Ask it for a Remotion edit and the first render looks great. The second has muted audio. The third is missing the captions.
Same prompt, different bug, every time.
We build locked Remotion templates for people who already run Claude Code or Codex — so the agent fills in content instead of rewriting the video engine every time.
Every render, it writes new sequencing, new timing maths, new audio wiring.
Video has failure modes that don't throw errors — they just render wrong. Silent audio. A caption that never mounts. A callout half a second late. The command exits zero and you ship it.
How long you spend editing, against how long a render takes once the template is doing the work.
Into Claude Code or Codex, with your already-cut clip attached.
Word-level timestamps from your real audio, not estimates. That's why the graphics land on the syllable instead of near it.
Which line earns a takeover, which number becomes a counter, where a comparison belongs — and where nothing belongs at all.
Audio present, nothing overlapping, duration matching, every graphic readable at thumbnail size.
Rendered on your machine. Nothing uploaded, nothing queued.
No subscription, no seats, no render credits. It runs on your machine under Remotion's free licence.
| NULLFRAME | Agent writes it each time | |
|---|---|---|
| Composition code | Written once, tested, frozen | New every render |
| Same look across videos | Yes | Drifts |
| Silent-audio bug | Fixed once | Can come back |
| Caption timing | Real word timestamps | Often estimated |
| Knows when to add nothing | Yes | No |
| Verifies its own render | Yes | Rarely |
| Cost | From €97, once | Free, plus your evenings |
Two ways to use a coding agent for video. Only one of them compounds.
The agent writes the whole composition from your prompt, every time.
The structure is built once and tested. The agent only chooses content.
That last one is the hard part, and it's why the output doesn't look like every other AI edit. A pyramid over a line that isn't about levels is worse than nothing.
No trimming silences. No removing flubbed takes. No editorial decisions about what to keep.
You bring a clip that's already cut. Everything gets built on top of it, at exactly the length it already is. If you want a tool that decides what's worth keeping, this isn't it — and be careful with anything that claims to.