A final pass on the cut
Before submission, a fresh look often finds a few seconds to lose: a long opening, credits that run too slow, a scene that repeats a point. We'll watch the cut as a programmer might and send notes. You decide what changes.
Common deliverables
| Deliverable | What it is |
|---|---|
| Screener | A compressed file or private link for submission platforms |
| Master file | A high-quality export, often ProRes, for screenings and archiving |
| Subtitle file | Timed subtitles (SRT) for dialogue in another language |
| Closed captions | A caption file that includes sound cues for deaf and hard-of-hearing viewers |
| Stills | Full-resolution frames for programs and press |
| Trailer | A short piece many festivals and platforms ask for |
Festivals set their own technical requirements, and they change. Send the specs from each festival you're entering, and we'll prepare files to match. A DCP for cinema projection is usually made by a specialist; we prepare the master they need.
Subtitles
If your film has dialogue in more than one language, subtitles are timed to the locked picture. Send a transcript or translation if you have one. We check line length and timing so viewers can read them comfortably.
Questions
Can you prepare files for a film you edited yourself?
Yes. Send the locked project or a high-quality export with the audio, plus the festival specs.
Do you submit to festivals for us?
No. Submissions, fees and correspondence stay with you. We prepare the files.
Shot the film, stuck in the edit? Tell us the runtime you're aiming for, how much footage there is, and where you want it to screen.
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