Workflow
AI Video NLE Export
You generated the shots. Now you need them in Premiere, DaVinci, or Final Cut as a real timeline — not a folder of MP4s with mismatched frame rates that your editor has to re-link by hand. Martini exports your canvas sequence as an NLE-ready timeline, codec and cadence aligned to your project, ready for grade and final mix.
What this feature solves
Most AI video tools dead-end at MP4. You generate a clip, download it, generate the next one, download it, and end up with a folder of unrelated files that your editor has to drag into a timeline one by one. Frame rates do not match, codecs are inconsistent, color spaces are unpredictable. The post-production team spends more time fixing the handoff than they would spend cutting the spot from real footage.
Even worse, the lineage is gone. Once a clip is sitting in Premiere as a flat MP4, your editor cannot ask 'what model produced this, what was the prompt, can we re-render at higher resolution?' The link between the canvas and the timeline is broken at export, which means every revision request becomes a from-scratch regeneration instead of a parameter tweak.
Production budgets do not survive this friction. Agencies costing AI video into a real campaign expect the same handoff discipline as live-action: timeline-aware exports, consistent codec and frame rate, color spaces editors can grade. Without that, AI work stays trapped in social-only deliverables and never graduates to broadcast or premium digital.
Why Martini is different
Martini exports the canvas as a timeline, not a stack of clips. The sequence builder organizes shots in cut order, locks frame rate and codec to your target project, and ships a file that opens in Premiere Pro, DaVinci Resolve, and Final Cut Pro as one editable cut. Your editor builds on top of the AI work — does not rebuild it manually from a folder of orphan files.
Codec and cadence are first-class. Pick the deliverable spec — 24 fps ProRes for cinema, 23.976 H.264 for streaming, 30 fps for social — and the export aligns every clip in the sequence to that target before render. No transcoding round-trips, no mixed-rate timelines, no codec mismatches that force a re-import.
The canvas-to-NLE link survives the handoff. When the editor needs revisions — tighter shot, different model, swap the spokesperson — the canvas is still there. Adjust upstream nodes, re-export, replace the timeline asset. The graph remembers which prompt and which model produced which clip, so revisions are surgical, not catastrophic.
Common use cases
Agency post-production for client deliverables
Hand off the AI sequence to the post team in a Premiere or Resolve timeline ready to grade and finish.
Narrative editing with AI footage as a layer
Cut AI shots alongside live-action footage in your existing NLE without codec or frame-rate fights.
Broadcast-grade spec deliverables
Export at ProRes, 23.976, Rec.709 for broadcast and premium digital deliverables that meet network specs.
Client-revision workflows for AI campaigns
Re-render upstream nodes when the client requests changes and replace the asset in the existing timeline without rebuilding the cut.
Color grading pipeline handoff
Ship sequences to colorists in Resolve at consistent gamma and color space — graded looks land where you expect them.
Multi-format social delivery from one master
Build the master cut on the canvas, export to NLE, and finish vertical, square, and horizontal versions in your editor of choice.
Recommended model stack
seedance-2
videoClean output that aligns to standard frame rates without re-encoding artifacts.
kling-3
videoCinematic shots that hold up at broadcast resolution and codec.
sora-2
videoLong-take shots that export cleanly into editorial timelines.
google-veo
videoPhotoreal cuts that grade naturally alongside live-action footage.
runway-gen4
videoDirector-controlled shots with editorial polish for cut-ready output.
How the workflow works in Martini
- 1
1. Build the sequence on the canvas
Connect your generated clips in cut order through the sequence builder. Set transitions and shot lengths so the canvas reflects the intended cut.
- 2
2. Lock the export spec
Pick frame rate (23.976, 24, 25, 30, 60), codec (H.264, ProRes options), aspect ratio, and color space to match your target NLE project. The export aligns every clip to this spec.
- 3
3. Export the timeline
Run the NLE export. Martini renders each clip aligned to the spec and bundles them as a sequence file ready for your NLE.
- 4
4. Open in Premiere, DaVinci, or Final Cut
Import the exported sequence. Your editor opens it as a real timeline with the cuts in order — not a folder of orphan files to drag in manually.
- 5
5. Edit, grade, and finish in the NLE
Trim, color, mix, and finish in your editor of choice. The AI work is now part of the editorial pipeline, not a parallel deliverable.
- 6
6. Loop revisions back to the canvas
When changes are needed, adjust upstream canvas nodes, re-export, and replace the asset in the NLE. The graph preserves the link so revisions are surgical.
Example workflow
A post-production house is finishing a 30-second broadcast spot built on Martini. The sequence has eight shots — four Seedance 2 hero cuts, two Kling 3 establishing moves, two Veo cutaways. The canvas builds the cut in order, the team locks the export to 23.976 fps ProRes 422 HQ at 1920x1080 in Rec.709 for broadcast delivery. NLE export ships the sequence into Premiere as a single timeline. The editor trims, the colorist grades in Resolve, the mixer finishes audio. When the client asks for shot three to be tighter, the team adjusts the upstream Seedance 2 node, re-exports just that clip, and replaces the asset in Premiere. The whole pipeline behaves like a real editorial workflow — because that is what it is.
Tips and common mistakes
Tips
- Lock the export spec at the start of the project. Frame-rate decisions late in post create days of rework.
- Match the export codec to what your editor and colorist actually want — ProRes for finish, H.264 for offline review.
- Keep the canvas open after export. Revisions are inevitable; the canvas is the source of truth, not the timeline.
- For multi-format delivery, finish the master in one NLE and let the editor handle aspect crops — do not re-render aspect changes from the canvas.
- Use sequence builder labels that match your shot list. The exported timeline inherits them, which makes editing faster.
Common mistakes
- Exporting at 30 fps because it is the default and then having to convert for a 23.976 broadcast deliverable. Lock the spec early.
- Mixing codecs across clips in the canvas. Pick one target spec and let the export normalize.
- Treating the exported file as final. Always finish in a real NLE for trim, color, and mix.
- Discarding the canvas after export. You will need it the moment the client asks for revisions.
- Skipping color space alignment. A Rec.709 timeline with sRGB clips drops into Premiere looking wrong — set the color space at export.
Related how-to guides
Related features
AI Video Workflow — Node-Based Production From Concept to Final Sequence
Build node-based AI video production pipelines on Martini's canvas — from concept and storyboard to final NLE-ready sequence.
Multi-Shot AI Video — Build Connected Scenes, Not Isolated Clips
Plan, generate, and sequence multi-shot AI video on Martini — keep characters, style, and motion consistent across shots.
AI Video to DaVinci Resolve — Export Workflow on Martini
Export AI sequences from Martini for color and finishing in DaVinci Resolve.
AI Canvas Workflow — Node-Based AI Production on Martini
Build node-based AI production workflows on Martini's infinite canvas.
AI Storyboard Generator — Plan Shots, Generate Frames, Then Animate
Plan shots, generate storyboard frames, and convert frames into video on Martini's canvas.
AI Video to Premiere Pro — Export Workflow on Martini
Move AI-generated sequences from Martini into Adobe Premiere Pro for finishing.
Related docs
Related reading
Comparisons
Frequently asked questions
Which NLEs does Martini export to?
Premiere Pro, DaVinci Resolve, and Final Cut Pro all open Martini exports natively. The export ships at standard codecs (H.264 for offline, ProRes options for finish) and standard frame rates (23.976, 24, 25, 30, 60), with consistent color space across all clips in the sequence.
What codecs and frame rates does the export support?
H.264 for offline and streaming workflows, ProRes (422, 422 HQ, 4444) for finish workflows. Frame rates: 23.976, 24, 25, 30, 60. Color spaces aligned to Rec.709 for broadcast and sRGB for web. Pick the combination that matches your target NLE project before export.
How does this beat exporting individual MP4s?
Individual MP4s land as a folder of orphan files. The editor drags them in one by one, fights frame-rate and codec mismatches, and rebuilds the cut order manually. Martini's NLE export ships the sequence as a real timeline — cut order preserved, codec consistent, frame rate locked. The editor opens it and starts trimming.
Can I revise a shot after I export to my NLE?
Yes. Adjust the upstream node on the canvas — change model, prompt, or reference — re-export just the affected clip, and replace the asset in your NLE. The canvas-to-timeline link survives the handoff so revisions are surgical, not full rebuilds.
Will color grading work cleanly?
Yes — exports ship at consistent color space (Rec.709 default for broadcast, configurable). Colorists in Resolve grade Martini sequences alongside live-action footage without color management headaches. For ProRes finish workflows, the file is grade-ready out of the box.
Is this faster than exporting from Runway or Pika?
Functionally different. Runway and Pika export individual clips that you assemble manually. Martini exports the assembled sequence as one timeline. Even when the per-clip render time is similar, the post-production handoff is hours faster because the editor skips the manual rebuild step.
Build it on the canvas
Open Martini and wire this workflow up in minutes. Free to start — no card required.