point.

    Press Point, then click or ring what you mean: a person, an object, a clip. “Him” means him.

  2. Type it.

    Type what should happen, the way you'd say it to an editor in the room. If it isn't clear which part you meant, it asks.

  3. Review the draft.

    The draft says what it changes and where. Compare Before, After or Split, then apply it, ask for changes or discard it.

  4. Check it.

    Checks shows what moved since the change. Here the music came down, the programme went from −23.8 to −25.2 LUFS against a −14 target and true peak went over, so it flags both, with Fix beside each.

Correct something your agent did and it leaves your fix alone until you hand it back. Want every change to wait for you? Turn on “Don't let it apply its own drafts” in Settings.

Try it free for 7 days
Pointing in Editor Harness: the man in the viewer is outlined, under the hint “Click or ring what you mean. Esc stops pointing.”
Point.
The assistant panel asks which part was meant, the man with his surroundings, the object or just a part, and the direction “Bring the music down under his voice, and let it fade out with the interview.” is ready to send
Type it.
Previewing a draft: Before, After and Split beside the transport, with Discard, Request Changes and Apply Draft, and a card that reads “Music down 6 dB, 18 dB under speech, fading out from 44 s to the end.”
Review the draft.
Checks after a change: programme loudness at −25.2 LUFS against a −14 target and true peak at 0.1 dBTP against −1, each marked as moved, with a Fix button beside each
Check it.

Sc. 9Sound

Know where the mix stands.

Set levels by role, for dialogue, music and effects. Programme loudness and true peak are measured against the target you choose, and short-term loudness is drawn across the whole programme, so you can see how far off the target it is and where.

Programme loudness against a streaming target of −14 LUFS, short-term loudness drawn over time, and role levels for dialogue, music and effects
SoundAn interview measured against a streaming target of −14 LUFS, and 9.8 LU short of it.
Deliver: destinations for YouTube, for Reels, Shorts and TikTok, for Instagram and Facebook and for client review, beside checks on loudness, true peak, colour levels and captions, two of them failing
DeliverEvery destination carries its own targets. Checks show what passes, what to look at and what fails, before anything goes out.

Sc. 10Captions

Every word, checked.

Captions are made on your Mac from the dialogue. Reading speed and line length are checked against your limits.

Words it wasn't sure of are listed with how sure it was, so you know which ones to listen to again.

The captions panel beside the picture: reading speed against a 20 characters-per-second limit, line lengths within 42 characters, and doubtful words with how sure the app was of each

Sc. 11Questions

Before you download.

The things people ask first.

Do I need to know how to edit?

It helps, and it isn't required. If you've cut before, the timeline, scopes and shortcuts you know are here. If you haven't, point at the picture and type what you want, and your agent does the operating while you make the calls.

Do I need another AI subscription?

No. Editor Harness works with the agent you already use, such as Claude Code or Codex, on your own plan with its provider.

Does my footage leave my Mac?

Your footage and projects stay on your Mac. What your agent reads, such as a frame or a transcript, goes to its provider under your own account.

Will my agent undo my fixes?

Correct something your agent did and it leaves your fix alone until you hand it back. Want every change to wait for you? Turn on “Don't let it apply its own drafts” in Settings.

Can I export a finished film today?

Yes, during your 7-day trial and with a subscription.

Which Macs does it run on?

Editor Harness needs a Mac with Apple silicon and macOS 27 or later.

Editor Harness for Mac

Make the film in your head.

Free for 7 days, no card needed. Then US$9.99 a month, before any local tax, for use on two Macs. Nothing is charged automatically when your trial ends. To keep going, subscribe from your account page, and cancel any time.

Try it free for 7 daysSee pricing

Requires a Mac with Apple silicon and macOS 27 or later. Works with Claude Code, Codex and agents that support MCP, on your own plan with their provider. Final export needs a current trial or subscription.

Your footage and projects stay on your Mac. What your agent reads, such as a frame or a transcript, goes to its provider under your own account.

On this page: Editor Harness for Mac with sample footage. The films in the opening sequence and the graded shots in Colour are stock footage.