OmniDx Studio is a full video editor — real multitrack timeline, real colour tools, real export — with an AI that takes your clips and a sentence like "make me a 30-second trailer for TikTok, fast cuts on the beat, captions on" and builds the edit. Then you take over and change whatever you like.
Drop your clips in, type what you're after, and OmniDx Studio plans the whole thing — which clip goes where, how long each one holds, where the cuts land against the music, what the captions say and how they look. Every step it takes lands on the timeline as a normal edit you can drag, trim or undo. Nothing is locked, nothing is a black box.
The AI editor is a paid feature — it starts at Creator, $19.99 once. Try the planner below for free, right here, before you decide. Everything that runs on your own device stays free forever, including the one-tap edit styles, which build a whole edit with no AI at all.
Your footage, your voice, your face. The AI decides where the cuts go — it never invents footage or fakes a voice you didn't record.
Everything the AI does is a stack of normal timeline operations. Don't like it? Ctrl+Z. Like most of it? Keep the cuts, change the look.
The planner runs on your device. Connect an AI key for full free-form language, or leave it off and the built-in planner still handles the common asks.
If you've used DaVinci Resolve, Premiere or CapCut, you already know where things are. Media on the left, viewer in the middle, inspector on the right, timeline underneath, pages across the bottom. We didn't reinvent the layout — we removed the parts that make people quit.
Unlimited video and audio tracks, ripple and roll trims, razor, slip, snapping you can switch off, markers, and a magnetic mode for when you want one.
Exposure, contrast, temperature, tint, highlights, shadows, curves and vignette — plus 60+ looks. Scopes for the people who want them, hidden for the people who don't.
Auto-timed captions in TikTok, YouTube and clean broadcast styles, inside the safe zones for each app, editable word by word.
Waveforms, volume curves, fades, ducking under voice, beat detection, and one-click silence removal. Sample-accurate, always.
Speed ramps with real easing curves, freeze frames, reverse, and keyframes on every transform and colour value with bezier handles.
9:16, 1:1, 4:5, 16:9 and 2.39:1 with live safe-zone overlays showing exactly where TikTok's buttons will cover your text.
Dissolve, dip to black or white, slide, whip pan, zoom punch, glitch and film burn. Draggable duration, no dialog box.
Draw a box round a face, a phone, a number plate. It follows it through the shot and you pin a blur, a sticker or a title to it. Runs on your device, no model to download.
Sampled from the actual movement — a push, a shake, a speed ramp all blur in the right direction. Not a directional smear you dial in by hand.
Lift, gamma and gain, running as a GPU filter rather than a per-pixel loop — so grading stays real-time on a laptop.
Spectral noise reduction, mains-hum removal, click repair and automatic levelling. The four things people open a DAW for, done here, offline.
H.264 and H.265 encoded frame by frame — faster than real time, and the tab can go in the background. Apple ProRes and Avid DNxHR from the desktop app, with no extra licence to buy.
A bundle carries your footage with the edit, so a project opens intact on your phone, a friend's laptop or a desktop install. It is also just a ZIP — your files are never locked in.
Editing 4K on an old laptop stops stuttering. A 540p copy is used while you work and never while you export — so a proxy can't end up in your finished video.
Variable-frame-rate phone video and screen recordings work without converting anything first. Everything is driven by timestamps, so audio can't drift out over ten minutes.
A project is one readable JSON file. Copy it to another machine, email it, put it in git. No database, no library, no "project not found".
Ctrl+K finds any tool, effect or setting by name. Nothing is buried three menus deep.
Eleven finished styles built on the same machinery the AI uses. Pick one, see exactly what it is about to do, press the button. Everything lands as normal clips — drag them, retime them, delete the bits you don't like. Free on every tier.
Beat-slammed cuts, zoom punches, chromatic hits that pulse on the beat, inverted impact frames and drawn speed lines.
Real speed ramps into every cut — the speed changes through the shot and the audio follows — with zoom blur and heavy motion blur.
Crushed blacks, VHS wobble, hand-held shake, scanlines and glitch cuts.
Slow blur dissolves, soft bloom, a drifting light leak, pastel grade and letterbox bars.
Cuts every silence, alternates the framing across the jump cuts so it doesn't look static, adds captions.
Keeps your clips and your order. Only moves the cuts onto the beat. Nothing is replaced.
Plus cinematic, gaming highlights, product ads, meme cuts, sports and listicles — and you can ask for any of them in your own words instead.
Delivery codecs behind a separate licence. Audio repair that means buying a second program. Proxies that don't work. Project files that won't open on the other machine. These are the reasons people give up on an editor — so they are the ones we built first.
Apple ProRes 422 / 4444 and Avid DNxHR on the desktop app, H.265/HEVC everywhere the hardware can do it. Included in Studio, not sold separately, not a plug-in.
Broadband noise reduction, mains hum removal, click repair and automatic vocal levelling — measured, not guessed. In testing, 60 Hz hum dropped 12.6× with the voice untouched. No second app, no round trip to a DAW.
Underwater, telephone, old radio, megaphone, cathedral, stadium, vinyl, robot, 8-bit, chipmunk, nightcore, slowed-and-reverb — seventeen of them, live while you scrub and rendered into the export. Thirteen are free.
Anything too heavy for your machine gets a low-resolution stand-in built quietly in the background. You edit on the proxy, you export from the original, and you never have to think about which one you're looking at.
Variable-frame-rate phone video and screen recordings — the two formats that quietly desync audio in other editors — are measured on import and laid down on a fixed timebase. No manual conversion step, ever.
An .omnidxpkg holds the timeline, the effects and the footage in one real ZIP. Start on the laptop, finish on the phone, nothing lost — and if we vanish tomorrow you can still open it, because the format is documented.
Everything in Studio for exactly three people, with a shared licence and shared projects. Three separate Studio licences would be $119.97 — this saves $49.98, and the seat limit is enforced on the server, not suggested.
Every one of these is something people say, loudly and often, about the editor they currently use. They're the reason OmniDx Studio is built the way it is.
Autosave that's off by default, set to 20 minutes, and writes to a folder you can't find.
Plus a version snapshot on every significant change and a crash-recovery prompt the next time you open. You cannot lose more than five seconds of work.
Move one folder and the project is a wall of red.
Files are fingerprinted. Move or rename them and the project relinks itself; if it truly can't find one, it asks for that single file instead of breaking the timeline.
Free features quietly move behind a subscription, and the watermark comes back.
The whole editor, no watermark, no export limit, forever. What's paid is listed on the pricing page and doesn't move. Buy once at $39.99 and it's yours — no renewal.
Seven pages, a thousand controls, no idea where to start.
Beginner shows nine controls. Professional shows all of them, at finishing density. Intermediate sits in between. You move up when you're ready, not when the software decides.
Editing 4K on a normal laptop means a transcoding chore first.
Preview resolution drops automatically while you scrub and snaps back when you stop. Export always uses the full-quality original.
An hour of rendering, one cryptic error, start again.
Encoded footage is written continuously, so if something goes wrong you keep everything rendered up to that point as a playable file — and it names the timecode and the clip it stopped on, in plain English.
Sign in, wait for the cloud, no signal means no editing.
Install it once and it works with the wifi off. An account is optional and only exists to move a licence between your devices.
One platform, one payment, no way to try the real thing first.
Mac, Windows, iPhone, Android, or just a browser tab. Buy it once, sign in anywhere, up to ten devices.
Undo history that skips steps, or silently drops after a save.
Every action is named and listed. Jump back to any point, including across saves, and see exactly what each step changed.
Preferences with fourteen tabs and no search.
Ctrl+K and start typing. Tools, effects, settings, keyboard shortcuts, even your own clips.
The full list — every complaint we found, what we did about it, and the ones we haven't got to yet — is in docs/STUDIO-COMPLAINTS.md.
The same project, the same file, the same export. What changes is the density — how much machinery is on screen and how tightly it is packed. Switch level any time from the top bar. It takes effect instantly and never touches your edit.
Nine buttons. A guided path from "import" to "posted". If you've only ever used your phone's camera roll, start here.
The full timeline and the real inspector at a working density — everything an editor uses daily, without the parts that need a colourist's vocabulary.
Finishing-suite density: smaller type, tighter rows, a taller timeline, tabular figures on every field — and a deliberately neutral chrome, because the image is the only thing on screen that should be saturated.
The greying-out is the point. Judging a grade next to bright blue furniture is your own eye lying to you — which is why every serious finishing application is grey, and why ours is too at the level where people are doing that work.
Nothing is ever deleted by moving down a level. Drop from Professional to Beginner and the curve you drew is still there, still applied, still in the file — it is just not on screen while you don't need it.
Start a cut on your laptop, finish it on your phone in the queue at the airport. One licence covers all of them.
No download needed to try it — the browser version is the full editor.
No download, no account, no card. The editor loads in a tab and everything works.