EdMon for unscripted · Nordics 2026
EdMon is an AI rough-cut tool for unscripted television. It reads your rushes, learns the shape of your format, and hands your editor a native first assembly — in Avid or Premiere, as a real project, not an export.
The problem
On a returning format, the editorial spine is fixed. What changes every episode is finding the material that fills it.
Take a competition season: fifteen episodes, fourteen contestants on day one, one winner at the finale. Every episode carries a story-of-the-week and a season-long arc underneath it. Per episode that’s ten to fifteen confessionals, plus the challenge verite, plus the deliberation, plus the elimination room. Per season it runs past two hundred hours of confessional alone, and a couple of hundred more in challenge and deliberation.
Building the cut means finding the line where a contestant describes what they made, and the matching verite of them making it. Finding the home-life context and the rivalry, returned to across a season of tape. Finding the deliberation line that explains the elimination, placed so the audience sees why before the chop comes.
That search is where the story producer and the assistant editor spend most of post. It is skilled work, and almost none of it is the work they were hired to do.
What EdMon does
The moment footage lands it is synced, split into named scenes, transcribed and speaker-labelled. From there the route is yours to pick.
Path one · Producer-driven
Everything that was said across the whole shoot becomes searchable. Ask for it in plain language — every time the lead contestant describes their technique, longer than fifteen seconds — and refine inside the same thread without starting over.
Assemble from the transcripts: pick the take, choose the angle, trim a stumble or a half-sentence inside the rough cut. All before an editor opens Avid.
Path two · Automatic
A template encodes how your show is actually made — its cold open, its act breaks, the beats it keeps returning to. Point it at the rushes and it assembles a first rough cut with no one in the loop.
It sharpens with every episode it sees. Tell it the shape of your format once and it applies that shape to everything after. The fortieth episode costs no more to set up than the second.
The part that matters to your editor
A cut built in the browser round-trips back as a genuine bin — not an EDL, not a flattened proxy.
EdMon reads and writes the actual Avid project model: MXF media and AAF interchange, master clips and sub-clips, multicam group clips, synced clips and their syncmaps, multi-track audio layouts, full sequences. What lands back in Media Composer has its group clips still grouped, sync intact, audio on the right tracks, and media where Avid expects to find it. Your editor keeps cutting.
Premiere projects get the same native treatment through the project file. One codebase across Mac and Windows. And because the cut is assembled from transcripts rather than from timecode alone, you can shoot in one language and cut in another.
Interchange
Master clips, sub-clips, multicam groups and syncmaps survive the round trip rather than being flattened on the way through.
Platforms
Native project output for both, from one codebase, on Mac and Windows. No separate pipeline per suite.
Language
Transcript-driven assembly means a Nordic-language shoot can be cut by a team working in English, and back again.
The economics
~40%
of what the streamers commission is now unscripted
$15bn+
global unscripted production market, per year
20–30%
of a typical unscripted budget goes to post
up to 75%
of that post cost removed on returning formats using templates
Most of the post line is the manual stretch between rushes and rough cut. On a returning format — where the shape repeats and only the material changes — that is the stretch templates take out. Double-digit points off the budget of the whole show.
Latest updates · August 2026
Shipped
It is now a panel sitting next to your timeline, working on the bins you already have open — rather than a separate place you go and come back from. A second beta round opened this month and is deliberately capped, so the team stays close enough to the people in it to act on what they say.
Shipped
A news producer doesn’t make one cut, they make five against a deadline that does not move. Pick the topics, press one button, and the panel builds a separate rough cut for each — in parallel, each shaped as a package rather than a pile of selects. It also shows which stories came from footage you already have and which would need sourcing.
Shipped
The same engine already carries thematic documentary, observational reality, and long-form true crime built on a sixteen-beat structure. It knows the difference between a reality spine and an interview confessional, so a cut-down can be built with the interviews woven in or left out entirely.
In build
Name each contestant, judge and host once, and the name applies everywhere — every confessional, every challenge, every deliberation, every elimination. Shipping shortly.
Fit
If your show is built from confessional, verite and deliberation — and if it comes back for another series — this is the shape of production EdMon was made for.
Next step
The fastest way to judge this is not a demo. Send the rushes for a single episode and the shape of your format, and see what comes back as a project you can open in your own suite.
Get in touch