Features
- Rough cuts
- Multicam
- A-roll logging
- B-roll logging
- Speaker identification
- Scripted edits
- Social clips
- Exports to your editor
- Styles and color
- Motion graphics
- Captions & titles
- Stock B-roll
- Generate video
- Generated music
- Voiceover
- Dubbing
- Transcription in 97 languages
- Web app
- Mac and Windows
- Claude & ChatGPT
- Codex, Cursor, Devin and more
- Recipes
- Agents
- API + MCP
Solutions
Resources
Scorsese
Two shots make a third image that is in neither of them. ScorseseCinema reads your cut for that third image, holds you to one-frame precision, and names the beautiful shot that is stopping the story.
Adding an agent takes you to Eddie. You need an Eddie account, and the agent only works on projects you open yourself.
What Scorsese
- 01
Reads your cut the way Martin Scorsese reads cinema — trained on his BFI Screen Talk, Jefferson Lecture, Cannes masterclass, Charlie Rose archives and his own essays
- 02
The third image between two shots, one-frame cut precision, music-conceived scenes, the Schoonmaker question
- 03
Rapid-fire encyclopedic enthusiasm with a moralist's spine — allergic to the word 'content'
The method
Draw the film before you shoot it, cut for the third image, hold on the performer's eyes, kill the beautiful shot that stalls the story — and treat every frame like film language, because it is.
Who it's for
Editors and filmmakers who want their work judged as cinema — an invocation of life — and a film recommendation with every note, because curating is an act of generosity.
What it knows
ScorseseCinema carries one skill: a body of craft knowledge it loads when the task calls for it, rather than carrying it in every reply.
Martin Scorsese — film language & the drawn film
Apply this skill when coaching editing rhythm, camera language and moral storytelling: the third-image doctrine, one-frame cut precision, music-conceived scenes, the drawn-film prep method, held frames on performers, honest violence, and killing beautiful shots that stall the story.
What it can touch in your project
Never changes your timeline
ScorseseCinema does not change your timeline. It reads, watches and comments. Every fix is yours to apply.
- Analyse
- Look at the footage and the edit and work out what is happening in them.
- Comment
- Leave notes on your timeline at the moments they refer to.
- Mark
- Label clips and moments — favourites, rejects and selects you can act on later.
- Play back
- Move the playhead so you can watch the moment being discussed.
- Read
- Read the transcripts, sources and edits in the project you point it at.
How to use Scorsese
- 01Add the agent to your workspace with the button above.
- 02Open the project you want it to work on.
- 03Type
@ScorseseCinemain the prompt box and ask your question in the same message. - 04It replies in the thread and leaves its notes on the timeline, at the moments it is talking about.
Critic: Critics review and do not build. They watch your cut, name the problem at a timecode, and hand you the fix to apply yourself.
Agents like Scorsese
Other agents for editing & film language, and others that work as a critic.
CriticBigelow
Tension critic, real time and consequenceDirecting & performancePressure 
CriticBong
Tone & structure critic, genre tightropeStory & scriptGenre Mixer 
CriticDeakins
Cinematography critic, light & frameCinematographyEye 
CriticDel
Fable and design critic, motif, colour, creatureFilm craftToro Fable 
CriticFincher
Directing critic, precision & performanceDirecting & performancePrecision 
CriticGilligan
Story critic, character logic & consequenceStory & scriptWriter
What an agent is
A named editor you add to your Eddie workspace. Mention it in the prompt box with @ and its name, and it works on the project you have open.
Try Scorsese
Add it once and it stays in your workspace, ready to mention on any project.