Issue link: https://digital.copcomm.com/i/1538125
building will reduce creative compromise and make content better, easier, and faster, ultimately lowering the price point at which you can create it, as well. DeepEditor gets you in this world of elemental editing, where you have more control and more flexibility, and you can do a lot more with the footage you have." Editor (and former Local 700 member) Rob Hall, Chief of Film Innovation at Flaw- less, has over 25 years of experience in film editing, visual effects, and post-production. In addition to editing Mann's films, Hall ed- ited director Matthew Vaughn's "The King's Man" (2021) and was first assistant editor on "Resident Evil: Apocalypse" (2004). Like Mann, Hall has a passion for technology. He earned a bachelor's degree in electronic engineering and created speech processing software that was sought for purchase by Schlumberger (now SLB), a global technol- ogy company. As filmmakers, Mann and Hall are deeply aware of the potential impacts that AI and machine learning tools can have on the film- making industry. This is a key consideration when developing tools for Flawless. Hall said, "DeepEditor was designed with ethics, and with consent and ownership of rights, fully in mind and accounted for, while also meeting cinematic quality standards. This is a pretty unique objective within the world of AI. No one else in this sphere has achieved this level of quality and artistic consider- ation. Having copyrightable outputs is a big part of what we build." DEEPEDITOR FOR POST-PRODUCTION DeepEditor is a web-based technology that works with host NLEs: DaVinci Resolve, Adobe Premiere, Avid Media Composer, or Final Cut Pro X. (Note: Google Chrome is currently the only browser fully compat- ible with DeepEditor.) Editing is done in the standalone DeepEditor software, and processing is done in the cloud. Hall noted, "The Flawless platform is fully secure, TPN certified, and every project is treated with the trust and confidentiality expected from the highest levels of the industry." Once processing is complete, the generated visual dub (or "vub") can be exported/ downloaded from DeepEditor and imported back into the host NLE. The exception here is Avid Media Composer. During the NAB show this past April, Avid announced that DeepEditor will be in- tegrated into its updated Media Composer software, accessible directly from the Tools menu, making it the simplest way to insert DeepEditor into the creative workflow. Clips can be pulled from the Media Com- poser bin into the DeepEditor tool (inside Media Composer) for processing. Once complete, the generated vub can be dragged and dropped back into the bin. Hall, who had demonstrated an early version of DeepEditor's Avid integration during a British film editors panel in Feb- ruary 2025, said, "Bringing it up within Avid produced some audible gasps amongst the editors surrounding the desk. People are naturally wary of new tools, so to see DeepEditor integrated into Avid imme- d i a te l y m a d e e v e r y b o d y s t a r t p a y i n g attention. Seeing the ease with which we managed to generate vubs was received expectedly well." Mann added, "It is a big turning point in Avid's history. DeepEditor will change how we're going to edit and create from here on out, just as Avid, as a new technology, had changed editing. DeepEditor is going to be this new tool that's augmenting and revolutionizing how you edit and how you make a film." There are a few essential steps to cre- ating a vub with great results, so reading and following the "Getting Started With DeepEditor" guide (https://kb.flawlessai. com/getting-started-with-deepeditor) is strongly recommended. For brevity's sake, the general process involves selecting your "source media" (i.e., the original shot you want to change) and your "driving data" (i.e., the new performance or dialogue you'd like to transfer to your source media). Click the "Create Vub" button, enter "Vub Name" in the pop-up box, and select one of the four output quality options (Draft, Standard, Professional, or Theatrical). While the vub is being generated, you can check the status in the "Vubs" tab. Once complete (and a vub is generated), DeepEditor will automatically create an export, which you can download by going to the Exports page. The output options are priced according to quality — the higher the quality, the high- er the price. A draft vub, meant for quickly previewing different storytelling options, costs substantially less than a theatrical vub, which is intended for use in the final cut of a film or series. This type of pricing scale allows filmmakers to experiment without draining the production's budget. Interested in trying out DeepEditor for free? Check out the Flawless site (https:// www.flawlessai.com/deepeditor), click "Try DeepEditor," and fill in the request form. The free trial provides access to three Draft Vubs and one Standard-Quality Vub. CAPABILITIES AND MAIN USES There are three main use cases of Deep- Editor: "In-Vision ADR," "Performance Transfer," and "Performance Editing." In-Vision ADR is used to change a line of dialogue, which is a typical occurrence in any production. Hall said, "I've cut 15 films and I averaged about a hundred 'change lines' of dialogue in every single one. When you're changing dialogue, you have to cut to a reverse shot over someone's shoulder, or cut away to something else, or reshoot the scene, which is expensive and time-con- suming. So, changing a line has always been a very significant problem. The golden rule of editing is that if you want the audience to absorb a line, you need to see them say it." Using In-Vision ADR, the actor's visual performance can be matched to their newly recorded line of dialogue, eliminating the need for a cutaway. "You're staying on that 37 F A L L Q 3 I S S U E T E C H Scott Mann.