Aleksey Kasperchik

I start with a rough that already has the right shape, so the first thing you react to is the story — not a polished cut of the wrong idea. Notes are cheap early and expensive late.

You send: raw footage in any codec, plus a brief or a reference you like.

You get: a locked cut on an organised timeline, ready for grade and mix.

Matching comes before look. It is the part nobody notices and everybody feels — mixed lighting, two camera bodies, footage shot across three days that has to read as one afternoon.

You send: original camera files rather than transcodes — there is more to work with in them.

You get: a graded master plus the versions each platform needs.

Built into the cut rather than bolted on top: the motion follows the rhythm already in the edit instead of fighting it.

You send: brand assets and fonts, if you have them. If you do not, I work from the footage.

You get: rendered versions with transparency where you need them, plus the project file.

Weak sound reads as weak video. People forgive a soft image and leave over harsh audio.

You send: separate audio tracks if they exist — a camera scratch track limits what is possible.

You get: a mix at platform loudness targets, with stems on request.