01
Multicam sync
Groups your cameras and audio recorders by waveform correlation across the whole recording, not just the first few minutes.
Rebuilt in v0.2.8 · about 2× faster to reject a non-match · opt-in deep second pass for stubborn files
Windows desktop editor from Proko
Six hours of takes in. A rough cut out.
An AI agent on the timeline does the rough cut. Best takes, silence, retakes, multicam sync. Then it hands off to Premiere. It runs on your own machine.
A depiction of the Solar Sailer editor, cut from a real two-camera Proko course session. The program monitor shows the frame under the playhead, the overhead sketchbook camera. Every video clip carries a thumbnail of its own first frame. The prompt “tighten the intro, keep every mention of the assignment” is typed into the agent panel. The agent answers that it kept every mention of the assignment, marked four retakes, and applied the edit. Then on the timeline the marked clips fade out and the remaining clips ripple left to close the gaps. Every edit it makes is undoable.
The first pass is not where your craft lives.
Six hours of takes for a forty-minute video. Somewhere in there are the takes where you fumbled the line, the minutes you spent reaching for the water bottle, and one take that’s the one. Finding it is not editing. It’s an inventory job, and it is the part nobody wants to sit down to.
Six hours of raw takes from one two-camera Proko course shoot. Everything off both cards, an hour of material to a row, camera A’s frame over camera B’s wherever both were rolling. The forty minutes that reach the published video are the only frames still at full exposure and full colour; everything else is material you have to sit through to find them. One frame in the fourth hour is ringed and labelled “the one”.
The agent
Tell it what you want. Watch the timeline change.
An agent panel sits inside the editor, on the same timeline you’re working in. You type in plain English and it runs the same commands your keyboard and mouse do, which means every edit it makes is undoable, inspectable, and yours to overrule.
A depiction of the Solar Sailer agent panel and the V1 track under it, in the project course-04.sailer. Four prompts can be selected; each one shows what the agent answered, which commands it ran, what it refused to guess at, and a before-and-after of the same three-minute window of V1, the camera-A talking head, so the change to the timeline is visible rather than described.
You, pick a prompt
Ran it across all 3:44:20 of V1, not just the intro. Nothing clicks at the joins.
- Ripple delete214 silences and 96 filler words · whole file
- Seam fadeat all 310 splices
I didn’t touch the retakes. A line said twice isn’t a stumble. Ask for that pass and I’ll run it separately.
Found 9 lines you said more than once, 31 takes between them. Kept one of each and rippled the rest out across the whole file.
- Ripple delete22 discarded takes · whole file
- Add markeron all 9 keepers, so you can audit the choice
I didn’t judge delivery. That isn’t mine to judge. I kept the last complete take of each line and marked it, so overruling me is one click.
Ran the eyeline pass over the whole of V1 and switched off the stretches that failed it. Switched off, not deleted. The runtime doesn’t move and each one is a toggle away from coming back.
- Disable clips23 stretches on V1 · whole file
- Add marker4 borderline calls, left enabled for you
I didn’t touch V2. It’s the overhead sketchbook camera. There’s no face in it to check.
I can’t turn that into edits. Tell me what good means here. Tighter, fewer retakes, no filler. Then I’ll run that pass.
- No edits appliednothing to undo
I didn’t guess at what you meant. Taste is the part you keep.
Every row above is the same command your keyboard and mouse run. Ctrl+Z walks any of it back.
It does the rough cut. It does not pretend to have taste. You still make the video.
The drudgery is already automated.
That was 01. Seven more, numbered in the order a first pass actually happens. All of them run on the timeline you’re already working in.
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Transcription on the timeline
A word-accurate transcript is a timeline object, not a side panel. Edit the words, edit the cut.
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Retake detection
Finds the repeated attempts at the same line and lays them side by side, so you keep the best one.
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Silence & filler removal
Delete silence and “umm” in one pass, with automatic seam fades so the splices don’t click.
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Non-motion & eyeline
Cut the stretches where nothing moves, or where you’re not looking at the camera.
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Rough Cut
An LLM rates every sentence and applies the cuts, including cuts inside a sentence.
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Face tracking & camera selection
Recognizes who’s on screen and picks the camera across a multicam session, applied as reversible clip disables.
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Plugins & scripting
Drop in your own processing modules, or drive the editor from a local scripting API.
None of them finish your video. They clear the first pass, so you can start on the part that needs you.
The handoff
It hands off. It doesn’t hold your project hostage.
Import an existing Premiere sequence with cuts, disabled clips, volume, transforms, linked A/V and markers intact. Export your rough cut back the same way and finish where you always finish.
A depiction of a Premiere Pro sequence after it has been imported into Solar Sailer. The title bar names the file it came from, course-04_premiere.xml, and the bar underneath names the file it goes back out as, course-04_roughcut.xml. On the timeline the sequence has arrived whole: the ruler carries the sequence markers, one clip on V1 is still disabled and drawn struck through, another carries its transform, the A1 clip under it is still linked to it, and A1 keeps its volume line and its keyframes.
Where it stops
Solar Sailer does the rough cut and hands off. There’s no render-to-video in the app today, and Resolve export is planned, not shipped.
Built by Proko
Built inside a studio that films for a living.
Proko films thousands of hours of course footage a year. Solar Sailer started as the internal tool for that footage, and it stayed honest because we’re the ones who have to use it on Monday.
One shoot day, straight off the cards: fourteen clips from two cameras, the same 6:00:00 the top of this page is about, plus the lav recorder. Everything is in the bin before a single cut. It is footage we shot for a course, and the tool we open on Monday.
The Solar Sailer media bin after one day of a real two-camera Proko course shoot: ten talking-head clips from camera A running three hours forty-four minutes and twenty seconds, four clips from the overhead sketchbook camera running two hours fifteen minutes and forty seconds, and the lav recorder’s two audio files, three hours fifty-eight minutes and ten seconds. The two cameras hold six hours of video between them. Every tile is that clip’s own frame, with its running time, and the clips already transcribed carry a caption badge. This is the footage as it lands, before anything has been cut.
FAQ
Straight answers, including the no’s.
We put them first, and we put them before the pricing. You should know where Solar Sailer stops before you install it, not after.
- Does it replace my editor?
- No. It does the rough cut on a real timeline, then exports Premiere Pro XML for finishing.
- Can it render my final video?
- Not today. Solar Sailer ends at the rough cut and hands the sequence to Premiere.
- Is there a Mac version?
- Not yet. Windows today; Mac is planned.
- Does my footage get uploaded?
- Your video files stay on your drive. Some features do send pieces of it out to AI services: audio for transcription, transcript text, and small sample frames for automatic clip labelling. The privacy policy lists every one, and you can switch the labelling off.
- What about DaVinci Resolve?
- Planned, not shipped. Premiere Pro XML import and export work today.
- Do I need my own API keys?
- Yes, at launch. You supply them and pay the AI providers directly, on your own accounts. A built-in option with AI included is planned, and your own keys will keep working after it ships.
- How is the AI metered?
- At launch, by your providers. You pay them for exactly what you use. The built-in option that comes later includes an allowance counted in minutes of footage you process, not conversation with the agent, and extreme agent use slows down rather than cutting off.
- Can the agent break my edit?
- Not permanently. Every agent edit goes through the same command layer as your own edits, so anything it does, Ctrl+Z undoes.
Pricing
$25 a month. Or $199 a year.
30-day free trial. At launch, you bring your own API keys and pay the AI providers directly.
Founder deal
$149 a year, locked for life.
Founding cohort only. The window closes after the founder launch.
What you’re subscribing to
- Multi-track NLE, trim & markers
- AI agent on the timeline
- Multicam & recorder sync
- Transcription on the timeline
- Retake detection
- Silence & filler removal
- Non-motion & eyeline cuts
- Rough Cut module
- Face tracking & camera selection
- Premiere XML import & export
- Plugins & scripting API
- Runs on your own machine
AI usage, two ways
- Your own API keysPay the AI providers directly, on your own accounts. This is how it works at launch.
- Credit packs: $20, $50, $100AI on our accounts instead, no keys to manage, metered by minutes of footage. After launch.
- Production pass: $59One month, the full app, for a single production. Planned.
Pack and pass prices are estimates. Final numbers land with launch.
Who it’s for
Course creators, podcasters, tutorial and talking-head channels. Anyone whose raw takes run hours longer than the video they publish.
You’re on the list.
We’ll email when there’s something to try. Nothing else, ever.
Your Mac vote is counted.
Windows today. Mac is planned. Tell us and we’ll count the votes.