Post-Production
A hard drive of beautiful clips is not a film. Our in-house editorial, color, and sound team turns aerial and ground footage — ours or someone else's — into a finished master, cut to the story it's supposed to tell.
Most of our post-production work follows one of our own shoots, but we also take on footage shot by other crews — a broadcaster's second unit, a client's own archive, raw drone files from a production that needs an outside eye. Either way the process is the same: an edit pass built around the brief, a color grade matched to cinema and web delivery specs, and sound design that carries a film that was shot silent.
Everything happens under one roof rather than being farmed out clip by clip: the same editor who cuts the film also builds the social versions, so pacing and grade stay consistent across a cinema master, a 60-second cutdown, and a vertical reel. One round of revisions is included as standard, and raw files are available separately if you need them for your own archive.
Turnaround depends on runtime and complexity, but a typical single-project edit lands within the same 7–14 day window as our shoot-to-delivery pipeline — because post isn't an afterthought here, it's half the job.
What you get
Common questions
What about the files?
You get cinema masters and social cuts. Raw files available on request (separate line item).
Just aerials, or the whole shoot?
Either. We can drop into someone else's production as aerial unit, or handle the entire project — aerial, ground, post, delivery.
Do you work in English?
Yes — the whole team works in EN, BS, HR, and SR.