Edit · Color · Captions · Versions
The shoot is the loud part. The edit is where the ad either works or dies. Tailor Cut Media finishes in-house at 158 Main Street — color, sound, captions, and every ratio you actually paid to run.
Cut here — Salsa Fresca · Conair · Powerhouse · Chick-fil-A Danbury
Not a freelancer with Premiere
Jamie Micca is the lead editor. He is not a night-shift vendor in another time zone. If we shot your birria steam, your owner interview, or your :30 appliance spot, the person assembling it already heard the room. That is the whole point of hiring a Danbury studio instead of a production company that “partners” with an unnamed post house.
Post-production here means a picture lock you can run: a hero film, the six-to-fifteen-second cuts for paid social, captions, and color that matches across every version. We do not hand you one wide 16:9 and wish you luck in the crop.
What finishing includes
Selects, pacing, and a first cut that already knows the offer. Not a dump of every take.
Dialogue, music, and mix that survive a phone speaker in a car on I-84.
Grade, supers, end cards, and legal lines that still read at 9:16.
Horizontal, vertical, captioned, :06 / :15 / :30. Named files. Ready to upload.
Watch the finish
Questions
Sometimes. If the files are clean and we can see a sample, we will quote a finishing pass. We prefer to cut work we produced — the editor already knows the day — but a salvage edit is a real job, not a favor.
A hero plus a handful of social cuts is usually one to two weeks, plus a revision round. Campaign calendars (Black Friday, a store opening) get a locked date, not a vibe.
Finished files in the ratios you bought media for, captions on the social cuts, and the raw if that was in the bid. You should be able to upload without asking us what a ProRes is.
Start a project
What you shot, where it has to run, and when it has to be live. Jamie will tell you what finishing actually takes.