Director / Photographer 🎥 📸 working with brands, artists, athletes and nonprofits to tell their stories. Building @DozaAssist. Luma AI Creative Partner
Boston, MA
Joined October 2009
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I check them in Final Cut then adjust there. It keeps the multicam clips all intact so it’s an easy fix for angles and if I need to extend for cut it’s a simple drag or cut
Used it for a week then once I got access to Claude Duo I stopped. Idk how they survive with dots and Duo now
I used to lose a full day to every podcast episode.
Now I type one sentence to Claude and walk away.
When I come back: 48 minutes transcribed, cut down to the best moments, angles switched, social clips pulled, social art made. All on brand. All sitting in Final Cut.
Here's the whole system.
THE STACK
Doza Assist transcribes the episode and finds the story.
Doza Cuts switches the multicam the way an editor would.
Both expose their tools over MCP, so Claude Code can run them start to finish.
And it all runs on my Mac. The footage never touches the cloud.
THE PROMPT
"Transcribe this episode, pull the best 12 minutes, cut the angles, make the social clips and the art for each, open it in Final Cut."
Then I go for a bike ride.
WHAT HAPPENS WHILE I'M GONE
1. Assist transcribes everything on my Mac. Labeled by speaker, timecoded, and every word jumps to its frame.
2. It finds the story. My Style is trained on my past edits, so it knows how long I let someone talk and whether I cut on the laugh or the pause. The selects feel like my first pass, not a robot's.
3. It builds the stringout and drops it into Final Cut on the exact frames, inside the multicam, with every angle still live. I never nudge a cut that landed two frames early.
4. Cuts switches the angles. It watches every camera with Apple Vision, matches mouth movement to each mic, and works out who's on which camera by itself. It holds the speaker long enough to land the line, cuts to a reaction now and then, goes wide when people talk over each other, and opens and closes on the wide.
A 67 minute, five camera interview with no lavs took 2 minutes to cut.
5. Social clips. The strongest moments come out as standalone clips, already cut to whoever's talking. Ready to post, not ready to edit.
6. Social art. Quote cards and thumbnails for every clip, in my fonts and my colors. On brand without me opening a design app.
7. The client gets a quote sheet and I get captions, both straight from the transcript.
THE TIME
By hand: 8 to 11 hours. Transcribe, log, pull selects, build the stringout, switch angles, cut clips, make art.
Now: about an hour of my attention.
And that hour is the part that was always the real editing. Tightening handles. Fixing the three switches I'd have done differently. Taste.
THE PART THAT MATTERS
Nothing is baked in. Every switch is a normal multicam edit I can change with one click in the Angle Viewer.
AI does the first 80%. I do the 20% that makes it mine.
I built these because I'm an editor first, and I was tired of spending my best energy on logging footage.
Doza Assist + Doza Cuts. Everything runs on your Mac.
doza.ai
Chris Cardoza retweeted
A few thoughts on agentic video editing I’ve had over the last few days:
1. 99% of ads should be edited agentically now. If your editors are still editing in the timeline, they’re falling behind. I got a message from my senior VE saying that he’s putting out 5x edits/day now at the same quality he was before.
2. The conversation with video editors will be uncomfortable because the timeline is all they’ve ever known. Some will be hesitant and some will be fearful for their job. I think the best way to address this is head on. The tech is inevitable, but having taste is still going to be incredibly valuable to train and give feedback to agents. Those who have this will become more valuable, those who don’t will struggle.
3. Opus 5.5 can natively edit all of your ads without needing any MCPs or plugins. I’ve tried the alternatives and couldn’t find anything that was significantly better than doing everything inside of Claude.
4. Have your senior editor(s) build skills for each style of edit (e.g. mashups, UGC, AI animations…). You can build these by feeding 4-5 inspo edits to Claude and tell it to make a skill out of it. I prefer building lots of mini-skills to one big video editing skill, so that the context stays as relevant as possible.
5. Once you have a base skill (e.g. ugly ads edits), the best way to train it is through feedback loops. Have the skill re-edit the last 25 ads each senior edited then put them in an artifact, and have the senior VE give feedback on each. Keep doing this until the skill is refined and it understands what a good edit is.
6. If you do this, there’s no reason why you shouldn’t be able to make edits that need little/no feedback. Most of ours are approved after v1 or v2, sometimes v3.
7. Only A-player editors should be training the skills.
8. Re adoption in the team, the AI champion builds the v1. Then get out of the way. I’m not the best editor on my team, so my job is to build the harness that lets the best editors train the skills, not build the skills myself.
9. If you want to supercharge this process, have your top editors record their screen as they edit. Turn on Gmeet or loom and get them to narrate the reasoning behind their process. E.g. why they chose this cut, pacing or b-roll clip…this is all context that gets fed into your skills.
10. It takes time to build, train and refine these skills. You have to go through the dip to get out the other side. Budget time in for senior VEs to work on this - otherwise you’ll end up with skills that put out subpar edits and don’t save you much/any time.
11. Operate under the assumption that this is the worst video editing is ever going to be. Opus 5.5 can do most of our editing today…what will Opus 6/Fable 6 be able to do? The editing skills you build are only going to become more valuable as the tech evolves.
I still don’t think people realise how big video editing being unblocked is. Things that I thought were 3-6 months away are now on the table.
Will continue to share more as I learn. CRAZY, crazy times.
Chris Cardoza retweeted
Bucha. It was a genocide, recognized by everyone. They buried hundreds of people. They tortured people. We found the grave. There were, I believe, around 500 people. When we liberated those towns near Kyiv, there emerged this, you know, this kind of hatred for the Russians, right at that moment. Not even at the moment when they started the full-scale war. Back then nobody understood what it really was yet. People understood what this war was and what Putin did personally when we found those mass graves of tortured adults, children. I mean they didn't just kill them, they tortured and killed them.
When we liberated Bucha, I said, bring every journalist here. Don't touch anything, just bring the journalists. The whole world simply has to see this. Imagine finding a mass grave in the U.S. or in Britain, God forbid, with 500 tortured people, adults, kids, dogs, animals shot dead. I mean, they held hunting sprees there from military vehicles. People were running, they were shooting, just hunting, playing games. They literally just played with people, like slavery. So how, after this, can you listen to Putin? And how, after this, can you forgive?
From The Diary of a CEO podcast with Steven Bartlett. (2/3)
Chris Cardoza retweeted
Editing is changing. Story isn't.
Doc editor Chris Cardoza @DozaVisuals on his edit bay today: Claude Code for on-brand motion graphics, Doza Assist to find the story in interviews, MCP to connect them, and Final Cut Pro for the part no one automates.
fxfactory.com/news/editing-i…
Custom fantasy football league animated shows. I’ve been doing this for my own league and it’s created quite the buzz. Disney should do this but they won’t 😉
Business idea for anyone who wants to run with it. Make a platform that just runs all the processes for users.
Here’s how I do it for mine. We use Sleeper for our league and Claude can easily connect, consolidate all the weekly data (scores, trades, league history, matchups etc) then I use fable to write the script and build prompt. I hand that to Luma agents and leave it. I come back a few hours later and we have a 3 minute comedic episode. Each manager has a consistent character across each episode, we have an and b plots, rivalries, silly deep cuts and real life inside jokes pulled from our league chats.
I’ve done satirical Seinfeld and Friends episodes as well as a musical. I’m working on a lord of the rings fan fiction episode now.