This morning, the American Cinema Editors, the organization behind the Eddie Awards, representing the top editors in film and television, featured AIography in their official newsletter. We're sitting alongside coverage of the Eddie Awards, Avatar: Fire and Ash, Spider-Man: Across the Spider-Verse, and Spike Lee's editor. That's the company we're keeping. If you're new here from ACE, welcome. Introduce yourself and tell us what you're working on. This community is for you. If you've been here a while and haven't joined the Founding Members tier yet, this is the signal. The professional editing community is paying attention. Be in the room where it happens. Go to the classroom and click on the link to join. — Larry

I just posted something I've been working on for a while, a video that explains exactly what AIography is, where it's going, and why I built it. The short version: I've spent 40 years editing at Warner Brothers, Sony, Disney, HBO, and Netflix. I was there when Avid replaced film. I consulted on Final Cut Pro before it had a name. Every time a transformative technology hit, I watched the same thing happen: everyone focused on the shiny new thing and forgot about the craft. It's happening again with AI. And almost nobody is talking about story. That's what this community is about. 🎬 Watch the video below. If what I'm saying resonates, I'm now offering a Founding Member tier for $29/month, or pay annually and get two months free. Locked in for life. Full access to everything I'm building: courses, live workshops, Lumarka early access, and direct access to me. This window won't stay open forever. Head to the Classroom and hit the Founding Member upgrade. Then come back here and introduce yourself. I want to know who's in the room.

For the last seven months I’ve been building Lumarka, a platform that sits between AI video generators and actually making a movie with AI. It’s ambitious. I probably bit off more than I can chew. But the journey taught me something I didn’t expect. I started with n8n. Built two or three dozen workflows. Got pretty good at it. But somewhere along the way I noticed something: most of my workflows were basically code with a visual wrapper. I was writing logic, handling edge cases, debugging errors… just through little boxes instead of text. And at some point I had this very simple thought: why am I adding this extra layer at all? With Claude Code, I can work directly with the source. No translation layer. No dragging nodes around to represent logic I could just write. When something breaks, I’m not debugging a workflow and the code inside it, I’m just debugging code. When I want to change something, I change it. The feedback loop is tighter. The power is more direct. Don’t get me wrong, n8n still has its place. Modular automations, swapping tools in and out, quick experiments… it’s great for that. I still use it. But for building an actual product? Working directly in code with Claude as my partner is just on another level. What really blows my mind is that I’m even able to say this. For most of my career, “code” might as well have been hieroglyphics. I avoided it. It felt like a different species of thinking. I never imagined I’d understand what was going on under the hood, let alone enjoy it. I’m still lost sometimes. But now when I hit a wall, I have a partner who explains what’s happening in plain English, and I push through instead of bouncing off. That alone feels like a small miracle. So what does this have to do with AI filmmaking? At first glance this probably sounds like a nerdy tooling story. But for filmmakers, this shift is actually about something much simpler: creative control and speed. Right now most AI filmmaking workflows are fragile. You bounce between tools, UIs, prompts, formats, and half the time you’re fighting the software instead of shaping the story. Every extra layer adds friction. Every abstraction hides what’s really happening.

Youtube video tutorial: https://youtu.be/Wc09u6ZwPAM?si=hJwn82ihFiOUra69 Short: https://youtube.com/shorts/t8-Wxso-XAc It's straightforward! You create the "earn" account (https://higgsfield.ai/earn) , which gives you a month ULTIMATE free on Higgsfield.ai ($49 normally) You create the video according to their request, like this video I made. You get paid between $50-$3500 depending on how big your influence is. It's open to anyone with a Youtube or Instagram account Their AI Influencer system is very simple: - select customization features from menus or prompt to generate the influencer cover image - (optionally edit the influencer image) - add motion - (optionally edit) - publish! There are no catches here, I'm an affiliate and not even putting the link up - this just seems like a crazy awesome deal (Higgsfield Utlimate for a month includes unlimited generations!!!)

Adobe just rolled out Premiere 26, (They've removed "Pro" from the name for some reason?) and this one feels like more than incremental polish. A few highlights that stood out to me as someone who’s been using Premiere since version 3: One-click object masking & tracking: Hover, click, isolate. AI-driven masks that actually track moving subjects, without frame-by-frame pain or immediate round-trips to After Effects. Massively faster shape masks: Ellipse, rectangle, and pen masks rebuilt to track up to 20× faster, with live previews and much better refinement controls. Frame.io built directly into Premiere (beta): Review notes, comments, versions, and media ingest without leaving the timeline. Less context switching, tighter collaboration. Built-in Adobe Stock access: Browse, license, and drop clips straight into your edit. Not flashy, but very practical. Firefly Boards import: Early ideation and visual development flowing more directly into the edit. Now, a fair question some people might ask: What does this have to do with AI? Isn’t this just a Premiere update? Here’s my take: If you’re making films with AI, you still need to edit them. There are tools out there calling themselves “AI editors,” but that term is often misleading. Editing isn’t just cutting silences or removing flubs from a talking-head video. Film editors create stories. They shape pacing, emotion, clarity, and meaning. That requires both technical skill and creative judgment, whether the footage came from a camera or a prompt. Generating AI video clips is only the first step. Someone still has to assemble those pieces with intention and care to entertain, educate, or move an audience. That’s why improvements to real editing tools still matter... A lot. One last thought, as someone who’s also seen Premiere grow over decades: As it’s evolved into the Swiss Army Knife of NLEs, it’s also gotten heavier. Not crashy for me, but slower. That’s the tradeoff of being able to do almost everything. Compared to something like Avid, which excels at a few mission-critical things for long-form work, it’s a different philosophy.