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Fin

The desk your agency runs its videos from.

For studios and agenciesOctober 2026By Aaditya Raul Lobo

Editing is now something an agent can do

Voyager, launched on 8 October 2026, is a desktop app in which an AI agent works inside Premiere, Resolve, After Effects, Blender and other apps on your own computer. Your editors will soon cut with an agent beside them, if they do not already.

Whoever cuts, these stay yours.

  1. Your clients and their briefs
  2. Your rules on every cut
  3. Your sign-off on every version

Fin holds the job, whoever holds the cut

Client, brief, script, rules, footage, review, sign-off and results stay on the desk. Whoever cuts starts from them: Fin, your own Claude and your editor today, any editing agent next.

On Fin's desk

  • Client
  • Brief
  • Script
  • Client's rules
  • Footage
  • Review
  • Sign-off
  • Results

The brief, script and rules go outThe cut comes back as a version

Who cuts

  • Fin cuts it for you, one click from your locked scriptToday
  • Your own Claude, opening the cut and answering its notesToday
  • Your editor, from a timeline Fin writes for their toolToday
  • Any editing agent you choose, returning a checked versionNext

Fin does the work before the edit

Fin does each of these; your team's hours go on the work the client sees.

The idea
New ideas wait for each client each morning, each one naming the videos it rests on.
The script breakdown
A script from Word, Google Docs or a paste is split into beats, with every word kept.
Logging footage
Every shot gets a description and every spoken word a time, read from your own storage.
The first assembly
One click turns the locked script into a cut, each line said on camera cut on its exact words.
Rounds of notes
Pinned notes go to Fin as one edit and come back as a new version that says what changed.
The hand-over
Your editor gets a timeline for Premiere or Resolve, or an After Effects script, notes included.

Every video runs the same line, from idea to approval

  1. TrendsWhat this client should make next, with the evidence.
  2. ScriptThe writer's script, split into beats.
  3. FootageEvery shot described, every word timed.
  4. First cutCut from the script, rendered raw and graded.
  5. ReviewNotes on the picture, answered as a new version.
  6. Editor kitTimelines for Premiere, Resolve and After Effects.
  7. ResultsHow it did against the channel's usual.

The screens that follow are Fin as it runs today, shown with a sample client and a sample team.

Trends

New ideas for every client, every morning

  • Fin watches YouTube, the client's channel and their competitors, and reads Google Trends and the news.
  • Every idea comes with the videos and searches behind it, and anything without evidence is dropped before you see it.
  • Your content lead opens Fin to ideas already waiting, each one you can defend in front of the client.
Fin's trend desk: a list of ideas for the client, one open with its hook and the YouTube video it is based on

Script

Your script in beats, not a word changed

  • Bring it in from Word, Google Docs or a paste; Fin splits it into beats and suggests a picture for each.
  • Fin never rewrites a line, and every change your writer makes is kept as a version.
  • Lock it when it is ready to shoot, and that locked script is what the first cut is made from.
Fin's script room: a locked script split into timed beats, with its length against the target

Footage

Fin reads your footage where it already lives

  • Footage on your NAS or SSD is read in place, as Premiere and Resolve read it, and the cloud never holds a whole file.
  • From your phone you can browse the studio computer's folders and add footage from there, or upload straight through to it.
  • Every shot gets a description and every spoken word a time, so a shot can be found by what is in it.
Fin's footage tab: indexed shots as thumbnails, each with a one-line description

First cut

Lock the script, click once, open a cut

  • Spoken lines are cut on the exact words from the take where they were said, the cleanest one when there are several.
  • The rest of the beats take pictures from your footage, or licensed stock where the shoot has nothing.
  • The cut renders raw and graded, so your team reviews a video, not a project file.
Fin's script screen, demo workspace: 0:24 of 0:30, nine beats. Under Hand over to the edit, a green First cut ready tag, v1 ready to review, buttons to open the edit room or make a fresh first cut.

Review

Draw the note on the frame, get a new version

  • A reviewer pins a note to the exact frame, or draws on it, and the open notes go to Fin as one round of changes.
  • The new version lists what it changed and what it refused, and the cut is approved only once every note is closed.
  • Your own Claude can open the cut too and work through the notes as a new version; nothing is ever overwritten.
Sample report page, made-up client. One reel, three versions. Round one: two notes, a bigger end logo and quieter music, hours to v2. Round two: brighter opening, hours to v3. Approved. Views as a multiple of the usual.
A sample report with a made-up client. Each round: the notes as written, what changed, hours to the next cut.

Editor kit

The cut opens in your editor's own tool

  • Fin writes a Premiere or Resolve timeline or an After Effects script, with text, framing and sound levels still live.
  • Review notes arrive as markers on the timeline, at the frame each one was made on.
  • Captions, grade files, sound stems and the mix come with it, and your editor picks up where Fin left off.
Editor kit
  • Premiere.xmlA Premiere Pro timeline: clips, framing, text and sound levels.
  • Resolve.xmlThe same timeline for Resolve.
  • AE.jsxAn After Effects script: live text, one layer per clip.
  • sourcesThe full picture for every clip, with handles.
  • audioNarration, footage sound and music, the stems and the mix.
  • captionsSpoken captions, timed.
  • gradeThe look and the match for each shot.
  • reviewThe review notes, as markers on the timeline.

The client's page

Each client's rules, kept on every cut

  • A client's page holds their formats: shape, pace, where text sits; plus house rules, a look and a yes or no on stock.
  • Their reference videos are measured for shot length, pace and loudness, and every Fin cut for them follows all of it.
  • Published videos are scored against the channel's usual, and Fin proposes new rules from the scores for you to approve.
A client's page in Fin: its formats, reference videos, house rules and look

Team

Each stage has a name and a date on it

  • Each role, from writer to account manager, sees only their own clients, and a brief keeps what each client asked for.
  • Each stage of each video has a person and a due date, and team numbers and attendance sit beside the work itself.
  • A Work page shows what has been handed to you and what is late, and the same news reaches your phone or laptop.
Fin's Work desk: what has been handed to you, what is late, and the briefs you own

Limits

Every cost has a cap or an approver

  • AI and search use run inside daily caps, so a busy week cannot run up a surprise.
  • A generated clip is priced before it is made, and made only after an admin approves it, inside a monthly cap.
  • Every outside service Fin uses is tested and switched on or off from one page, by your admin.
Fin's Plugins page: each integration with its settings, a test and a switch

Your work, in a space of your own

Since 6 October 2026 each company on Fin gets a space of its own, and its footage stays on its own storage.

Yours alone, down to the database
Your clients, scripts, cuts and team live in a space of your own, and the database itself keeps them from every other company.
Your computer joins with a code
Your studio computer joins by typing a short code into a one-file Windows installer; it holds none of Fin's passwords or keys.
Footage stays on your storage
Fin reads your footage in place on your NAS or SSD, and the cloud never holds a whole file.
Pause or remove a machine at once
You see what each machine is doing and its queue; an admin can pause it, or remove it, and its access ends at once.

Where Fin is today

Working

  • Live at fin.aadityalobo.com since 3 October 2026, built by one person.
  • Trend ideas, the script in beats, footage indexing, first cut, review by version and the editor hand-over all run today.
  • A client's formats, references, rules and look are followed on every cut, and their published videos come back scored.
  • Your team works from roles, briefs and dated stages, with team numbers and attendance beside the work.
  • Since 6 October 2026 each agency gets a space of its own, and its studio computer joins with a short code.

Not yet proven

  • No agency has yet run a paid job through Fin.
  • Editor finish time, cuts accepted and cost per video have not been measured yet.
  • The hand-over has yet to be opened by a working editor in each of Premiere, Resolve and After Effects.
  • An outside editing agent has yet to hand a cut back to Fin; that is the next step.
  • Stock footage, generated clips, Google Drive, your own Claude and anything on a real phone are built and tested here, not yet against the live services.
  • The installer runs on Windows only, is not yet signed, and is not yet offered for download.

Put one client on Fin

Pick one client and one format. Fin runs their videos on your own footage beside your team, and you measure how fast your editor finishes, how many cuts are accepted and what each video costs.

Try it on one clientaadityalobo@gmail.com