Can a blind person edit video? Demir Ajvazi’s answer is yes: he says he built Ultra Creative Suite so blind, low-vision, and sighted creators could use the same full video-editing workflow. His account centers on a practical design choice: make the timeline and core actions legible to screen readers and usable from the keyboard, rather than relying on visual controls and dragging.
Why I built another video editor
When Ajvazi used professional video editors with JAWS, he says unlabeled buttons, visually presented timelines, and drag-and-drop workflows got in the way. This is his experience with the software he used, not a claim that every version or setup of Premiere or DaVinci Resolve is inaccessible to every screen-reader user.
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His response was to build Ultra Creative Suite. “I got tired of waiting for someone else to fix this,” he writes. “So I built Ultra Creative Suite.” The project is intended for blind, low-vision, and sighted users to work with the same feature set, rather than separating accessibility into a reduced mode.
How the timeline works with a screen reader
Ajvazi says he replaced a custom-drawn visual timeline with a native Win32 ListView. He chose it because JAWS and NVDA can expose its clip items through their standard interfaces, without extra plugins or workarounds. According to his description, a clip’s name, type, duration, position, and audio description can be read as the user moves through the list.
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This changes the interaction from interpreting a visual arrangement to navigating structured items. A screen reader can announce the selected clip and its properties, giving the editor information needed to make decisions about the sequence without depending on seeing where a block sits on a track.
Keyboard access, focus, and announcements
Ajvazi describes core actions as keyboard-controlled and announced by the screen reader. He also cites focus management, live-region announcements, and standard keyboard shortcuts as parts of the implementation. His stated aim is that “No mouse [is] required for any core workflow.”
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That is a design goal and a reported product capability, not an independent accessibility audit. The account does not document a systematic test across software versions, operating-system configurations, screen readers, or assistive-technology settings.
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Ajvazi describes a workflow that starts with audio and uses lyric analysis to help assemble a video. The features he lists include local analysis with Ollama and Qwen 2.5 14B, which identifies mood, season, and energy by lyric line; automatic downloads of stock footage from Pixabay; per-lyric color grading with FFmpeg curves; ambient sound mixing; and rendering to 4K.
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- 【Expand your library】 32GB of storage allows you to take your entire collection with you. With a memory card slot, the e-reader can easily expand its 64GB of internal storage.
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He also reports a library of more than 1,279 categorized ambient clips. That count, the described capabilities, and 4K output are claims in his account; they are not independently verified performance results. The article does not establish benchmarks or technical validation for the model, downloads, grading, or rendering.
The demo and the project
Ajvazi says he created the demo himself using JAWS, without sighted assistance. He describes Ultra Creative Suite as open source under GPL-3. The project repository is available at github.com/demirajvazi10-max/Ultra-Creative-suite.
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- Main function as a screen reader: Get spoken feedback, control your device with gestures, and type with the on-screen keyboard
- Accessibility Menu shortcut: To direct to the System Accessibility Menu on one click
- Touch to speak: Touch on your screen and hear the app read the items aloud
- Customize Voice Libraries: Choose the voice you like to hear as feedback.
- Custom gesture: Define the actions with desired gestures as the actions
What this story does—and does not—show
Ajvazi’s account offers a concrete example of how an editor can be designed around screen-reader access: use controls that assistive technology can identify, expose meaningful clip information, manage focus, announce changes, and support keyboard operation. It also shows why an inaccessible interaction pattern can prompt a creator to build a tool around a different set of assumptions.
It does not establish that Ultra Creative Suite is currently available in a particular release, that every feature works as described across all setups, or that established editors are universally inaccessible. Those conclusions would require current-version testing beyond the author’s personal account. His closing thought is broader than video editing: “If you’ve ever thought "why isn’t there accessible software for X" — maybe this is the starting point.”
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