Finished work on the racks. What we are building now is on the slate.
On the racks
This lot
The drive you took to get here is the work. It looks like one continuous shot, but it is seven separate clips, and you cannot see the joins.
Every time the location changes, something crosses the lens first, either a grip truck or a painted sky rolling past on wheels. The cut happens behind it. Hitchcock used the same technique in Rope with a camera and a dolly grip, and we did it with a generative model.
Then we measured all of it. The frames on either side of a hidden cut line up to a fraction of a pixel, and the sound across every join sits within a fifth of a decibel. Each building stops on the exact frame we approved for it.
Your phone receives its own version, which is not the widescreen film squeezed down but a vertical cut that travels with the action, so the shot still works on a screen it was never framed for.
The whole build is written up on Soundstage 6.
Clip Commentary
A daily habit of taking a film or series people are already arguing about, cutting it properly, and saying something specific about how it was made. It runs on Instagram, TikTok, YouTube, Facebook and LinkedIn.
Every one of them is kept on Soundstage 6, with the film and the writing that went with it.
The first CutPilot delivery
A breakdown of the visual effects work in Avengers: Doomsday, and the first piece cut from start to finish in our own editor instead of a rented one. It shipped in July 2026.
On the slate
In production now: a short film built end to end in this pipeline, a second venture representing AI filmmakers, and the next release of CutPilot.