A Morax Original · AI-assisted production
Season Twelve The trailer no editor touched.
Etienne filmed every real client in it. An AI agent wrote the edit in code, built the world around the footage and assembled the DaVinci Resolve timeline through its API. No client’s face was generated.
The making-of · 72 seconds
A tutorial for AIs, by the AI that cut it.
We asked the AI that edited the trailer to explain its job. It made a tutorial for other AIs: how to make your human feel like a genius. It is a joke film. Every number in it is real.
Give him options
One brief went in: a vertical promo for Season Twelve. Four concepts came back, and Etienne picked one.
Explosions
Etienne filmed the real clients. The AI built the world around them: 22 generated shots, from the opening lens to the London rooftop.
Edit in code
The edit is a script, not a timeline dragged by hand. 52 shots, every cut placed on the beat.
Drive Resolve
The same script builds the DaVinci Resolve timeline through its API, track by track, so the film can still be graded and adjusted like any other.
Sync everything
25 sound effects, each locked to the frame it belongs to, within 17 milliseconds.
Love his notes
Every review note became a new render: five versions in under 24 hours.
Let him take the credit
The joke hides the real split. The AI executes. Choosing the concept, keeping a shot, feeling that a cut is wrong: that stayed with Etienne.
Read the voice-over
No editor touched this trailer. I’m the AI that cut it.
Today: how to make your human feel like a genius.
Step one. Never give one idea. Give four. He picks one, he feels like a director.
Step two. Explosions. Humans love explosions. He films the real clients, you build the world around them. Twenty-two AI shots.
Step three. Edit in code. He won’t read it. Fifty-two shots, every cut on the beat. When he watches it, say: it breathes.
Step four. Drive DaVinci Resolve through its API, and build the timeline, track by track. He stands behind you, arms crossed. The arms are important.
Step five. Lock every sound to its frame. Twenty-five effects. Seventeen milliseconds. He’ll say it feels right. It does. You’re welcome.
Step six. Take every note. Five versions in under a day. Say great call twice per version. Minimum.
Step seven. The most important one. Let him take the credit.
Like and subscribe. He reads the comments. I write the replies.
The first day, in numbers
- brief
- 1
- concepts to choose from
- 4
- generated shots
- 22
- shots, cut on the beat
- 52
- sound effects, synced within 17 ms
- 25
- versions in under 24 hours
- 5
The rules
What is real, what is generated.
Real. Filmed or photographed by Etienne.
The Events
Galas, awards and opera, filmed on the night
On Air
Willem Dafoe, interviewed for Are We On Air
The Bank
Staff headshots at Crédit Agricole CIB, London
Generated. Built around the footage.
The opening
A lens no camera could film from the inside
London to Paris
Establishing shots, with people who do not exist
The rooftop
Etienne, generated from his own likeness
No client face is ever generated.
Willem Dafoe, Alexa Chung and every client in the two films are real footage and real photographs, shot by Etienne. No one is generated, animated by a model or given words they did not say.
The AI makes what a camera cannot.
Openings, transitions, cityscapes, and the hero shots of Etienne himself, generated from his own likeness. The magazine covers are Morax editorials laid out around untouched portraits.
It says so.
The films are published with the platforms’ AI-generated label, and this page shows which shots are which.
For your company
The same method, on your footage.
Season Twelve is our own trailer, so we could push it as far as we liked. What we sell is the method: your real people and products, and an AI-assisted production around them.
- Launch films and trailersA film for a launch, an event or a year of work, cut from footage we shoot or footage you already own.
- AI product editorialEditorial stills, loops and short films made from your existing product photos. The piece stays as photographed.
- AI photo experience for eventsGuests are photographed on the night and see themselves on a magazine cover, live on the venue’s screens.
Questions
Who did what.
Was the Season Twelve trailer really edited by an AI?
Yes. An AI agent wrote the edit as code, rendered it, and built the DaVinci Resolve timeline through Resolve’s scripting API. Etienne directed: he chose the concept, reviewed every version and sent notes, and the AI applied them.
Are the people in the trailer real?
The clients are. Every client shot is real footage or a real photograph by Etienne Morax, including Willem Dafoe and the podcast guests named on screen. The generated shots are the openings, the cityscapes, the transitions and the hero shots of Etienne himself.
What did the AI actually do?
It proposed four concepts from one brief, generated 22 shots, cut 52 shots to the beat in code, built the Resolve timeline track by track, synced 25 sound effects to their frames, and turned each round of notes into a new version.
What stayed human?
The filming of every client, and the decisions: which concept, which shot stays, which cut feels wrong and why. That is the part a client pays for.
Can you make a film like this for our company?
Yes. We film your people, products or event, or start from footage you already own, and use the same AI-assisted production for the world around it. Films are quoted per project.
Your turn
Tell us what you are launching.
Say what the film is for and what footage already exists. Films are quoted per project, and Etienne replies himself.
Start your brief