Your video looks finished. It does not sound finished. We take the audio the rest of the way.
Two shots, and neither of them arrived with any sound on it. These are the layers that go underneath, and you get every one of them as its own file.
Press play. All five layers, at the level they sit at in the film.Now click any track to hear it on its own. Click it again for the whole mix.
Each one is drawn from the finished mix, at the level it actually sits at. The crowd is on the pavement with the camera, so it is loud. The traffic is a block away, so it is the quietest thing in the mix.
Generated picture has caught up fast. Generated sound has not. Dialogue sits flat and slightly wrong. Room tone changes at every cut. Nothing in the frame makes the noise it should make, and the silence where a footstep belongs reads as fake long before anyone can say why.
An audience registers all of it in the first ten seconds. Most of them will never be able to name it. They just stop believing what they are watching.
Audio repair software opens a sound file. It cleans what is on it: noise, hum, clicks, a voice recorded too quietly. It is good at that, and that kind of processing is part of our engine too.
It has never seen your video. It cannot know a door shuts on frame 412, because the door is not in the file it opened. All it can do is improve a sound you already have.
Most AI video has no sound to improve. The footsteps, the door, the room, the traffic outside were never recorded, and every one of them has to land on an exact frame.
AAPE opens the video. It finds the cuts, the gaps, and the frames where something happens, and the sound is built against the picture from there. Cleaning is the small part of the job.
Any video. A short, a feature, an ad, a trailer, a game cinematic, an explainer, a music video, a clip for social. If it has picture and it needs a soundtrack, it is the same work and the same engine.
A link to the picture, plus whatever audio already exists. Generated voices, a scratch mix, a temp score, or nothing at all. Any of it works.
Dialogue repair, noise and room tone, Foley, sound design, ambience, music placement, and the final mix.
A finished mix, separated stems, and files in the formats a platform, a client or a festival will accept without sending them back.
Every stage runs AAPE and an engineer at once. What changes between them is the share, never the fact, so each one is listed with what the engine does and what the engineer decides.
The cut is conformed and logged. Dialogue is transcribed and aligned to picture, scene boundaries are marked, and every spot where sound should exist and does not is written down. This list is what the rest of the work is measured against.
Transcription, alignment to picture, scene detection, level and loudness read off the file.
Watches it end to end and decides what the piece needs, which is never the same list twice.
Broadband noise, hum, clicks, clipping, sibilance, the digital artifacts that generated voices leave behind, and level inconsistency between takes and between scenes.
Our restoration engine, across hundreds of clips without drifting. Measurably steadier than hand work, which is why it does this part.
Chooses the treatment and how hard it runs, then listens back. Restoration pushed too far takes the voice with the noise, and no meter shows that.
Foley, hard effects, backgrounds and ambience against picture. Footsteps, cloth, props, doors, room tone, weather, traffic, the layer that generated video never produces.
Searching and auditioning libraries, conforming takes, holding layers in sync.
Every choice and every position. Timing against a specific frame is the thing no tool does convincingly yet, and it is what the audience hears.
The balance. Dialogue is made intelligible first, then music and effects are placed underneath it. The mix is checked on small speakers and headphones before it is signed off.
Dynamics, level matching, and loudness measured against the target while the mix is built.
The balance itself, by ear on calibrated monitors. What should be loud is a decision, not a measurement.
Mix, stems and platform masters, measured against the published specification for the destination and corrected if they miss. Nothing goes out without that check.
The measurement, file by file, against the published numbers.
Listens to the master before it leaves. A file can pass every number and still be wrong.
A link to the picture lock, or the closest thing to it you have. Re-cutting after the mix means re-doing the mix, so the later the picture changes, the more it costs.
Any audio that already exists, in whatever state. Generated dialogue, a temp score, production sound from a phone, all of it is useful and none of it is required.
Where it is going. A client, a streaming platform, a festival, a broadcaster, an app store, or the internet. The destination decides the delivery specification, and the specification decides how it gets mixed.
Quoted per project when you send the cut, because runtime is only one of the things that decides it. A ten minute piece with clean dialogue already in it and a five minute one with no audio at all are not the same job.
You get a date with the price, before anything starts.
Cleaning up generated voices, removing the artifacts that give them away, evening out level and tone between lines, and cutting the performance so it sits naturally against picture.
Broadband noise, hum, clicks and clipping. Matching room tone across shots so a scene assembled from separate generations sounds like one room instead of six.
Recorded and placed against picture. The layer an audience never notices when it is there and never stops noticing when it is missing.
Everything the frame implies and nothing produced. Impacts, mechanisms, creatures, weapons, weather, and whatever the picture needs that does not exist yet.
The bed under every scene. Rooms, streets, weather, crowds. It is what makes a cut feel like a place rather than a shot.
Fitting score or licensed tracks to picture, editing them to land on the cut, and balancing them so they support dialogue instead of fighting it. Original score is available and quoted separately.
Every element in one place, mixed by an engineer for the destination. Stereo, 5.1 or immersive depending on where it is going.
Masters, stems and platform specific files, measured against the published specification for the destination before they go out.
AAPE does a real share of the work on every project here and does it well. What it does not do is decide: placement, timing, what should be loud, and whether a technically clean take still sounds wrong.
That part is done by engineers with twenty years of experience. It is not a fallback for when the software fails. It is the reason this works.
These two columns are not two halves of the pipeline. They run in the same stage, on the same project, at the same time. Anyone telling you the first column is empty is selling craft nostalgia, and anyone telling you the second one is empty is selling a plugin.
What AAPE does
What a person decides
There is no upload box here that returns a finished mix in four minutes. Those exist and they are useful for a rough pass, and if that is all your video needs then you do not need us.
What arrives here is usually something somebody cares about, at the point where the one-click pass has already been tried and something is still wrong with it. Fixing that is a conversation and a set of decisions, not a queue job.
Send the cut. You get a price and a date back.
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