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Kuaishou announced Kling AI 2.0 on April 15, 2025—not in 2026—and said Kling had surpassed 22 million global users after roughly 10 months. The release paired the Kling 2.0 video-generation model with KOLORS 2.0 for image generation and editing, centered on a concept Kuaishou called Multi-modal Visual Language (MVL).
The launch mattered because it moved Kling beyond prompt-only generation: creators could use text, image references and video material to direct or transform visual content. But the 22 million figure was company-reported, and Kling 2.0 is now an earlier release; Kuaishou announced the Kling 2.1 series by the end of May 2025.
What Kuaishou launched on April 15, 2025
At its “From Vision to Screen” event in Beijing, Kuaishou announced two related products:
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- KLING 2.0 Video Generation Model: a system for text-to-video and generation conditioned by images or video references, with claimed improvements in motion, instruction following, semantic responsiveness and visual aesthetics.
- KOLORS 2.0 Image Generation Model: an image-generation and editing system offering local repainting, expansion, repair, element modification and style transfer. Launch materials claimed more than 60 stylized effects.
Kuaishou also highlighted a Master Edition of Kling AI 2.0. “Master Edition” should be understood as a premium or higher-performance edition label, not necessarily as a completely separate foundation model.
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The company’s announcement is documented in its official release.
What “multimodal” meant in practice
Multimodal prompting is more than allowing users to upload an image. Kling’s MVL concept combined different kinds of creative direction:
- Text could describe an action, transformation, camera movement or mood.
- Reference images could establish a character, product, costume, object, setting or visual style.
- Video clips could provide source motion, composition or a scene to transform.
Kuaishou also discussed extending this approach to inputs such as voice and motion trajectories. Those ideas should not be treated as universally available Kling 2.0 controls at launch; they were presented as part of the broader direction of MVL.
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How the multimodal video editor differed from ordinary generation
The launch coverage described a Multi-Elements Editor capable of adding, removing or replacing elements in an existing video with text or image inputs. The conceptual workflow is:
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- Start with an existing clip.
- Provide a text instruction or visual reference.
- Ask the system to add, remove or replace an object, character or other scene element.
- Generate a modified version and continue refining it or move the result into another editor.
For example, a creator might attempt to remove a distracting person, add a prop to a product shot or replace an object with a different design. This is generative manipulation of video—not a claim that Kling replaces a nonlinear editing timeline, professional masking, keyframing, color management or a visual-effects compositor.
Generative editing can reconstruct pixels rather than preserve every frame exactly. Added objects may have incorrect scale, lighting, shadows or perspective. A removed subject may leave temporal artifacts, while a replacement may drift in identity, clothing or shape from frame to frame. A convincing demonstration therefore does not prove frame-accurate performance on arbitrary footage.
What KOLORS 2.0 added
KOLORS 2.0 addressed the still-image side of the release. Its advertised controls included:
- Partial repainting or local editing
- Image expansion, also known as outpainting
- Image repair
- Adding or modifying elements
- Style transfer and stylized transformations
Kuaishou’s launch material claimed more than 60 stylized effects. Such tools are useful for concept art, storyboards, campaign variations and keyframes for later image-to-video work. They do not guarantee that fine facial details, typography, logos or brand elements will remain unchanged.
What the 22 million users claim does—and does not—show
Kuaishou said Kling’s global user base had surpassed 22 million roughly 10 months after the initial Kling launch in June 2024. This is a significant adoption claim, but it is not an independently audited active-user measurement.
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The announcement does not define whether “users” means registered accounts, monthly active users, paying customers or another internal category. It is therefore inaccurate to rewrite the figure as 22 million active creators or 22 million paying customers.
Launch-related coverage also reported approximately 168 million videos and 344 million images generated by users. Those totals should likewise be attributed to Kuaishou or its related launch materials rather than presented as independently verified platform activity. See the reporting from Business Wire and VentureBeat.
Quality claims versus independent evidence
Kuaishou described Kling 2.0 as improving instruction following, semantic responsiveness, motion quality, visual aesthetics, movie-style expression and controllability. These are product claims, not the results of a neutral comparative test included in the launch announcement.
Kuaishou also cited an Artificial Analysis ranking dated March 27, 2025, in which Kling 1.6 Pro in high-quality mode reportedly ranked first in an image-to-video category with an Arena ELO score of 1,000, ahead of Google Veo 2 and Pika Art. That evidence concerns Kling 1.6 Pro, not a direct independent benchmark of Kling 2.0.
The distinction matters. A strong result for an earlier model can provide context for Kling’s competitive position, but it cannot establish that Kling 2.0 was the top video model or that the launch claims applied equally across every workflow.
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The commercial significance of the release
Kuaishou positioned Kling as both a consumer creator service and a business platform. It described subscription services for individual prosumers and API services for companies and developers, with potential applications in advertising, marketing, film, animation, games, smart devices and professional content creation.
In a later company update, Kuaishou said Kling had more than 10,000 domestic and overseas corporate clients and developers. It also reported an annualized revenue run rate above US$100 million in March 2025, monthly subscription bookings above RMB100 million in both April and May, and RMB150 million in Kling revenue during the first quarter of 2025. These are company-reported financial figures, not independently audited measures of profitability.
The follow-up figures are discussed in Kuaishou’s anniversary update and its Q1 2025 management presentation.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Where Kling fits in a creator workflow
Kling’s strongest use cases are workflows where speed and visual iteration matter more than guaranteed continuity:
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- Advertising concepts and product variations
- Storyboards and film previsualization
- Generative visual effects and short-form experiments
- Concept art and designed keyframes
- Rapid creative exploration for marketing teams
It is less suitable as a standalone solution for frame-accurate commercial postproduction, long-form narrative continuity, complex compositing with precise masks and keyframes, or projects requiring guaranteed legal provenance for every generated asset.
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Teams should also calculate the cost of a usable clip rather than the advertised cost of one generation. Retries caused by motion errors, identity drift and inconsistent backgrounds can matter more than the nominal credit price. Before committing, check the live product and billing pages for resolution and duration premiums, API quotas, consumer-plan limits and credit rollover rules. Current Kling pricing was not reliably verified in the supplied evidence.
Risks and failure modes
- Temporal inconsistency: a newly inserted object may change shape, position or lighting between frames.
- Identity drift: replaced characters may not preserve faces, clothing or proportions throughout a shot.
- Reference conflicts: text instructions can override or conflict with an image reference.
- Brand and typography errors: logos, labels and small text may be altered or rendered incorrectly.
- Rights and privacy: recognizable people, client footage, copyrighted characters and branded products require appropriate consent and clearance.
- Data handling: teams uploading private or client material should review retention and training-use policies before using the service.
A short clip that looks impressive in isolation does not establish reliable shot-to-shot continuity. Human review and conventional postproduction remain necessary for many commercial projects.
What changed after Kling 2.0?
The version timeline is important:
- June 2024: Kuaishou’s initial Kling launch.
- April 15, 2025: Kling 2.0 and KOLORS 2.0 announced globally.
- End of May 2025: Kuaishou announced the Kling 2.1 series, including Standard, High Quality and Master editions.
As of September 2026, Kling 2.0 should therefore be treated as a historically important release, not the current state of the platform. Its significance lies in the direction it established: reference-driven generation and generative manipulation of existing visual material.
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How Kling compares with other AI-video workflows
The broader market has moved toward similar forms of control. Google’s current Veo materials emphasize reference-image “ingredients,” style matching, character consistency, scene extension, camera controls, first-and-last-frame generation, object insertion, object removal and native audio.
That does not make the systems interchangeable. Kling is particularly relevant when image references, image-to-video generation and element replacement are the center of the workflow. Veo and Flow may be more attractive to teams prioritizing native audio, cinematic controls or Google’s developer channels. Adobe Firefly may suit users already working inside Adobe’s creative ecosystem; its current feature information is available on Adobe’s official page. Runway is another relevant option for teams wanting a broader AI-production workspace; current plans should be checked at its official pricing page.
Verdict
Kling AI 2.0’s meaningful contribution was not simply another text-to-video upgrade. Its launch pushed reference-driven creation and generative element editing toward the center of the workflow, giving creators a way to communicate character appearance, objects, style, motion and scene changes with more than text alone.
Kuaishou’s claim of more than 22 million global users shows rapid reported adoption, but it does not prove that 22 million people were active or paying users, nor that Kling 2.0 led every quality benchmark. The cited independent ranking concerned Kling 1.6 Pro, and the rapid arrival of Kling 2.1 means 2.0 is no longer the newest release.
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For social-video teams, advertisers, concept artists and filmmakers in previsualization, Kling’s control-oriented approach could shorten the path from idea to usable visual draft. For professional finishing, long-form continuity and legally sensitive production, it remains a generative component—not a replacement for an editor, compositor, asset-management system or rights-clearance process.
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