AI Video Voiceover Generator — For Footage You Already Have
This does not generate video. It generates the narration that goes over yours — written to the length of your cut, produced section by section so it lands where you need it, and exported as a WAV that drops straight onto the timeline.
An AI video voiceover generator produces a spoken narration track to lay over video footage. It is worth separating from AI video generators, which build an entire video — avatars, stock clips, captions — from a prompt. This is the narrower job: you have already shot or edited something, and it needs a voice. The craft is in the timing, so the useful approach is to write narration to the seconds each sequence actually has, generate it section by section, and place each part against its own picture.
15 free credits on signup — enough for one complete track with cover art. No card required.
Eight Videos That Need A Voice Laid Over Them
These all start the same way: footage exists, and it does not explain itself. What changes between them is the register and how much the narration is allowed to say.
Corporate & brand film
OnyxWeight without a sales voice. Sparse — let the pictures carry the shots that already work.
Product demo
AlloyNeutral and even, timed so each feature is named while it is actually on screen.
Training & internal video
AshClear and direct, and re-recordable one section at a time when a process changes.
Event recap
NovaBright and brief. Mostly gaps — the room noise and the pictures are doing the work.
Property walkthrough
CoralWarm, at walking pace, naming each room roughly as the camera enters it.
Slideshow & presentation
EchoSteady and neutral, generated per slide so timings survive a reordered deck.
Case study & testimonial
SageCalm connective narration between interview clips, staying out of their way.
Travel & b-roll
SageObservational and unhurried. The most common mistake here is writing far too much.
How to Add a Voiceover to Video in 3 Steps
Time the cut first. Everything else is arithmetic.
Time your cut, then count words
Roughly 150 words a minute, so a twelve-second shot is about thirty words. Write each section of narration to the seconds it actually has, not to the page.
Generate section by section
One pass per sequence rather than one long read. The voice is identical between passes, so you get frame-accurate placement without any audible join.
Drop the WAV on the timeline
Uncompressed 24 kHz mono, straight into Premiere, Resolve, Final Cut or CapCut. Adjust the script where it runs long and regenerate just that section.
Write To The Seconds, Not To The Page
Narration written before the edit almost always runs long, and audio that runs long over picture cannot be fixed without either cutting words or holding shots you did not want to hold.
“Here we can see the main production floor, where the team works on a wide range of different components using a variety of specialised machinery and processes. (28 words over a 9-second shot)”
“This is the production floor. Everything here is cut, welded and finished in the same building. (16 words, 9 seconds, with room to breathe)”
“Moving through into the kitchen area, you will notice that there is a considerable amount of natural light coming in from the large windows that face out onto the garden.”
“The kitchen faces the garden. Light most of the day, and room for a table that seats eight.”
“The next step in the process involves ensuring that all of the relevant documentation has been correctly completed before proceeding any further.”
“Check the paperwork before you go on. Missing forms are what hold this up.”
Generate By Section, Not In One Long Take
The instinct is to write the whole narration, generate it once, and try to fit the picture around it. Editors who do this regularly do the opposite: one generation per sequence, each written to that sequence’s length, placed individually. It gives you frame-accurate gaps, it means a rewrite only costs you one section, and because the voice never varies between generations, nobody can hear where one ends and the next begins.
- One pass per sequence, so a change costs one section rather than the whole read
- Identical voice between generations — no audible seam at the joins
- Uncompressed mono WAV, centred and ready for the timeline
- Works as a scratch track to test copy and runtime before a booked session
- Honest limit: this makes the voice, not the video — no avatars, no footage
Narration Written To Length
Tell it the seconds you have and it writes to them.
Corporate opener
“Forty seconds of brand film narration over factory footage, about a firm that has made the same component in the same building for sixty years. Sparse, weighted, lots of gaps”
Product demo section
“Thirty seconds of neutral product narration covering three features of a budgeting app, roughly ten seconds each, naming each feature as it appears on screen”
Property tour
“A warm two-minute walkthrough narration for a converted mill flat at walking pace — entrance, kitchen facing the garden, mezzanine bedroom, river view from the balcony”
Training module
“Ninety seconds of clear training narration for a warehouse safety procedure, four steps, one sentence each, with a pause between steps for on-screen text”
Event recap
“Twenty-five seconds of bright recap narration over conference footage — attendance, three headline sessions, and the date of next year, leaving room for room noise”
Scratch track
“A rough read of my draft narration for a four-minute case study so I can lay it under the cut and find out if it is too long before booking anyone”
Who Lays Voiceover Over Video
Video editors
Section-by-section narration and scratch tracks that drop straight onto a timeline.
Corporate video teams
Brand films, internal comms and process video, updated a section at a time.
Estate agents
Property walkthrough narration at walking pace, produced the same day as the shoot.
Training & L&D
Module narration that survives a process change without a re-record session.
What You Get
Timeline-ready WAV
16-bit mono, 24 kHz, centred — no conversion before import.
The script, saved
Cut four words to make a sequence fit and regenerate that pass alone.
Nine voices
Neutral, direct, warm or weighted — matched to the kind of film.
Share link
Send a narration draft to a client or director before the final mix.
Frequently Asked Questions
Mostly about timing and file format, which is what actually matters in an edit.
Does this generate the video as well as the voice?
No — and most of the tools ranking for this phrase do. HeyGen, Synthesia, Fliki and InVideo build the whole video, with avatars or stock footage assembled around your script. This does one thing: the narration track for footage you have already shot or edited. If you want a video generated from a prompt, use one of those. If you have a timeline and it needs a voice, you are in the right place.
How do I make the narration fit my edit?
Write to the picture rather than writing first and hoping. Time each section of your cut, convert seconds to words at roughly 150 words a minute — a twelve-second shot is about thirty words — and write to those counts. Then generate, drop it on the timeline and check. Being ten words long on a section is easy to fix in the script; it is very hard to fix by stretching audio.
Can I add pauses so the narration lines up with specific cuts?
Not inside the audio — there is no SSML, so no break tags or timing marks. The way editors actually do this is better anyway: generate the narration in sections, one per sequence, and place each section against its own picture. That gives you frame-accurate control over the gaps, which a pause tag never would, and the voice is identical between sections so nothing gives away the join.
What format do I get, and does it import into my editor?
A 16-bit mono WAV at 24 kHz. It imports directly into Premiere Pro, DaVinci Resolve, Final Cut Pro, CapCut, Camtasia and anything else that takes a WAV — no conversion step. Mono is correct for narration, since you want it centred rather than spread across the stereo field, and uncompressed means your export is not re-encoding audio that was already compressed once.
Can I use it as a scratch track before hiring a voice actor?
Yes, and for a lot of professional editors that is the main use. Laying a generated read against the cut answers two questions that a written script cannot: does the copy fit the picture, and does it fit the runtime. Fixing those before a recording session means you are not paying someone to read a script you are about to cut by fifteen seconds. Plenty of people use it exactly this way and still book a human for the final mix.
How long a narration can I generate at once?
4,000 characters per pass — about 650 words, or four minutes of narration. Since you should be generating section by section to match your sequences anyway, that is rarely the constraint it sounds like. A twenty-minute corporate video might be five or six passes, each aligned to its own part of the timeline.
Is it free, and can I use it for client work?
15 credits free on signup with no card, and a narration costs 10 credits, so you can generate one complete pass and hear it against your footage before paying anything. Downloading the WAV needs a paid plan from $15 a month, which also carries full commercial usage rights — so client work, brand videos and paid campaigns are covered, with no attribution and no usage window.
Which voice suits a corporate or product video?
Echo is steady and neutral and it is the safe choice for corporate, internal and process video — deliberately unremarkable, which is right when the content is a policy or a procedure. Alloy is neutral and even for product demos and explainers. Ash is clear and direct for training and how-to. Onyx is deep and authoritative for brand films and anything that wants weight rather than friendliness.
More Video & Voice Tools
Same studio, same credits — the rest of the edit covered.
Time The Cut. Write To It. Drop It In.
Narration built section by section to fit the footage you already have. Free to start — 15 credits, no card required.