Director / Photographer š„ šø 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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Shipped the biggest update to Doza Assist since launch today, and I want to tell you about the part that still blows my mind.
You can now connect Claude to the app. Not upload anything, not send your footage anywhere. You flip a switch on a single project, and then you can just talk to Claude about that interview. I asked it to find every moment my subject talked about leaving home, and twenty seconds later the clips were waiting for me in the app, labeled so I knew Claude picked them and not me. Then straight onto a Final Cut timeline. Fifteen years of doing that pass by hand and it happened while I refilled my coffee.
Your video and audio never leave your Mac. Only the projects you turn on are ever visible. That was non-negotiable for me.
But the real headline is this. Version 1.1 is almost entirely other people's ideas. Editors wrote me about long interviews breaking chat, so that got rebuilt. Someone wanted to fix a misspelled name by double-clicking it in the transcript, so now you can. A broadcast engineer in Norway found a frame rate bug in Sony camera files and worked through it with me over a weekend.
Doza Assist just passed 50 paid users. Fifty is a small number in software. It is a very large number when every one of them is a working editor who took time out of a real deadline to make your thing better.
Thank you. Sincerely.
Release notes: doza.ai/changelog/1.1/
Chris Cardoza retweeted
This is undoubtedly one of the greatest takedowns and commentaries of any product in history.
Thank you for your service, @ZacksJerryRig.
It still blows my mind that I can build and entire animated short series completely in @LumaLabsAI
I made one weekly for my fantasy league and it's a hit. #LumaCPP
I made a free guide that shares my full video editing process in Claude. This handles full video podcast episodes, brand assets, social clips, captioning, multicam switching within the episode....everything. doza.ai/edit-videos-in-claudā¦
I made the launch video for Doza Cuts completely in Claude code. š¤Æ
Used Eleven Labs for voiceover and Claude perfectly matched it to the visuals.
Now my editing stack is opus 5.5 in Claude code with Doza Assist, Cuts and Elevenlabs all connected. I finish it in FCP just like I always have. Run ultra code overnight to get near perfect results.
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 Iāve had over the last few days:
1. 99% of ads should be edited agentically now. If your editors are still editing in the timeline, theyāre falling behind. I got a message from my senior VE saying that heās 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 theyāve 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 donāt will struggle.
3. Opus 5.5 can natively edit all of your ads without needing any MCPs or plugins. Iāve tried the alternatives and couldnāt 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 animationsā¦). 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, thereās no reason why you shouldnāt 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. Iām 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 clipā¦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 youāll end up with skills that put out subpar edits and donāt 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 todayā¦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 donāt 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-iā¦
Custom fantasy football league animated shows. Iāve been doing this for my own league and itās created quite the buzz. Disney should do this but they wonāt š
Business idea for anyone who wants to run with it. Make a platform that just runs all the processes for users.
Hereās 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.
Iāve done satirical Seinfeld and Friends episodes as well as a musical. Iām working on a lord of the rings fan fiction episode now.
Chris Cardoza retweeted
Larry Ellisonās TikTok has shut down the promotional account for Alex Gibneyās Elon Musk documentary. theverge.com/tech/1013453/tiā¦
Chris Cardoza retweeted
in the united states, opposition to ai isnāt fear of technology. americans havenāt suddenly become a nation of luddites.
itās a well founded belief that those with power are not going to use ai in ways that benefit the average american.
this is not a comms problem.
itās a trust problem.
Chris Cardoza retweeted
Ben Affleck says the day will come when someone can order up an episode of Succession with a plot they have in mind.
He says that could create an extra revenue stream to replace lost DVD revenue.
Affleck says AI isnāt going to end the film and TV business, but certain parts of the industry will be dramatically affected:
āI wouldnāt like to be in the visual effects business. Theyāre in trouble because what costs a lot of money is now gonna cost a lot lessā¦.And maybe it shouldnāt take a thousand people to render something.ā
But he says the cost savings will mean more television programming, not less:
āYou might be able to get two seasons of House of the Dragon in a year instead of one.ā
Chris Cardoza retweeted
āLet me die,ā American photojournalist Heidi Levine repeats to journalists Jasper Nathaniel as they try to outrun masked Israeli settlers who attacked her on Friday while she covered the olive harvest in the West Bank village of Abu Falah, near Ramallah.
Around 80 settlers attacked Palestinian olive harvesters in the village, AP reported. The Palestinian Red Crescent said it treated six people injured in two attacks in Abu Falah.
Levine, a freelancer for the Washington Post, told the Committee to Protect Journalists that the settlers knocked her down and kicked her for at least 10 minutes, even after she identified herself as an American journalist. They stole her camera, phone and bag. She was eventually taken to a hospital in Ramallah.
"The IDF provided cover, with tear gas and machine guns, while the settlers beat" Levine "nearly to death," Nathaniel wrote, adding that soldiers then shot a Palestinian bystander and aimed their guns at and shoved paramedics trying to treat him. AP photos and circulating videos show Israeli soldiers standing over a wounded Palestinian man after they shot him.
Andrey X, an activist also at the scene, said a Palestinian man "saved our lives from the settler-terrorists who attacked the olive harvesters and journalistsā armed only with a slingshot.
Huge new upgrades to the Doza Assist website all built using claude opus 5.5. I especially love the new demo in the hero that shows exactly what the applicaiton does and how it works in a very simple gif. Let me know what you think! doza.ai