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In Summary At NAB Show New York 2026 (Javits Center, October 21 to 22), the enterprise conversations at Booth 656 kept coming back to three questions. Where does our footage live? Does it fit the editors and NLEs we already have? What does it save us? The short answers: in our cloud, in your own cloud or on-prem; yes, timelines go back to Premiere Pro, DaVinci Resolve and Final Cut Pro, pointing at your original media; and on conservative assumptions, about $60,000 a year of editor time for a team logging 120 hours of footage a month.
Thank you, New York
Thanks to everyone who came by Booth 656, and to the r/editors crowd who came out the night before. A lot of the people we met were editors already cutting with Eddie. A growing share were people who run post for a whole team: newsrooms, brand studios, documentary companies and sports media groups. This post is for them.
Question 1: where does our footage live?
For enterprise teams this comes first, before any demo. Eddie offers three deployments:
- Eddie Cloud, the default, with nothing to set up.
- Private cloud, which runs Eddie inside your own AWS, Google Cloud or Azure account.
- On-prem, which runs Eddie's models on hardware you control.
On every deployment, Eddie does not train on your data. SAML/SSO, centralized admin and custom limits come with every enterprise deployment. Eddie is SOC 2 Type I and Type II audited and GDPR certified, and the enterprise page covers HIPAA as well.
Question 2: does it fit how our editors already work?
Eddie is an assistant editor, not a new NLE. It transcribes and logs the footage, pulls selects, and builds a string-out or rough cut from a brief. Then it sends the timeline to Premiere Pro, DaVinci Resolve or Final Cut Pro, pointing at your original media. Your editors finish where they already finish: pacing, music, color, sound and approvals stay in their hands.
Question 3: what does it actually save?
This is the question we now answer with a model instead of an adjective. It takes three inputs: hours of footage a month, editor day rate, and hours saved per hour of footage.
We keep the last one conservative. Logging and transcribing by hand takes roughly 4 hours per hour of footage. We assume Eddie saves 0.75 hours of that for news, 1 hour for brand work and 1.5 hours for interview-heavy documentary. We count nothing on finishing, and we price an editor day at 8 hours.
| Team | Footage a month | Hours saved per footage hour | Editor time saved per year |
|---|---|---|---|
| News team, 6 editors, $450/day | 120 h | 0.75 | about $60,750 |
| Brand studio, 4 editors, $500/day | 60 h | 1.0 | about $45,000 |
| Documentary company, 5 editors, $400/day | 100 h | 1.5 | about $90,000 |
Usage is metered in credits: importing is 250 credits per hour of footage and a timeline export is 100 credits. Even budgeting a generous 500 credits per footage hour, the news team uses about 720,000 credits a year. That is about $5,000 at published pack prices ($350 for 50,000 credits), against about $60,000 of editor time.
Your numbers will differ, which is the point. The fastest way to find yours is a two-week pilot: one project, one editor, 10 to 30 hours of footage, measured against a comparable past project.
Talk to us
If you run post for a team and want to plug in your own numbers, book a 20-minute call. Bring a typical month: how many editors, how much footage, and where it has to live.
