Come find us at IBC in Amsterdam
We are exhibiting at IBC next week, 11–14 September, at the RAI in Amsterdam. If you are going, come and say hello — we would rather show you what Eddie does with your own footage than talk about it in the abstract. We also have something to show you that we have not shown anyone yet.
- Booth 7.A38, Hall 7 — 11–14 September 2026, RAI Amsterdam
- Talk on the Future Tech Stage — Saturday 12 September at 14:15, our CEO Shamir Allibhai on where the edit suite is going
- Drinks on Sunday evening — come by the booth and we will tell you where
The full announcement, along with the rest of the week in the industry, is in Rough Cut.
And this week: a sharper Eddie, and steadier footing under it
Most of what landed makes the distance between "here is what I want" and "here is the cut" shorter. Eddie reads the ask more accurately, gets further on its own before coming back to you, and gives you an account of its work you can act on directly.
Eddie is in your pocket
If you have not put Eddie on your phone yet, it is worth the minute. The same projects and the same edits, on the iPhone: watch a cut on the way somewhere, ask for a change, send someone a review link, and pick it back up at your desk. Your sign-in carries over from the web and desktop, so there is nothing to set up.
Download Eddie on the App Store →
Ask for a change, get the change
The clearest improvement this week is in how Eddie handles an instruction that is not fully specified — which, in editing, is most of them.
It commits to a good default. "Make the intro tighter" does not contain a number. Eddie now decides what tighter means for your footage, does the work, and tells you the call it made. You end up reacting to an actual cut rather than to a questionnaire, which is both faster and a much better way to find out whether you agree — it is easier to say "too tight" about something you are watching than to specify a target in the abstract beforehand.
Your context carries forward. Answers you have already given stay given, across the length of a conversation. Tell Eddie to keep going and it keeps going, with everything you have told it still in play, so you are not re-establishing the same ground on every exchange.
Run summaries are verified against the edit. This is the one worth understanding, because it changes how much you have to double-check. When a run finishes, it writes a summary of what it did. Those claims are now checked against the timeline itself before you read them — if a summary says a section was removed, that removal has been confirmed in the edit. The practical effect is that you can act on the summary directly: read it, decide the next instruction, and go, without opening the cut first to confirm it says what it says.
How to prompt Eddie → · What you can ask for →
Your credits go further
Credits should buy finished work, so Eddie now settles up on its own in the cases where they did not.
- Work that does not reach you is not charged for. A run that could not complete, or a long background job whose result never arrived, refunds itself. There is nothing to claim and nobody to email.
- Corrections are free. A re-edit that fixes a recent run does not cost you a second time. Getting to the right cut in two passes should not cost double.
- Questions are always free. Ask what something costs, what your balance is, or why a particular run cost what it did — at any balance, including zero. Finding out why you are out of credits should never require credits.
- You get quoted the whole balance. Every credit type you hold counts toward the number Eddie tells you is available.
How credits work → · Why a run cost what it did →
Know exactly what your import brought in
Every import now finishes with a clear account of itself: what landed, what did not and why, and whether the result is something you can start cutting from. That last one matters more than it sounds — knowing at import that a batch has not given you enough to build with is worth a great deal more than discovering it later.
One specific case worth knowing about: if your source had several microphones and they were mixed down into a single track, Eddie tells you at import. That is the kind of thing you would otherwise meet an hour into the edit, at the point where you want to isolate one speaker.
Premiere imports in particular are markedly steadier this week.
Importing footage → · When an import needs a hand →
Three desktop releases
3.5.80, 3.5.81 and 3.5.82 all shipped this week: steadier Premiere and Media Encoder workflows, a more stable app on quit, and safer exports from imported NLE projects. ProRes RAW clips explain precisely what they need in order to decode.
The one worth knowing about if you shoot stills: photographs now carry the time they were actually taken. Eddie reads EXIF capture time on import, so a stills sequence arrives in the order you shot it rather than the order the file system handed it over.
The desktop app → · Premiere import trouble →
Also this week
- Help search understands the question you asked. Distinctive words now outweigh common ones, so asking in plain language finds the right article instead of whichever page repeated your most ordinary word the most times.
- Crop reports the zoom it is applying, and flags when no canvas size has been chosen — so you can protect your resolution before committing to a reframe. (Crop and reframe →)
- Builds report the pauses they close up, so the pacing of a voice-over stays your call. (Pauses and pacing →)
- Suggestions are ranked against your project's own footage rather than a fixed list.
- YouTube imports run on the durable cloud pipeline, so length is no obstacle.
- Renders always match the cut you asked for, at the quality you asked for.
- Project-ready emails carry a still from the project, so you can tell them apart at a glance.
Missed last week?
In case this is the first of these you have read, the headlines from the week before:
- A review link you can hand to a client. A proper review player, no Eddie account required, with notes that pin to an exact frame or an exact span.
- Those notes come back as markers in your NLE. Open the cut in DaVinci Resolve and every comment is already sitting on the timeline at the frame it was written about.
- B-roll planned as a shot list. Describe the sequence you want and Eddie lays it out as a board of shots against your cut, each slot anchored to the moment it covers.
- Cuts that snap to the beat. Find the beat grid in your music and move your existing cut onto it, keeping its shots and their order.
As always, just tell Eddie what you want and it will do it.
— The Eddie AI team