A small studio that says no to most weddings.
Cut Craze Production takes on a fixed number of films each month so that every one gets the same attention. Here is who does the work and how it runs.
I learned pacing by watching couples watch their own films.
For the first two years I sat in the room while filmmakers screened my cuts for their clients. You learn quickly which frame makes a mother reach for a tissue and which one makes a groom check his phone. That is the only lesson that ever mattered.
Cut Craze Production exists because good filmmakers were losing their weekends to a timeline instead of a camera. We took the timeline. They took back the season.
Everything here runs on the same rule I started with. Watch the footage before you touch it. Cut for the couple, not for the showreel. Deliver on the day you said.
Tools we live in, not tools we list.
Project files come back to you organised, bin by bin, so your assistant can open them without a phone call.
Weddings we have cut, by market.
Most of our work is North American. The rest arrives through filmmakers who travel for destination weddings.
- United States
- Canada
- United Kingdom
- Australia
- Ireland
- New Zealand
- Germany
- Netherlands
- Spain
- Italy
- United Arab Emirates
- Singapore
Five years, told in four moments.
Growth here has always come from one filmmaker telling another. There has never been a sales team.
One room, one license
The studio opens with a borrowed drive and two wedding films booked through a forum thread.
First US studio partner
An Austin filmmaker sends four weddings in a season. The referral loop starts.
A permanent team
Three full time editors, a colorist and a fixed review workflow replace the freelance bench.
Five hundred films
The five hundredth wedding is delivered. Ninety one percent of it came from repeat clients.
Give filmmakers their weekends back without lowering the film.
Become the post house every serious US wedding studio quietly relies on.
Three rules we do not bend.
Watch first, cut second
We watch every card end to end before a single clip hits the timeline. The story is already in the footage.
One editor, one film
No handoffs, no rotating freelancers. The person who watches your footage exports your master.
Dates you can plan around
A delivery date is a promise. We would rather say no to a wedding than miss one.
From card to master.
The same six stages run on every project, whether it is a forty five second reel or a thirty minute documentary.
Upload footage
Drop cards to your drive or ship a disk. Every clip is verified on arrival.
Project planning
Music, structure and must have moments, agreed before the first cut.
Editing
Story pass, sound design and colour, handled by a single editor.
Review
A timestamped link. Notes land on the frame they belong to.
Revisions
Two full rounds included, worked the same week they arrive.
Final delivery
Masters, socials and project files, named the way your studio names them.