I'm Alyce Hale, a freelance editor. Most of my jobs start the same way: a client sends a cut and a two-minute brief. Mood, pace, and one hard rule—stay out of the way of the dialogue. I used to spend the first half hour hunting beds that almost worked and then didn't. WAV AI is the tool I open for that first pass.
I type the brief the way I heard it on the call. Not a generic “cinematic underscore,” but the actual constraints: warm but not syrupy, a little forward motion, and nothing that elbows the VO. The first pass comes back fast enough that I can listen against picture before the coffee cools. When a bed sits under the cut and leaves the words alone, I keep it and start shaping. When a bed fights the cut—when it swells into a line, or the rhythm argues with a picture cut—I reject it and ask for another direction. That reject step is the part I care about. A tool that only generates is less useful to me than a tool that lets me throw a bad bed out without losing the afternoon.
I still do the listen, the trim, the last 10 percent by ear. WAV AI doesn't replace that. It replaces the long first hunt, so I can spend my time on the pass that actually ships. If you cut picture for a living and you brief music in a couple of minutes, this is the workflow I wanted.