The stages
| Cut | What it is for | What to look at |
|---|---|---|
| Assembly | Every scene in script order with the best takes | Whether the material is all there |
| Rough cut | The film's shape, scenes trimmed and reordered | Story, pace, what can go |
| Fine cut | Performances, rhythm and transitions refined | Moments, looks, line readings |
| Picture lock | No more picture changes | Sign-off before sound and color |
When the film moves away from the script
Shorts often change in the edit. A scene that read well on paper runs long on screen, or a performance makes a line of dialogue unnecessary. We'll show you the version the footage supports and explain why, then you decide. The script is a guide to what was intended; the footage is what's there.
Runtime
Shorter shorts are easier to program at festivals, and many festivals set runtime limits for short categories. Tell us any limits you're working within. Cutting to a hard limit late is painful, so we watch the running time from the rough cut on.
Handoff to sound and color
At picture lock you get the files your sound mixer and colorist need: an edit decision list or XML, a reference export, and organized audio. Ask your post team what they prefer, and we'll match it.
Questions
How many notes rounds are included?
The number is set in your quote. Most shorts need two or three rounds between rough cut and lock.
Can the director sit in on sessions?
Yes, remotely. We can review cuts together on a call with a shared screen.
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.
Request a quote