EdMon Media Manager

Advanced Media Composer parsing, processing and round-tripping, built on real productions.

Confidential

The vision

Ingest on Monday. Watch rough cuts on Tuesday morning.

MONDAY · DAY

Footage ingested into Avid. Bins flagged for processing.

MONDAY · OVERNIGHT

Parse, sync, audio matching, scene split, rough cut. Nobody in the loop.

TUESDAY · 09:00

Producers watch cuts in the browser; editors open them in Media Composer.

Real productions

Real unscripted productions are multicam, multi-recorder and huge

18 clips

from one First Dates day: 8 cameras on 2 rigs, 3 interviews, 7 audio recorders.

2–3 days

of assistant-editor prep per shoot day: syncing, grouping, splitting, naming.

1 timeline

is where editors on larger shows actually work: a dailies sequence holding all of it.

Sources: First Dates case study (Aug 2026) · EdMon partner deck (Jul 2026)

What Media Manager does

Parse, process, round-trip

01 · PARSE

Media Composer bins, fully read

Sequences, multicam and group clips, sync clips and timecode, straight from the .avb file.

02 · PROCESS

Dailies to rough cut, unattended

Autosync, audio-to-camera matching, scene split and rough cuts on multicam days of any size.

03 · ROUND-TRIP

Back into Avid and onto the web

Native bins and AAF that open in Media Composer, and a web app where producers review and tweak cuts.

EdMon Media Manager · Confidential

Media Manager in one minute

Dailies in. Scenes and rough cuts out.

Media Manager reads the dailies bin, syncs every camera to every recorder, splits the day into scenes and builds rough cuts. Then it round-trips them into Media Composer and publishes them to the web.

Avid

Premiere

Resolve

Web

EdMon Media Manager · Confidential

The pipeline

Eight automated stages from dailies to rough cut

01

Parse

Sequences, group and sync clips, straight from the bin.

02

Classify

Vision model labels each clip: studio, reality, interview, b-roll.

03

Transcribe

Every audio track on its own; silent tracks dropped first.

04

Autosync

Timecode plus Avid’s own offsets, into multicam groups.

05

Match audio

Assigns recorder tracks to the right camera clips.

06

Scene split

Finds story boundaries minute by minute.

07

Rough cut

From the editor’s work or an EdMon template.

08

Round-trip

Into Media Composer, and onto the web for producers.

EdMon Media Manager · Confidential

Architecture · under the hood

One cross-platform app, a C++ bin reader and cloud services

DESKTOP APP

One .NET 8 and Avalonia 11 code base for macOS (arm64 and x64) and Windows, plus a headless CLI

MEDIA ENGINES

C++ Avid bin reader, FFmpeg, MLT and LibVLC playback, bit-exact DNxHD decode

SIDECARS

Python: pyavb and pyaaf2 bin writers, timecode probes, sync toolkit

AI LAYER

Claude, Gemini and OpenAI behind one routing client; Rev.ai, Deepgram, Gladia, Google speech

CLOUD

Firebase auth, database and storage; Cloud Run bin parser, speech proxy and rough-cut-to-bin

142k

lines of C#

24k

lines in our C++ bin reader

1,217

test methods

1,291

commits on the cross-platform app since May

EdMon Media Manager · Confidential

Parsing

Reads everything a real bin contains

Sequences

Multicam and group clips

Sync clips

The sync maps EdMon generates itself

A real First Dates bin, read natively: no Avid SDK and no Media Composer install on the processing machine.

EdMon Media Manager · Confidential

Parsing · under the hood

Reading .avb files without the Avid SDK

01

Our own cross-platform C++ reader (macOS, Windows, Linux) opens the .avb in a child process.

02

Every mob comes back as JSON: tracks, edit rate, start timecode, markers, group cameras and angle segments.

03

Media is linked through Avid’s msmFMID.pmr databases to the OP-Atom MXF files on disk.

04

A .NET layer repairs flattened multicam cuts, resolves angles and caches results by content hash.

05

The same reader runs in the cloud as a Cloud Run service.

Clip type	Stored as
Master clip	Master mob
Sequence	Composition, usage 0
Sync clip	Composition, usage 2
Multicam group	Composition, usage 4

703 bins, 0 failures

Media Composer 18.12 to 25.6

EdMon Media Manager · Confidential

Timecode · under the hood

Timecode, resolved from every source

WHERE TIMECODE COMES FROM

Avid bins

Walks master-to-source mob chains to the timecode component: start frame, rate, drop flag

MXF and QuickTime

Embedded timecode tracks, read with ffprobe

Broadcast WAV

Sample-accurate time_reference converted to timecode

THROUGH THE EDIT

Exact rates

Kept as rationals (24000/1001, 30000/1001) with drop-frame flags

Cut to source

Any point on a sequence or multicam cut resolves to its source clip and source timecode

No guessing

If timecode can’t be resolved exactly, none is shown

EdMon Media Manager · Confidential

Multicam and sync clips · under the hood

Multicam and sync clips, as Avid stores them

READING

Avid’s stored frame offsets are the truth; timecode only verifies. Camera clocks can be a minute apart.

Each camera’s offset = its leading filler minus its media in-point.

Angles are identified by their slot in the group, never by name or path.

Flattened cuts are repaired: lost leading audio filler, dropped repeat angles, under-read offsets.

WRITING A MULTICAM GROUP

Group clip · usage 4, a selector gangs the angles

Composition · usage 5

V · one offset-aligned track per camera

A · one track per camera × recorder channel

Sync clip (usage 2): one camera plus its recorder package, up to 8 channels per recorder.

EdMon Media Manager · Confidential

Sequences and dailies

Works on the timeline, not just clips

On larger shows the day lives on one dailies sequence. Media Manager can:

Play any sequence frame-accurately

Trace every cut to its source clip

Honour solo and mute to isolate audio

EdMon Media Manager · Confidential

Automation

Rename a bin. Walk away.

01

The editor adds _process to a bin name in Avid.

02

A watch folder picks it up and queues the whole package.

03

Batch queue runs up to 35 transcription jobs at once.

04

A report email goes out for every finished or failed bin.

EdMon Media Manager · Confidential

Automation · under the hood

From a renamed bin to a finished run

01

File-system watchers (FSEvents on macOS) follow *.avb recursively in every watch folder.

02

A settle check waits until Avid has finished writing the bin.

03

A _process or _reprocess suffix, or a colour tag, triggers the bin once.

04

The whole bin is queued as one package; a failed run fails visibly, never silently.

05

Transcription fans out per service, with 35 jobs in flight at peak.

06

A day report goes to the team; failures alert the operators.

EVERY STAGE IS A MODULE

id · version
typed input / output ports
cost class: free · llm · api
settings as JSON Schema
provenance of every value

Every model call is recorded: prompt, images and reply.

About 50 CLI flags for headless runs.

EdMon Media Manager · Confidential

Autosync

Every camera, every recorder, one timeline

Autosync turns a bin of unsynced camera clips and sound-recorder files into multicam groups, ready to cut.

Synced from timecode and Avid’s offsets

Grouped by what was said and seen

Written as native group clips

EdMon Media Manager · Confidential

Autosync · under the hood

How autosync builds the multicam

01

Parse the bin: every camera and recorder file, with start timecode and track layout.

02

Group by content: transcript summaries and camera stills decide what belongs together.

03

Place every take at its real timecode on a full-day sync map.

04

Trim to the window where the main cameras roll.

05

Write multicam group clips, or sync clips for a single camera, straight into the bin.

RULES

Avid’s own offsets always win over computed ones.

Content decides grouping, not timecode overlap alone.

Recorder channels are soloed, never dropped.

Sync toolkit for material without usable timecode: LTC decoding and FFT waveform matching.

EdMon Media Manager · Confidential

Autosync · accuracy

Sync you can check frame by frame

0.00 s

worst camera-to-audio difference across 20 samples in 5 sequences

± 1 frame

tolerance, checked against burnt-in timecode

EdMon Media Manager · Confidential

Audio to camera

Which audio belongs to which camera, solved

EdMon works out which recorder tracks belong to which camera clip or clips, from what is said and what is seen, not timecode alone. Another manual step removed.

31 of 88

silent tracks dropped in one test, before any AI spend

EdMon Media Manager · Confidential

Scene split

Scenes that follow the story

For every camera group, the model reads a 2×2 grid of angles each minute, plus the transcript, and marks where the story moves.

Show formats ship as templates, with their own location names.

EdMon Media Manager · Confidential

Scene split · under the hood

The scene pipeline, node by node

Node	Stage	What it does
01	Bin source	Parses the bin into a clip set; nested group, sync and sequence mobs set aside
02	Content type	20-frame contact sheet per clip: studio, reality, interview or b-roll
03	Silence gate	Drops tracks under −50 dB in three sample windows, before any spend
04	Transcriber	Every audio track separately; Rev.ai, Deepgram, Gladia or Google; cached
05	Grouping	Minute summaries plus stills: which audio goes with which cameras; picks main cameras
—	Timeline	Sync map at real timecode, trimmed to the main cameras’ window
06	Scene split	A 2×2 camera grid per minute plus transcript, one model call per group
—	Normalise	Labels bound to the format’s vocabulary; scenes under 3 minutes merged

Every prompt, image and reply is recorded per node · a harness diffs each node against validated results

Scene split · output

Named, timed and described before an editor looks

Every scene arrives with a title, start timecode, duration, camera count, a type tag and a description written from what was seen and said.

EdMon Media Manager · Confidential

Rough cut

Rough cuts with no human intervention

Two starting points:

The editor’s own work

Selects, scenes and structure already in the project

EdMon rough-cut templates

Per format, e.g. a 9–11 min date segment with interview intercuts

EdMon Media Manager · Confidential

Round-trip

The rough cut opens in Media Composer

Native .avb bins or AAF land in the editor’s own project, ready to open. No Avid SDK, no Media Composer install on the processing machine.

Works with Media Composer 18.12 to 25.6.

EdMon Media Manager · Confidential

Round-trip · under the hood

Writing native Media Composer bins

01

Works on a copy of the editor’s bin: new compositions are added, master clips stay untouched.

02

Timecode and edgecode tracks come from a template authored in Media Composer.

03

Scenes land in a child __SCENES bin next to the editor’s own.

04

Captions reuse an Avid SubCap effect: 42 characters × 2 lines, 2-frame gaps.

05

Rough cuts made on the web come back as an .avb through a cloud service.

OUTPUTS

Media Composer

Native .avb, or AAF

Premiere Pro

FCP7 XML

DaVinci Resolve

.drt timeline, relinks by path

Trint

Story to .avb sequence

EdMon Media Manager · Confidential

Web producer workflow

Producers review and tweak cuts on site, without Avid

Review rough cuts in the browser

Tweak, trim and reorder segments

Summaries, transcripts and search

EdMon Media Manager · Confidential