EdMon — Automation for post production

From the card
to the cut

EdMon isn’t one tool you add to your edit. It’s the whole chain between the shoot and the first cut — synced, transcribed, translated, shaped to your format, and delivered into the edit system your team already works in. We build that chain around how your production actually runs.

1
Chain, shoot to cut
5
Parts we build for you
0 •
Timelines cut by hand
The chain

One track, card to cut

Each stage hands to the next without anyone carrying files between them. This is the part that usually eats an assistant’s week.

Automated chain
1
Rushes
A day off the shoot, however it was captured.
2
Ingest
One shoot day at a time — the way you already count material.
3
Sync
Recorders married to picture. Angles lined up together.
4
Words
Transcribed, with who said what. Searchable across the shoot.
5
Language
Translated where you need it. Subtitles timed to the cut.
6
Shape
Your format’s template applied to the material.
7
Your edit
A cut in your project, ready to open and play.
▶ Material goes in at one end. A first cut comes out the other.
What we build

Five parts of the workflow

Take the whole chain, or the part that hurts most. Each one is built around your format, your languages and the system your editors already use.

1

Auto sync

Your rushes arrive already put together — synced from the shoot, not assembled on Monday morning.

You get a shoot day that’s ready to watch
  • ✓Separate recorders married to picture, frame-accurate. On a shoot where everyone carries their own recorder and the cameras are just angles, this is the job that eats an assistant’s morning.
  • ✓Every angle lined up against every other, so you can cut between them straight away.
  • ✓Material comes in a shoot day at a time — the unit you already think and talk in, not a folder of files.
2

Transcription & summaries

Every word in the rushes, attached to the person who said it, and findable without scrubbing.

You get a shoot you can search
  • ✓Transcribed with the speakers identified — who said what, not an undifferentiated wall of text.
  • ✓The right audio taken from the right tracks, with scratch audio left out of it.
  • ✓Divided into topics and summarised, so finding the moment you half-remember takes seconds instead of an afternoon.
3

Translate

Work in the language you shot in. Deliver in the language they commissioned.

You get one set of rushes, every market
  • ✓Transcripts translated into all major languages, and correctable in place when a name or a piece of slang comes back wrong.
  • ✓Subtitles timed to the finished cut — in the original language or a translation.
  • ✓A team can work in Swedish, Norwegian or Finnish throughout and still hand over an English cut without redoing the work.
4

Customisable templates

Your format’s shape, written down once and applied to every episode after.

You get your structure, from your material
  • ✓A template isn’t a settings preset. It’s a written brief about how your format is built — how it opens, how it paces, what to favour, what to leave out.
  • ✓We write it with you, for your show. Anything from a single segment to a whole episode.
  • ✓Once it exists, every episode after gets the same shape. The fortieth costs no more to set up than the second.
5

Full automation

From rushes to a first cut, without an editor touching a timeline.

You get a cut to react to, not a cut to build
  • ✓The chain runs end to end. Sync, transcription, translation, analysis, assembly and export happen without anyone shepherding files between steps.
  • ✓You choose which material goes in and which template shapes it. You review what comes out.
  • ✓Everything in between runs on its own — including overnight, so the cut is waiting when the production day starts.
The handover

It lands where your editors already work

No new edit system to learn, no export-and-pray. The cut arrives in the project your team has open, built from your own media.

Avid

A native bin you open in your project. A sequence per scene, camera angles on parallel video tracks, audio on the tracks you’d expect, cuts referencing your own camera masters. Press play and it plays. Subtitles can come baked onto the timeline, in the original language or a translation.

Premiere Pro Panel

A panel inside Premiere. Sign in, pick the cut, choose whether the audio comes from the cameras, the separate recorders, or both — and it builds as a new sequence in the project you already have open, linked to your local media. It tells you plainly if anything was offline.

Anything else

AAF where you need it, and other routes where you don’t. The delivery end of the chain gets built to match your facility rather than the other way round — that’s the part of this that’s a workflow project, not a software licence.

Proven end to end

A Spanish dating format, shot the hard way: every participant on their own recorder, eight cameras across two rigs, three locations in one evening. The chain took the shoot day, synced it, worked out where each scene began and ended by following the couple rather than the timecode, transcribed it in Spanish with the speakers identified, and built a cut down for each scene. It opened in Media Composer and played — every scene, every angle, every synced interview.

The division of labour

What stays yours

Automation is worth having when it’s clear what it isn’t doing. The judgement stays with your producers. The assembly doesn’t.

Your producers decide

  • Which material goes into a cut
  • What the format’s shape actually is — the brief behind the template
  • Whether the cut that comes back is any good
  • Everything after the first cut: the story, the pace, the calls that make it yours

The chain handles

  • Syncing recorders to picture and angles to each other
  • Transcription, speaker identification and topic breakdown
  • Translation and subtitles timed to the cut
  • Reading the whole shoot against your template and assembling the cut
  • Building the bin or sequence and putting it in your project
Your team stops assembling. They start deciding.

We don’t sell you a feature and leave. We look at how your production actually runs, build the chain around it, and stay until your team is running it themselves.

Talk to us about your workflow →