The assistant director

What it does

Ask it to look at a script and it comes back with placements — a name under the speaker, a callout on the line that earns one, a subscribe prompt where there is room — cuts to your own footage, and a music bed from your own audio, or none.

Each proposal carries one sentence saying why, and its own approve, deny, and ask again. Ask again tells it what you refused and why, so it does not offer the same thing in different words.

Or give a card only a headline and have it write the script and arrange the piece in one go. You still review the arrangement: it arrives as proposals, not as changes.

It works the board in phases: it gathers what the episode will use, writes on that, assembles the timeline from it, sends the lines that want you on camera to the prompter, and reads the finished cut back to you — the piece that runs long, the scene nobody could read, the hook that lands late, one face held too long.

It writes the show open and the end card, teases each segment before it opens and names it as it does, dates archive footage, sets one key word per line in the show’s colour, plans the framing from the lines’ lengths, and picks the forty-five seconds that earn a short — three at a time if you want a week of posts.

Ask it for one line — tighten it, make it a question, say the number — and it rewrites that line only, in the speaker’s voice, for you to keep or not. Hear any line in the speaker’s voice before a render.

The standard behind it

• Nothing it proposes touches the card until you say yes. The alternative — the assistant rewrites the video and you undo what you dislike — makes your cut something you have to defend rather than something you own.
• It anchors to scenes, never to a clock, so a proposal survives you reordering the script before deciding on it.
• A proposal naming a scene or a clip that no longer exists is dropped, never nudged onto the nearest match. The wrong clip under somebody’s words is the most expensive mistake available here.
• By default it reaches only for clips you have approved onto your shelf. Ranging over the whole library is a deliberate ask, and approving something from the vault puts it on the shelf.
• Every picture and clip in the library carries a small copy — the card you see, and what the assistant looks at. A photograph too large to read inline is copied down first rather than refused.
• It matches a line to footage by what the footage shows, not by its filename. Ask the library to describe a picture and it is labelled — the room, the subject, the setting, the time of day — so "cut to the kitchen when the narration says kitchen" is a lookup rather than a person picking shots. A clip nobody has looked at is one it prefers not to guess about.