At our recent British Film Editors (BFE) screening of Watch The Skies at Curzon Soho, London, the tone around AI in film had clearly evolved.
What was once skepticism is rapidly becoming curiosity, and in many cases, conviction.
“It was only a year ago where the controversies and testing of this stuff were such a sensitive area,” said Flawless Co-Founder and Co-CEO Scott Mann.
“Now it’s in the mainstream… and being recognized as something that’s going to have large-scale impact in the future.”
The audience wasn’t just watching a movie, it was packed with working post-production professionals and filmmakers—amongst them some of the best editors in Britain.
Editors are no longer asking whether AI belongs in post. They’re asking which tool is best for which use case.
Filmmaking has always unfolded in three stages: script, shoot, and post.
But it's that final hurdle, the edit suite, where filmmakers have historically had the least room to manoeuvre.
“We sketched the original idea for Flawless on Rob’s (Hall - Chief of Technical Innovation at Flawwless) kitchen table,” Scott recalled.
“We knew if we could solve those lingering edit compromises—the lines that didn’t land, the takes that weren’t quite right—it would change the process forever.”
Flawless DeepEditor™ is making that promise real.
It allows editors to adjust and refine performances after wrap, not by replacing actors, but by building on what’s already captured. It’s what Scott calls “assistive AI”, and represents a creative technology that enhances the work, not fabricates it.
And that's the message that resonated the strongest at the screening.
As BFE Governor and Hollywood editor Col Goudie put it,
“This software enables producers, studios, and filmmakers to reach a bigger global audience. But what’s most important is who built it—former editors and people from post. They’re solving post-production problems with technology—not coming at this asking, ‘How can we make money from AI?’”
Col acknowledged the skepticism some editors still hold about lip sync, realism, and creative integrity, but urged skeptics not to let fear stall progress.
“My thing has always been: keep an open mind. Don’t get left behind. This is going to be the future. Embrace it and make it work for you. Because that’s how it was designed. The software was designed to work for editors, not the other way around.”
This isn’t just about saving money, although AI has been shown to cut production time by as much as 20%. It’s about making more films, telling more ambitious stories, and removing bottlenecks that limit creative potential.
“It’s amazing,” Scott said,
“We’re walking into cinemas now and seeing posters for films made with our tools. The biggest filmmakers are using it - not because they have to, but because it lets them tell the story they actually meant to tell.”
Flawless’ work hasn’t gone unnoticed.
Last month, Scott and Co-Founder Nick Lynes were featured in Observer’s A.I. Power Index 2025, alongside global leaders like Reid Hoffman and Sam Altman.
“We forged this company by putting good ahead of profit,” Scott said,
“Being placed in that company, it’s validating, yes, but it’s more than that. It means the industry is starting to value ethical AI, built by creatives, for creatives.”
Filmmaking has always thrived on collaboration. AI is now joining that circle,not as a threat, but as a creative partner.
“What we’re seeing now is a monumental wave,” Scott said.
“AI isn’t replacing storytellers—it’s finally giving them more control, more reach, and more time to do what they do best.”
As the tools evolve and the conversation matures, one thing is clear: the future of film will be shaped not just by directors, editors, and actors, but by the technology they choose to embrace.