Import camera footage and the ride recorded by OpenLevo—or a FIT file straight off your Garmin. Synchronize them, drag live telemetry onto the picture, choose when each overlay appears, and export a finished film for YouTube—or a vertical reel for Instagram and TikTok—with the original camera audio preserved. Shot on a 360° camera? Point a virtual camera after the ride: drag the view, keyframe the path, or let it follow you. Or skip the clicking entirely: connect an AI assistant and describe the film you want—it drives the same editor, on your machine.
Two first-person clips, finished in the Studio from its template gallery: an analog dash with a needle speedo, a twin rider-and-motor power dial, battery and heart dials, an assist strip and a route card—then a head-up display with speed and course tapes, LCD speed, and corner readouts. Sample ride data, labeled at every element.
Real footage, sample data: first-person footage overlaid and exported by OpenLevo Video Studio. Telemetry is sample ride data created for this edit, not measurements recovered from the footage.
The engine behind the window speaks MCP. Point Claude Desktop—or any MCP client—at OpenLevo Studio and the whole edit becomes a conversation: the assistant creates the project, imports your footage and ride, synchronizes them, dresses the picture from an overlay library of more than a hundred compositions, and exports a finished film. Every step runs through the same validated commands the app uses—on your machine, not a render farm.
Ask for the training cut: the rider-versus-motor duet, effort rings, heart-rate ribbons, and climb profiles turn raw footage into a review tool. Provenance travels with every value—measured, derived, and estimated stay labeled, so what you analyze is what actually happened.
Ask for the reel: Smart Story ranks the accepted jumps, hardest efforts, and scenic moments into a reviewable plan, the jump cards count airtime through flight, and Reels/TikTok presets deliver 9:16 with social safe zones—ready to share from the machine that made it.
The connector runs on your Mac and reads only the files you name. An assistant works from project summaries and paths—video and ride files are never uploaded, nothing renders in a cloud, and nothing publishes without you.
One engine, two doors. The window and the assistant share one project document and one set of edit rules—whatever the AI asks for is exactly what the app would have done. A 35-command CLI drives the same pipeline for scripts and shortcuts.
Real footage, sample telemetry: the jump events and ride values were created and aligned for this Studio demonstration, not measured from this footage.
OpenLevo turns one accepted airborne event into a shareable story—not a pile of unrelated gauges. Airtime and estimated distance count through flight; at touchdown, the retained phone or wrist peak G snaps into view. The full Send It card celebrates the landing; the Airtime Ribbon keeps the next run clean and fast.
Measured stays measured. Estimated stays estimated. Fresh speed, power, assist, and battery can add bike context when available, but OpenLevo never presents the motor as the inertial source. The retained impact value is a landing peak—not an invented continuous G-force trace. Missing channels simply disappear.
Every number on the picture is a measured channel from the ride journal, placed by you, dressed by a template, and captioned with where it came from.
Finish mixed GoPro, DJI, Insta360, and iPhone clips with local color tools, then let fresh bike and rider evidence drive effects that a generic editor cannot understand.
Primary correction, tone curve, three-zone cool/warm balance, vibrance, forest-shadow denoise, validated LUTs, waveform, RGB parade, vectorscope, and histogram—all on the same preview/export path.
Compare the selected frame with the preceding camera and propose bounded exposure, saturation, temperature, and tint changes. OpenLevo shows the evidence and waits for Apply.
Velocity Blur follows fresh measured speed. Effort Glow follows fresh rider power. Landing Punch follows the accepted jump clock. No source means the effect turns off instead of pretending.
Track a rider-selected rectangle or ellipse locally. Solid and pixelated privacy masks fail closed; outline and glow are honest creative focus regions—not fake pixel-perfect segmentation.
Stage forest recovery, denoise, measured lens correction when available, stabilization analysis, and wind repair as one readable recipe. Lens, crop, motion, and audio decisions stay explicit.
Rank accepted jumps, climbs, descents, speed, effort, and local scenic observations into a reviewable 16:9, vertical, or square plan. You approve the cuts, private metrics, and export.
Local by design. Camera Match and Smart Story are suggestions, source video stays immutable, and nothing is uploaded or published automatically.
Ride with only the Watch. The ride syncs to your iPhone on its own—cut the film there, or transfer the collected project to iPad or Mac. The complete edit, media links, rides, and overlays stay intact on every screen.
Illustrated pipeline: sample values. Every step ships in the app builds; watch bike-telemetry channels await hardware validation.
No supported motor system is required to make films. Any camera above plus any ride source cuts, syncs, and exports the same way. 360° cameras go further: export the stitched equirectangular file from the maker's app once, and the Studio detects it and hands you the virtual camera — framing presets, a keyframable path, subject tracking. Pair a Turbo Levo or Bosch Smart System bike and the overlays gain the motor's own side of the story from the channels that system provides—such as speed, rider and motor power, battery, odometer, or a recognized assist mode—measured at the source.
Each workflow uses the same document and edit behavior on iPhone, iPad, and Mac, with a touch-native surface on mobile and a desktop workspace on Mac. ProRes 422 and Final Cut Pro XML remain explicit Mac handoffs; the edit itself stays intact.
Compare camera capture time and local video motion with the ride start and fresh GPS movement to produce a confidence-scored suggestion. Nothing moves until you confirm it, and undo restores the previous timing.
Group cameras, cut between angles at the playhead, and choose a separate audio source without flattening the original clips.
Smooth camera motion, level the horizon, reserve a safe crop, and hold uncertain analysis instead of inventing movement. Lens correction activates only with a named, validated camera profile.
A 2:1 equirectangular clip—an Osmo 360 or Insta360 export—becomes a camera you point afterwards. Drag the view in the player, pinch the field of view, choose Flat, Wide, Ultra Wide, or Tiny Planet framing, and switch the canvas from widescreen to vertical: the camera re-points instead of cropping. Preview and export render the same math.
Animate position, scale, rotation, crop, opacity, audio, telemetry overlays—and the 360° camera path—with linear, ease-in, ease-out, ease-in-out, or hold curves. Arm Record Perspective and every drag writes keyframes at the playhead; Follow Subject tracks a rider from the playhead onward and steers with editable keyframes, holding its last heading and flagging spans for review when confidence drops.
Follow a face, plate, or selected region with an editable rectangle or ellipse, pixelation or a solid mask, intensity, timing, and manual review keyframes. Masks stay attached through trim, move, split, duplicate, and delete edits.
Inspect RGB and luma scopes, apply local .cube LUTs, choose a color-space intent, and control LUT intensity without changing source media.
Adjust high-pass frequency, noise gate, compressor threshold and ratio, limiter, stereo pan, normalization, ducking, and source-derived waveforms.
Find ride moments from available channels—maximum speed, power, heart rate, grade, or battery change—and add reviewed markers without fabricating missing data. Auto-Story assembles the moments into a first-draft highlight reel you reshape, not a finished cut you fight.
On request, Apple's on-device scene classifier watches your footage and marks moments from a curated list—trail, cycling, forest, sunset—each labeled as what it is: camera-observed, never telemetry. A measured moment the camera corroborates rises in Auto-Story with both evidence lines shown. No cloud, no face recognition.
Group a sequence, open and edit its child names and timing, rename or duplicate it, then break it apart while preserving timing, transitions, and privacy masks.
Choose where it's going: YouTube, Instagram, and Reels/TikTok presets reframe the timeline to the destination and burn telemetry into the picture, with a privacy review before render. File export keeps ProRes 422 and a Final Cut Pro XML handoff that preserves explicit timeline gaps and reports what transfers.
The Video tab on iPhone and iPad is a real ride-film editor in the shape you already know from the GoPro, DJI, and Insta360 apps: the video up top with overlays you drag into place, a filmstrip with a playhead and yellow trim handles beneath it, and tools along the bottom. Plug a GoPro HERO or DJI Osmo Action — or its microSD — straight into the phone, pick from Photos, or import any camera’s standard MP4 or MOV; 360° footage from an Osmo 360 or Insta360 comes in through its maker’s equirect export. Each clip auto-matches the ride recorded while it was filmed. Pick an overlay template, dress it with a brand kit, and adjust any gauge—the phone canvas shows the exact frame the export will write. iPhone keeps the magnetic story focused; iPad opens the same document into ordered video, audio, telemetry, title, and mask tracks without flattening the Mac timeline.
The engine is the Studio’s own — iPhone, iPad, and Mac open the same complete project file, and divergence between them is a bug by definition.
Media and overlay libraries sit on the left. The viewer is in the center, the inspector is on the right, and the multi-track timeline is below. Space plays and pauses; Command-C copies; Command-V inserts; Shift-Command-V appends; Command-E exports.
Generate lightweight proxies for smooth editing, relink a moved media folder without losing decisions, recover a consistent autosave, or collect the footage, ride journal, and portable project into one reviewed folder.
The exported overlay uses the same timing and values shown in the viewer. A dropped stream becomes unavailable instead of freezing an old number on screen.
Bike, phone GPS, watch, Garmin, measured health, and derived values retain their provenance throughout import, preview, and export. A Garmin file shows "SPEED · GARMIN"—and never invents the motor channels it cannot see. What the camera saw is labeled camera-observed, never presented as telemetry.
The editor works locally. Nothing is uploaded, and sensitive overlays are added only by the rider.
Projects autosave references, sync, units, layout, style, and timing. Source video and ride journals remain immutable.
The Studio's engine runs without its window: a 35-command line tool and a 36-tool MCP server drive the same import, template, Auto-Story, and export pipeline the app uses. Point any MCP client—Claude Desktop included—at your Mac and the editor answers in conversation; point a script at it and it answers in files.
The window and the command line share one project document and one set of edit rules. Whatever an assistant asks for is exactly what the app would have done.
The connector runs locally and reads only the files you name. An assistant works from project summaries and file paths—your video and ride files are never uploaded by the Studio.
"Cut a vertical reel of the fastest sections with speed burned in—and dress it with the DUET pack" is one request: import, sync, template, Auto-Story, and a Reels-ready export, rendered on your machine.