The cut you never notice.
- We watch the whole raw file. We keep the gold. We kill the fog.
- Dead air, ums, false starts, the minute 47 that should have been minute 1. That is this step.
- You get a timeline that already feels like a finished film. No homework. No “almost.”
This is the first job and the real job. Graphics on a bad cut is makeup on a mess. We lock the story, the pace, the first three seconds, the last line. When this is right, everything after looks expensive. When this is wrong, nothing saves it.
