- The cuts process follows a defined progression from Editor's Cut through Picture Lock
- Each stage involves screening, notes, and revisions
- Picture lock is the transition point from editorial to finishing
Every episode or film you’ve ever watched went through a structured editorial process before it reached the screen. This “cuts process” is the creative through line of post-production. It’s where individual takes are laid out and shaped into story through multiple rounds of editing, screening, feedback, and revision.
Whether you’re an aspiring editor, director, producer, production assistant, or just a lover of the artform, understanding the cuts process is paramount to understanding post-production.
The Assembly (Editor’s) Cut: Where It All Begins
Once editorial receives the dailies footage, the work begins immediately. The Assistant Editor(s) sort, organize, and review each day’s material, preparing it for the Editor. As scenes are shot, the Editor begins cutting them individually, building each one from the available takes.
After all footage has been received for a given episode or film, the Editor assembles their individual scenes into a single, continuous cut. This is known as the Editor’s Cut or Assembly.
Scenes are often shot out of order. Editors will build the cut scene by scene, using the shooting script and camera, sound, and script supervisor paperwork as a guide for their assembly.
The assembly lays out the scenes in script order, utilizing the preferred takes from all material that’s been shot. Scenes may be moved, pacing adjusted, and sound work refined as the editorial process moves forward, but this cut serves as the creative starting point.
The Progression of Cuts
After the Editor’s Cut, the project moves through a series of review stages. Each stage brings a different set of eyes and creative perspectives to the material.
Director’s Cut
Once the Editor finishes their cut, it goes to the Director. The Director will have a certain number of days to work on their own cut with the Editor. This second pass will reshape and refine the assembly into a more polished version. Sound design takes shape and additional music will be pitched.
The Director’s involvement differs in Features and TV. In TV, once a non-producing Director has completed their cuts, they will turn it over to the Producers and then move on to other projects. In features, the Director will typically stay on through the entire post-production process, guiding it through delivery.
On union projects, union and guild contracts have specific language that mandates certain aspects of the cuts process. These rules establish things like minimum days or weeks allotted to complete a cut, or who can view certain cuts. DGA rules govern Director Cuts, while MPEG provides guidelines for Editors.
Producer’s Cut
The showrunner (in TV) and producing team screens the Director’s Cut and provide notes to the Editor and Director. This is where the broader creative vision of the series comes into play. Producers may request structural changes, alternate performances, pacing adjustments, music, ADR, scene removals, etc.
A recent TV contractual change allows the director one more pass on the cut before relinquishing creative control to the producers.
The Producers will go through multiple rounds of notes and internal screenings before the cut is ready to present to the Studio & Network.
Studio / Network Cut
The studio and network executives screen the Producer’s Cut and provide their own round of notes. These notes often focus on key elements within the overall story; things like scene and story clarity, what is “working” or not, and additional items like legal concerns, clearance, and standards & practices.
Keep detailed notes logs for every round of cuts. While many notes will be addressed in the edit bay, others will need VFX, color, music, or mix help. Track which notes were addressed, which are pending, and which were intentionally passed on. This documentation becomes invaluable when finishing.
Picture Lock
After all rounds of editorial notes have been addressed and the cut has been approved by producers, studio, and network, the episode or film reaches Picture Lock. This is one of the most important milestones in the entire post schedule.
Once picture is locked, the edit timeline is frozen. The Assistant Editor(s) clean up the project and prepare turnover packages for every finishing department: sound, music, VFX, color, online, and captioning. Each of these teams begin their work based on the locked cut.
Typical Cuts Timeline
While timelines vary by project, here’s a general sense of how the cuts process flows in a typical one-hour scripted television episode:
| Cut Stage | Typical Duration | Creatives Involved |
|---|---|---|
| Editor’s Cut (Assembly) | Delivered 1-5 days after last day of filming | Editor |
| Director’s Cut | ~4 working days for 1st cut, 2 working days for 2nd cut (per DGA) | Director, Editor |
| Producer’s Cut | Varies by show | Showrunner, Producers, Editor |
| Studio / Network Cut | Varies | Studio & Network Executives |
| Picture Lock | After final approval | Showrunner, Producers, Studio & Network |
The cuts process is where the creative vision of a project takes its final shape. Understanding how it works, who’s involved at each stage, and what drives the decisions being made will make you a more effective member of any post-production team.
What Happens After Lock
Picture lock triggers a cascade of activity across every finishing department. The sound team begins dialogue editing, ADR, sound design, and foley. The composer starts writing score. VFX vendors receive their shots. The online editor begins the conform. Captioning begins. And the post-production team coordinates all of it to hit their delivery dates.
Changes after lock are possible but extremely disruptive. Any modification to the locked timeline ripples through every finishing department, requiring re-turnovers, change orders, and additional time and money.