Cut list and script
We agree what each finished video must say, and roughly how long it runs, before anything is filmed.
We plan, film and edit video for Pune businesses: brand films, reels, testimonials, product clips and event coverage. Each shoot day is planned backwards from the cuts you need at the end.
Video gets planned backwards. Before a camera is booked we agree the list of finished cuts you want — a longer film for the website, a tighter one for presentations, a set of vertical clips for feeds — because that list decides how many setups, how many locations and how many people the day needs.
A filming day is shorter than it sounds. Lighting, shifting between rooms, waiting for a noisy corridor to clear and settling a nervous speaker all consume real hours. Handled well, a single day yields a solid amount of material for several cuts. Handled loosely, it yields a great deal of footage nobody can assemble into anything.
Editing then runs to a fixed number of rounds, with your comments gathered into one list rather than arriving as messages across a week. Files come back in the shapes each destination actually wants, with subtitles added wherever they earn their place.
Every video project moves through these six stages, sized to how many cuts you need at the end.
We agree what each finished video must say, and roughly how long it runs, before anything is filmed.
A written plan of locations, timings, people needed and what gets dropped first if the day slips.
Camera, sound and lighting handled on site, with a monitor you can watch while we are shooting.
Cutting, grading, audio levels, music and graphics, taken through the rounds we agreed in advance.
Burned-in subtitles plus a separate caption file, because feed video is mostly watched with sound off.
Vertical, square and widescreen versions, plus the original recordings if you want to keep them.
A short film explaining what you do, used on the website, inside pitches and at the start of events.
Quick cuts built for feeds, framed vertically while filming instead of cropped out of a wide shot later.
Interviews recorded properly, with questions prepared so an unpractised speaker still sounds natural.
Close work on a shop floor, kitchen or workshop, showing how the thing is genuinely made.
Conference, launch and annual day coverage, cut into a highlight reel plus separate speaker clips.
Step-by-step films for staff, dealers or customers, structured so one step can be refilmed later.
Site and sample-flat films shot for launch campaigns and sales teams presenting on a phone.
Talking-head films for hiring, investors and announcements, recorded in one controlled session.
A video project is decided long before the shoot. The expensive mistake is booking a camera first and working out what the film should say afterwards, because every unanswered question becomes an extra setup on the day and an extra round in the edit.
Write out the finished videos you want, each with a rough length and a home. A film that sits on a website behaves nothing like a clip that must hold attention in the first three seconds of a feed, and a testimonial for a sales deck is different again. Once that list exists, the shoot more or less plans itself: it says how many people to interview, how many rooms to cover, whether a second camera earns its place, and where the day will run tight.
Most clients picture continuous filming from morning to evening. In practice a large slice of the day is moving, lighting and waiting, and the usable takes happen in bursts. A single-location day tends to run like this.
| Block of the day | What is happening | What you must have ready by then |
|---|---|---|
| Before the crew arrives | Access, parking and power confirmed, room cleared | A named person on site who can unlock doors |
| First stretch | Lights, sound and camera set for the opening setup | The room agreed, with air conditioning noise checked |
| Late morning | Main interview and hero shots recorded | Your speaker on time, briefed, and out of meetings |
| Around lunch | Relighting the second setup while everyone eats | Clearance to film in the next area |
| Afternoon | Cutaways of hands, machines, screens, faces, signage | Tidy desks, live screens and clean signage |
| Last stretch | Pickups, safety takes and whatever the light still allows | Somebody senior reachable for a quick yes |
| After wrap | Recordings copied twice and checked before anyone leaves | Nothing at all; this part is ours |
A well-planned day in one building will comfortably produce one main film and a handful of short vertical cuts. It will not produce twenty finished videos, whatever a proposal promises. The limits are plain: every setup costs lighting time, every speaker needs warming up, and one building only contains so many genuinely different backgrounds. If you want a large library, plan two shorter visits to different places rather than one punishing day, or record a batch of talking-head pieces in a single controlled session and separate them in the edit.
Fix the number of edit rounds in writing and treat each one as a single consolidated list. What damages an edit is drip feedback: a message on Monday about the music, another on Wednesday about shot order, a fresh one on Friday from somebody newly added to the thread. Late changes undo finished work, because grading, audio and subtitles all happen after the cut is locked. Review in order — structure, then words on screen, then music and colour — and say plainly when a version is approved. Posting the finished films, planning the monthly calendar and running paid campaigns around them belongs on our social media page; this page ends when the files are handed over.
Feed video is mostly watched without sound, so subtitles belong inside the edit rather than bolted on at the end. We burn them into the social versions and supply a separate caption file where a platform or your own site prefers one. Shape matters just as much: a vertical cut needs its subject framed vertically at the moment of filming, which is precisely why the cut list has to exist beforehand. For a launch event in Koregaon Park or a plant film out towards the expressway, we also check what the venue can play, since screens, projectors and LED walls each want different files. Our event production team confirms what a room will accept.
Last, agree who keeps the original recordings and for how long. Storage is not free forever, and an archive is the only reason you can recut a film next year instead of shooting it again. Put that arrangement into the quote, so nobody is hunting through an old drive in a hurry.
Can't find yours? Call or WhatsApp — a planner answers.
Video production cost is driven by shoot days, crew size and the number of finished cuts, not by how long the final film runs. An interview day in one office sits at a different level from a shoot moving between a plant, an office and a showroom. Extra cameras, aerial shots, actors, voice-over, licensed music and additional edit rounds all add up. Send your cut list for a quote.
One well-planned day in a single building usually yields one main film plus a handful of short vertical cuts. The limit is setup time rather than camera time, because each new angle needs relighting and each speaker needs settling. For a larger library we either batch several talking-head pieces into one controlled session or split the work across two shorter visits.
Yes, if you ask for them in advance. Original files are large, so the handover method and who stores them are agreed before the shoot rather than after it. Many clients take only the finished cuts and let us hold an archive for a while, which is what makes a recut possible later. Either way, footage of your business belongs to you.
Edit rounds are agreed in writing before editing starts, usually a small fixed number. How the feedback arrives matters more than the count: one consolidated list per round keeps everything moving, while comments trickling in across a week force the same sections to be rebuilt again and again. Confirm clearly when a version is approved and the rest follows quickly.
Yes, subtitles are part of the edit rather than an add-on. Feed video is largely watched in silence, so a clip carrying no words on screen loses people in its opening moments. We burn subtitles into the social versions and provide a separate caption file where a platform or your website prefers one. Wording and language are confirmed with you first.
Yes, and pairing them uses the visit well. Event coverage gives you a highlight film, individual speaker clips and short vertical pieces, while the same day can capture interviews and cutaways for a separate brand film. Since the events side of this business is ours as well, the camera team already holds the running order and is standing in the right spot before a moment happens.
Three things have to be ready: access, people and permission. Somebody on site who can open doors and confirm power, your speakers booked at fixed times and briefed beforehand, and clearance to film in every area on the plan. After that, tidy the spaces being filmed, silence noisy air conditioning where you can, and keep a decision-maker reachable.
Pune · PCMC
Pune · PCMC
Mall activations · Roadshows · SamplingStart with your cut list
Tell us which finished videos you need and where each one will be seen, and we will build the shoot around them.