Editing is only half a job. The other half is getting somebody to sign off on it, and then finding the twelve things they said in among the places you have to change them. This week is mostly about that second half: a review page you can hand to a client, notes that pin to the exact frame, and those same notes waiting for you as markers when you open the timeline in your own edit suite.
A review link you can hand to a client
Share a cut for review and the person at the other end gets a proper review player. They do not need an Eddie account, and they do not get a video with a comment box bolted underneath it.
A note can be about a moment or about a passage. Reviewers have always been able to mark a range — the problem was that nothing ever showed it back to them. A reviewer marked eight seconds and got a note that looked exactly like a note about a single frame. Now, while they are marking, the span draws live on the scrub track from the mark to the playhead, so they can see what they are about to say something about. The composer shows both ends and a duration. The rail prints 0:12 – 0:19. The timeline draws the span underneath the markers, with a minimum width so that two seconds of a ninety-minute cut is still visible rather than a sub-pixel sliver.
The picture holds still while they write. Focusing the comment box pauses playback. This sounds like a nicety and is really a correctness fix: the timecode chip used to keep ticking while the reviewer typed, so the note landed wherever the cut had got to by the time they hit send — routinely several seconds past the thing they were describing. A review comment's timestamp is the entire point of a review comment.
Drawings belong to their frame. A pinned annotation now shows only while paused, and only on the frame it was made on. Previously every pinned comment's dot rendered at every playhead position, so forty notes meant forty dots painted over the picture for the whole running time, and a stroke drawn at 00:12 could still be sitting over a completely different shot at 02:00.
Markers get their own lane. They have moved off the scrub track into a lane above it, each chip dropping a hairline down to the moment it marks. Where several people commented on nearly the same instant, hovering the cluster fans it out into individually clickable chips — and on touch, where there is no hover, clicking the cluster opens the list instead.
The transport is a transport. Playback speed that persists across a reload, a real volume slider rather than a mute switch, frame stepping, and action- and title-safe guides at 93% and 90% — because titles that clip on a television are much cheaper to catch in review than in QC. Every control is reachable from the keyboard, with a visible focus ring on each one.
It can email you. Subscribe to a review link and new comments arrive in your inbox. Worth saying plainly, since this is the sort of thing that quietly does not work: the subscription dialog existed in the code but nothing on the page ever rendered it, so no subscription could be created at all. It is wired up now, and there is a structural test asserting that every dialog the page has state for is actually rendered somewhere — the exact shape of that bug, pinned so it cannot come back.
And you can ask Eddie for its own notes. AI feedback runs from inside the review page. A short intake asks what the video is, what it is for, and whether anything in particular is worrying you; the answers compose into the question Eddie reviews against, and the notes land in the same rail as everybody else's. Leave the intake blank and it deliberately sends no question at all, because a full review beats one narrowed by filler.
Those notes become markers in your NLE
Timeline comments now travel with the export. Open the cut in DaVinci Resolve and every note is on the timeline as a marker, at the frame it was written about.
This is the part of the round trip that has always leaked. Notes live in one place, the edit lives in another, and the work of getting from one to the other is a person with two windows open, scrubbing to a timecode they read off a screen. Carrying the comments into the exported timeline collapses that: the note is at the cut point, in the tool where you are going to act on it.
If you would rather Eddie made the changes itself, that still works — leave the comments in Eddie and ask it to action them.
Exporting to your NLE → · Comments Eddie can action →
Plan your B-roll as a shot list
Last week B-roll became something you could see before you committed to it: candidates as playable tiles rather than a description in a chat reply. The obvious next question was what happens when you need eight shots rather than one.
Describe the sequence you want and Eddie lays it out as a board — a list of shot slots, each anchored to the moment in your cut that it covers. You fill slots from stock. Where nothing suitable exists, Eddie can generate for that specific slot rather than for the sequence in general.
The interesting part is the pass at the end. Picking the best clip for each slot independently is how you end up with five clips that each individually matched the brief and collectively look like five unrelated stock clips: different times of day, different grades, different lens languages. So once the strip is picked, it gets looked at as a set, and shots that fight the ones around them get swapped for ones that do not. A sequence should read as a sequence.
Cut to the beat
Two new things Eddie can do: find the beat grid in a piece of music, and snap the cuts in your edit onto it.
They are deliberately separate. The first measures — it analyses the track and works out where the beats actually fall, which is not the same as dividing the running time by a tempo you guessed. The second rewrites only the segment boundaries in an edit you already have: same shots, same order, same everything, with the cut points moved onto the nearest beat.
That separation is what makes it safe to try on an edit you care about. You are not asking for a new cut and hoping it resembles the old one; you are asking for the cut you already approved, on the grid.
Seven more desktop releases
Star the projects you are working on. Favourites pin to the top of the sidebar, per user, so a shared workspace does not mean somebody else's ordering.
Imports survive an external drive. This is the one worth the most on a real edit day. The machine is kept awake for the duration, so an import no longer dies because the Mac slept. If the volume disappears — a bumped cable, a hub that browned out — the import pauses rather than failing, and picks up where it left off when the drive comes back. And if one file is simply not going to read, you can tell the import to continue without it, so a batch of two hundred clips is not held hostage by one.
More formats, and better refusals. iPhone HEIC and HEIF photos now import on Windows and Linux. Wide-gamut ProRes no longer fails on import — tone mapping now happens only when the transfer curve is genuinely PQ or HLG, rather than on anything that merely looked wide. Apple ProRes RAW says what it needs instead of surfacing a generic encoder error. And when an import does fail, it names the cause and offers a Retry button only when retrying could actually succeed, which is a more useful thing than a button that always appears and usually does nothing.
SOC 2 Type II, GDPR, and credits without a subscription
Eddie is SOC 2 Type I and Type II certified, and GDPR certified. If your footage belongs to a client whose security review you have to pass, the paperwork is published on the Trust Center rather than something you have to ask us for. We wrote about what each of those certifications actually covers — and what none of them promise separately.
Separately: you can now buy credits outright, without a subscription. If your work arrives in bursts — three projects in a fortnight and then nothing for a month — paying for what you use tends to land better than paying monthly for capacity you are not using.
Also this week
- Download your edit's captions as SRT, VTT or plain text, free.
- Drop in a folder of audio and it lands in your music library rather than failing the import — and audio files no longer hide from the file picker.
- Multicam angles are named from what is actually said in them, so angles arrive labelled instead of as "Angle 3".
- Backgrounders accept spreadsheets —
.xlsxand.csvalongside documents. - Signing in happens on Eddie's own page: enter your email, get a code, stay where you were.
- Workspace owners can issue API keys from Integrations, for driving Eddie from their own tools.
Elsewhere
No Film School wrote up the new pay-as-you-go pricing and running Eddie as an MCP server inside Claude or ChatGPT — editing your footage from the assistant you already have open, rather than a separate tab. Here is how to set that up.
CineD covered EddieEditor1-9B, a small editing model we have been training that is compact enough to run locally. To be clear about what that is: research, not a product feature — there is nothing to switch on today. But if the shape of the work interests you, the write-up covers it.
Missed last week?
In case this is the first one you have opened:
- See your B-roll before you commit to it. Ask for a shot and get playable candidates side by side, before anything imports.
- Chat and Pro views. A simpler workspace with just the essentials, one click away from the full one — and your choice follows you.
- Cloud MP4 exports run to a full hour. Long-form interviews, webinars and full episodes render in the cloud instead of sending you back to your desktop.
- Know what a run costs before you pay for it. Prices and balances stated up front, and an automatic refund when a run produces nothing.
As always, just tell Eddie what you want and it will do it.
— The Eddie AI team