Miami films
A lot of Miami work is bilingual. Interviews and dialogue switch between English and Spanish, sometimes in the same sentence, and the edit has to decide early how the audience will follow: subtitles for one language, both, or neither. That choice affects pacing, because subtitled scenes need time on screen to be read. We'll plan it with you at the rough cut, and prepare timed subtitle files at lock.
Bright sun, water and strong color are also common in footage shot here. Hard midday light makes skin tones and skies tricky to match between shots, so flag any scenes that were shot at very different times of day.
How a Miami project runs
- You share the script and footage and tell us the runtime and the schedule.
- We watch the material and send a written quote with dates for each cut.
- You review the assembly and the rough cut and give notes in a call or on the review link.
- We lock picture, then prepare the files for sound, color and festival submission.
Everything happens online: footage arrives through a share link, cuts go out as private review links, and calls are booked in Eastern time. We don't have an office or a screening room in Miami, and the work doesn't need one.
What you can order
Short film editing
Narrative shorts from assembly to picture lock.
Documentary editing
Finding the story in hours of interviews and verité.
Festival cut and deliverables
Masters, subtitles and the files festivals ask for.
Trailers and teasers
Short pieces that sell the film without giving it away.
Questions
Can you edit dialogue in Spanish?
Yes, with a transcript and translation. Tell us which language the audience reads, and we'll time subtitles to match.
Do you meet filmmakers in Miami?
No. We work remotely by email, review links and calls booked in Eastern time.
Ask for a quote
Cost depends on the amount of footage, the target runtime, the number of cuts and notes rounds, and which deliverables you need. Every project gets its own written quote.