Eddie AI, an assistant that assembles rough cuts from raw footage, has rolled its summer updates into a version 4 aimed at professional post houses, CineD reported on 9 September ahead of the product's IBC showing in Amsterdam (11 to 14 September, Hall 7). The company bills it as ten times the Eddie users knew, which CineD treats as marketing, but the focus is real: less on the first cut and more on getting that cut cleanly into the editing software a facility already uses.
Eddie now writes native project files for Premiere Pro and DaVinci Resolve, adds an extension for Avid Media Composer, drops assemblies directly into Premiere Productions and cloud-hosted Resolve projects, and exchanges FCPXML both ways without losing multicam or compound clips. By the company's account, projects arrive with multicam sequences, bins, angles and source timecode already set, exports link to the original camera files rather than proxies, and camera switches made inside Eddie survive the move. For Blackmagic Cloud teams it builds bins, select reels, markers and organised b-roll inside the existing shared project instead of exporting a new one. It can still render finished MP4s of up to an hour, plus separate audio stems, graphics on alpha tracks, and logs of the footage in CSV, Word or PDF form.
The release also chases approvals. Eddie says it now holds SOC 2 Type II certification, meets GDPR with a ready data processing addendum, and is HIPAA compliant, which the company says opens doors at broadcasters, larger agencies and medical producers. It keeps a public trust centre for the security questionnaires that precede such deals. Customers can also run it on their own hardware, a step that follows from EddieEditor1-9B, the small in-house editing model that beat Kimi K3 in 47% of comparisons in research published in August and is now a shipping part of the product, though no price or hardware spec has been given for on-site use.
Every export is signed with C2PA content credentials. CineD argues this matters because v4 can also generate b-roll, music, voiceover and dubbing, so a provenance record separating filmed from generated material is what lets compliance teams accept the tool; how detailed that record is, and whether downstream systems read it, is left for buyers to check.
Multicam gets the most practical upgrade: files are grouped and synced by audio or timecode, cut to the separately recorded sound, and angles are now labelled by who appears on them, so a podcast producer can ask for a cut to a named speaker rather than to a camera number, and the switches carry through to the editing software. Ingest now covers BRAW, R3D, MXF, Nikon N-RAW, stills and audio, from cloud services including Frame.io, Dropbox and LucidLink, as well as Google Drive, iconik and YouTube links; it can open a Premiere project or pick from a Resolve media pool directly, and a failed file is flagged with a reason and retried on its own rather than restarting the batch.
Users can feed in scripts, paper edits, brand guides, reference faces or reference videos, set brand fonts and colours once, get word-level karaoke captions that look the same in preview, MP4 and NLE, and have vertical reframes follow faces. They can also build or install editor agents through a marketplace seeded with five director agents, save repeated workflows as recipes, and set a target length, with every version kept. Much of the rest, such as credit pricing and control from Claude or ChatGPT, was announced in August. Eddie has not dated the Avid and Blackmagic Cloud integrations or priced the new export paths, and its IBC preview teased a further, unnamed launch at the show.
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