Everything from installing to covering a finished cut. Read it in order the first time, then use the contents list.
vireo turns the sequence you have already assembled into a script you can read and rewrite. When the script says what you want, it builds the cut back in Premiere.
Nothing you do in the script touches your original sequence. vireo always creates something new.
This is the one thing to understand before anything else makes sense. vireo treats your sequences as one of two kinds, and the panel changes depending on which you have open.
You mark a sequence as a b-roll reel by right-clicking it in the Sequences list and choosing Analyze as B-Roll.
Mac only. Adobe Premiere 26.2 or later. Your own AI key needed.
.ccx.If vireo does not appear under Extensions, quit Premiere completely and reopen it. Adobe only looks for new panels at launch.
Skip this if you only want the free features. Everything except the AI works without a key.
vireo works with three. You can save keys for all of them and switch whenever you like.
The key is stored on your own computer. vireo talks to the provider directly from your machine and never sends the key to us.
Client footage? Use a paid Gemini key. Free keys may let Google use your uploads.
How hard the model thinks before it answers. Higher is slower and better on structure. Lower is fine for small rewrites.
Set a ceiling in dollars and vireo refuses a request before it goes out, rather than telling you afterwards. It is counted from the token numbers the provider reports, not from billing data, so treat it as close rather than exact. It resets at midnight. Clear the box for no limit.
The usage figure beside it counts what you have spent since your last reset, and you can reset it whenever you like.
Google's free tier has a daily cap on the model that watches footage. If analysis stops partway, vireo tells you whether you have hit the daily allowance. It resets at midnight US Pacific, so waiting a few minutes will not help. A paid key removes the cap.
Open your sequence, pick it in the Sequences list, and click Analyze Sequence. The rest of this section is what to do when that does not work first time.
vireo reads the transcript clip by clip, works out which camera is on screen at each moment, and finds every audio track that is really there. Your interview then appears as running text with each speaker marked.
Right-click the sequence and choose Re-Analyze. vireo warns you first if that sequence has chat history, because re-analysing changes the internal word numbering and older chat messages will no longer resolve against it. Push or copy anything you still need before you agree.
vireo can turn a foreign-language interview into smooth, subtitle-style English, lined up with the original words so you can still cut on them.
The draft behaves like a document, and every change you make is a change to the edit.
The highlighter marks words yellow without cutting anything. Drag over the lines worth keeping. Click the tool again to go back to normal selecting.
Highlighting is what Isolate and Selects both act on, so it is usually the first thing you do on raw material.
Right-click gives you Clear all highlights when you want to start over.
Trims your script down to only the highlighted parts and removes everything else. This changes the draft, not the timeline. Use it when you have marked the keepers and want the rest out of your way.
The search box above the script finds words in the current draft, with arrows to step through the matches. There are separate searches in the chat, in Notes, in the Compare panel and in the shot list, each one searching only its own panel.
Nothing in this section touches your original sequence.
Double-click any VO note to open an editor with Save, Cancel and Delete. A single click leaves the words selectable like any other text, so you can copy them.
Notes you write appear in a different colour from ones the AI writes. To move a note, delete it and add a new one where you want it.
Right-click also offers Expand this VO and Show all VO in full, for reading long narration without opening each one.
VO notes read as part of the story but never become clips on the timeline.
Press Return to add a blank line. Press it again for another. These are purely visual, to help you find your place in a long draft. They have no effect whatsoever on what vireo builds.
Five tabs sit above the right-hand panel: AI Chat, Notes, Compare, Shots and Outline.
The film's beats, one per line. Write the shape yourself and tell the AI to go, or ask it to propose one and correct what it gives you. The Assemble workflow writes its beats here, and you argue with them before anything gets cut.
The outline belongs to the chat it was written in, so a new chat starts with a clean one.
Plain text, as many separate documents as you want. Click the title to switch between them. Use it for a VO draft, a client's list of changes, or anything you want beside the script without it being part of the script.
Puts an earlier version beside your current draft so you can see what changed. Pick which version from the label at the top.
The Unused Words toggle switches it to show only material you have not used yet, which is the fastest way to find what you cut and might want back.
Compare is read-only. You can select and copy from it, but you cannot edit the wrong side by accident.
Three buttons sit at the right of the toolbar, and they all act on the script you have made.
Every camera keeps its own video track with the right angle enabled. Every audio track comes through separately. vireo references the clips already in your project rather than importing duplicates, so your Project panel stays clean. Your original sequence is untouched.
Highlight what you want, then click Selects. That material lands on the next free tracks above your original, which stays exactly where it was. Nothing is moved or relocated.
The live edits badge. If you have edited the timeline directly in Premiere since vireo last read it, a badge appears in the toolbar. Assembling from the script will rebuild the sequence and replace those edits. The badge is there so you find that out before it happens, not after.
Put your picture in its own sequence, trim each shot to the part you would actually use, then right-click it in the Sequences list and choose Analyze as B-Roll. Everything below is why, and what to do when it needs a nudge.
You end up with two analysed sequences doing different jobs.
The Source switch is what connects them. It marks which reel the shots come from. Your story sequence pulls from whichever reel has Source switched on, and only one can at a time.
Put your picture in its own sequence in Premiere, one clip after another, then right-click it in the Sequences list and choose Analyze as B-Roll. The panel turns dark, which is how you know you are in b-roll rather than in your story.
Trim before you analyse. vireo reads whatever is on that timeline. A clip left at its full length means the AI watches slates, false starts, the walk back to camera and the long tail after you called cut, and you pay for all of it.
Cutting each shot down to the part you would actually use costs you a few minutes and saves a great deal. It also gives you better descriptions, because the AI is looking at the shot rather than at a clapperboard.
Watching footage is the expensive part of vireo. Analysing a reel uses considerably more than building a cut does, because the AI is looking at pictures rather than reading text.
vireo can only place a shot it can describe. There are two ways to get descriptions, and they mix freely.
You can edit any description afterwards, whoever wrote it. Click it, change it, click away. Your wording always wins over the AI's.
When several shots look alike, vireo numbers them as takes rather than pretending they are the same shot, so you will see "Piano, wide, take 1" and "take 2". That is deliberate, so you can tell them apart when it places them.
This pulls the good part out of every described shot and gives you a working sequence.
Best on scripted work. On a commercial or a scripted piece, where each setup is a known shot and the waste is slates, resets and dead air, it moves through the material far faster than you would by hand.
Less so on documentary. When the good part of a shot is a moment rather than a setup, you are better at spotting it than the AI is. On doc work, describing the shots and letting vireo place them usually beats asking it to choose the selects for you.
It does not touch your reel. You get a new sequence, and the original stays exactly as it was.
The new sequence is named after the reel with the stage word stripped, so a reel called "RAW B Roll" gives you "B Roll_Selects" rather than something that still says RAW.
Make selects opens a chat rather than running straight away, because the length is usually the thing you want to say something about.
It errs long rather than short. You can trim a select down afterwards. You cannot get back what was never lifted. So an unclear range is cut to the ceiling from its start rather than being clipped short.
It will also lift nothing at all from a shot that has nothing in it, rather than inventing a pick to be tidy.
If you trim or move clips in Premiere after analysing, click Re-read this timeline. vireo picks up the changes and tells you how many shots were updated, dropped, or could not be matched.
Fix the descriptions, in the reel's own list, sends the AI a note that some of them are wrong so you can say what a shot is actually of. Cheaper than re-analysing.
Go back to your story sequence, make sure the reel has Source switched on, and run Cover with b-roll from the workflows, or the live version if you want shots landing as you talk. Covered words get a teal wash in the script with the shot named on the bar beneath them.
vireo only places shots from your b-roll selects, and none longer than 8 seconds.
A workflow is a job with knobs. You pick one, press Go, and the AI works to that job instead of answering generally.
Open the Rules drawer and switch to the Workflows tab. Only the ones that make sense for the sequence you are in are listed. Click a row to expand it.
Full-coverage pass over an unscripted interview. Everything usable, nothing chosen for you. Usually the first thing you run on raw footage.
TOGGLES
Puts everything on the same subject together, so you can hear the alternatives back to back. It reads through, tells you what topics it can see, and checks that division with you before it moves anything.
TOGGLES
Short, finished lines you could drop straight into a cut. Not everything usable, only the ones that stand alone. It reads the interview first, tells you what it thinks the piece is really about, and asks whether you want bites on that alone or a spread across everything.
TOGGLES
Finds the story, shows you the beats, then builds the cut. This is the big one and it runs in two stages.
HOW IT RUNS
Give it one stretch and it finds the shortest, clearest order for just that. It asks which stretch and what it needs to do. Paste it, point at it, or say where it starts and ends.
TOGGLES
Reads the cut as it stands and writes VO for the gaps the story leaves. It asks first whose voice this is and how much narration you want. Send a script, a reference or something you have written and it works from that, or say go and it takes the cut's own register.
TOGGLES
Reads the story and suggests picture for it, as ideas, before any footage exists. Useful when you are planning a shoot rather than covering a cut.
TOGGLES
Covers the finished story and paces it: what we look at, and where the film breathes. Needs an analysed reel with Source switched on.
TOGGLES
The same job, but shots land on the timeline as you talk instead of waiting for a build. Reads your script, covers it, and opens the room the story needs. Starting this switches LIVE mode on by itself.
For a finished, graded cut. New interviews saying the same things in different words, and it shows you where each one would go. It highlights what a new line would replace and puts a numbered pill in front of it.
TOGGLES
IT NEVER TOUCHES YOUR TIMELINE
Listed with the workflows but not workflows themselves. They do one thing and have no running state.
A rule is a standing instruction the AI follows every time, so you stop retyping the same preference. Rules are global, not tied to one project, because "never repeat a clip" is how you work rather than something about one job.
Arrange rules only reach the model in LIVE mode, so they do not interfere with ordinary work.
Press New Rule and type it. Or press the rule assistant, describe what you want in your own words, and it turns that into a clean reusable rule you can save.
While a workflow is running, your Story rules are paused and the row says so. The workflow is driving.
Rules are what you tell it. The Playbook is how vireo learns your b-roll style from films you have already finished.
How to teach it. Right-click a finished sequence in the Sequences list and choose Learn my b-roll choices, or open the Playbook and press Learn from a cut. The sequence has to be analysed first, because it learns from the transcript and the coverage together. If its b-roll has not been described yet, vireo offers to describe it first.
Why this shot? While it learns, vireo asks you a few questions about shots you chose. Your answers are kept with those cuts.
A commentary track. Record yourself talking over the finished film, on its own audio track. Transcribe it in Premiere's Text panel, then mark that track in the Learn menu. vireo never treats it as dialogue.
What it takes. How you covered that cut. Where b-roll starts relative to the line, how long you hold a shot, when you stay in a scene, what you leave uncovered. It reads the pattern, not the footage, and nothing is copied anywhere.
Where it shows up. Two views. What vireo Learned lists the tendencies it has picked up. Talk to vireo is where you argue with one: click a tendency and it carries into the conversation so you can say what it got wrong. You can attach a document there too, a style guide or your own notes.
It only ever adds. vireo ships with a starter guide, which is always on. What it learns from you sits on top of that, and your rules for a given turn win over both.
Turning it off without losing it. The switch at the foot of the Playbook, use what it learned, stops anything learned from reaching the AI. The starter guide still applies and your cuts are still recorded, so turning it back on loses nothing. It is the honest way to find out whether the Playbook is helping: run a cover pass with it off, then on, and compare.
Forgetting. Each cut in the list can be ignored, which leaves it out without deleting it, or forgotten, which removes what it taught and asks first. The Playbook has no button that forgets everything at once, deliberately. Losing the lot should take more than one click.
It is yours, not the project's. The Playbook follows your copy of vireo rather than a particular project, so it keeps growing as you finish films. Export and Import are in the Playbook's left column, and importing merges rather than replaces.
Like the rest of the AI features, it needs a key.
The switch beside the chat input has two states, and it changes what your words do.
Starting the live coverage workflow switches this on by itself, and stopping it switches it off, so there is only ever one state to keep track of. Arrange rules apply here and nowhere else.
Use it for the back and forth: shots landing while you say "no, later" and watching them move. Use the ordinary mode when you want to see the whole plan before anything happens.
For the job where a cut is finished. Music, sound design, keyframes, colour, all of it done, and the client wants interview lines swapped for newly shot ones.
Run the Match New Footage workflow and paste in the selects from the new interviews. For each place a new line could go, vireo does three things:
Nothing goes near your timeline. That is deliberate and there is no toggle for it. A locked graded edit is too fragile to be worth the convenience, so everything this does is text in the draft for you to act on by hand.
Right-click gives you Clear swap suggestions when you are done, which removes the pills and their markings and leaves your own highlights alone.
Your drafts, versions, chat history, rules and shot descriptions live on your computer and in your project's vireo Auto-Save folder, not on a server. Back them up before a big change or a plugin update.
.vireo file.txt, with speaker labelsImporting a project merges by sequence name and shows you exactly which sequences it will overwrite before it does anything. Sequences not in the backup are left alone. Importing rules merges them into what you already have rather than replacing them.
You can also import an .xml timeline straight into the current Premiere project.
Copy the project together with its vireo Auto-Save folder. If anything does not reconnect, open the Link panel and use its Auto-Save folder and Timelines tabs.
Manage your subscription, invoices or card: vireo.lemonsqueezy.com/billing
Your licence works on three machines at once.
Before you wipe, sell, or stop using a computer, open vireo on it, go to Account and Licence, and press Remove this computer. That frees the slot straight away and you can use it somewhere else.
If a machine died before you could do that, write to vireo@allocause.com and we will free it for you.
Reinstalling vireo or updating it does not use up a slot. Only a full uninstall does.
To bring a project with you, see moving a project.
Full terms on the legal page.
The panel is empty or will not load.
Quit Premiere fully and reopen it. If it persists, remove the panel and install the .ccx again.
The panel looks cramped or things overlap.
vireo needs at least 1400 pixels across. Undock it or move it somewhere wider. Premiere remembers the size per workspace, so resetting the workspace once will pick up the new one.
What changed in this version?
Diagnostics has a What's new link showing the current release's notes in plain language.
That model wasn't accepted.
Providers rename and retire models. Open Settings and choose a different one.
Analyse finds no words.
Either your clips have no transcript, or you transcribed the sequence instead of the source clips. vireo can only read a transcript that lives on the source clip. Select the clips in the Project panel, open the Text panel, and choose Transcribe. Then run Analyze again.
The script does not match my footage.
You re-transcribed or re-trimmed after analysing. Right-click the sequence and choose Re-Analyze.
A workflow is greyed out.
Click it anyway and it tells you what it needs. Usually it is a b-roll workflow with no analysed reel set as Source.
Buttons on an old chat message do nothing.
Messages from before an update can be missing information newer versions need. Copy still works on them. Start a fresh chat for anything you want to push into the script.
The AI stopped partway through a script.
Ask it to continue. If it keeps happening, ask for less in one go, or raise the effort in Settings.
A request was refused before it went out.
You have hit your daily spend limit. Raise it, clear it, or reset the usage counter in Settings.
B-roll analysis stops partway.
Gemini's free tier allows 20 analysis requests a day. Wait, or move to a paid tier.
Copy or paste is not working.
Premiere sometimes claims those shortcuts. Use the on-screen buttons instead.
Clips are missing after building.
Clips that came from a nested or multicam sequence are not real files, so they cannot be rebuilt this way. That is how Premiere works, not a vireo fault. Check whether the item has a nested-sequence icon in your Project panel.
Clips with a speed change are also left out when you press Generate. vireo tells you how many.
"Timeline not checked."
Press Re-Read, which is the safest choice, or Push Anyway.
"The last push here stopped part way. Check it first."
Look over the timeline in Premiere before you push again.
I can't switch timelines.
Not while Analyze is running. Wait for it to finish.
Storage is full.
vireo tells you in the chat what it couldn't save. Free up space in Diagnostics with Review deleted timelines.
"vireo couldn't check your licence."
Try again later, or write to vireo@allocause.com. The AI keeps working during the grace period.
What does Erase Everything remove?
Your Playbook, logs and timeline copies. Your licence and trial stay.
Something else.
Open Activity in the left sidebar, click Copy Log, and email it to vireo@allocause.com with a line about what you were doing. That log usually says exactly what happened.
My editor doesn't see my changes.
The editor needs to import the file lite exported (Import, vireo Project), then open the "vireo lite" version from the clock menu.
Does it work offline?
Yes, in Chrome or Edge, after opening it once with internet. The AI needs internet.
The AI is locked.
Add a vireo pro key in Account and your AI key in API Settings.
My file won't open.
Open the .vireo file your editor sent you. If it says the file is from a newer vireo, reload the page.
Can I use it on my phone or tablet?
Not yet. Computer only for now.
.vireo file and send it to your director.Interview_VireoLite_Oct16_1440.vireo. Send it to your editor.Open vireo lite once with internet. After that, open files, edit, save versions, write notes and export with no connection. Use Chrome or Edge. The AI needs internet.
lite keeps your changes in this browser. Open the same file again and they come back. The exported file is the real save. Clearing your browser data loses anything you haven't exported.
vireo only connects to these addresses.
api.anthropic.comapi.openai.comgenerativelanguage.googleapis.comapi.lemonsqueezy.comvireoedit.com