The edit is where the film actually gets made.
Cutting, color and motion graphics under one roof. Footage in, finished film out — including footage we did not shoot.
Stand-in footageCurrently playing Oldsmobile — Dynamic. Replace it with the editor's reel when it lands.
Cameras booked by
Send the drive. Whoever shot it.
A shoot that went sideways, a library nobody has cut, a film someone else started. Post is the one thing here you can book without booking a camera, and the footage does not have to be ours for us to finish it.
Tell us what it is for and how long it should run. That is enough to quote from.
The cut comes before the polish.
Structure first, always. A film that is graded and titled before the edit works is an expensive way to find out the edit does not work, so the first thing back is a rough cut you can actually judge, while changing it still costs almost nothing.
Then color, then graphics.
Grading once the cut is locked, then lower thirds, titles and whatever has to be built rather than filmed. Each of those is its own craft and can be booked on its own — this page is for when you want all of it handled at once.
Delivered in the formats and aspect ratios you actually publish in, not one master you have to re-cut yourself.
The project file leaves with you.
Most post houses keep the timeline, so next quarter's re-cut is a new invoice and a new negotiation. Yours is handed over with the finished film, conformed and named, so the next change is a change and not a hostage situation.
Let's finish it.
Tell us what you have and what it needs to become. A sentence is enough to start.
No deposit on most bookings. Charged when we wrap.