the wingman project

§II.07 · VIDEOCHAPTER MAKE

REEL A · TAKE 0324 FPS · 2.39:1

Twenty-fourargumentsa second.

From six-second cutdowns to cinematic brand films. Every frame earns its place, or it leaves.

Video is where most brands spend the most and get the least: one expensive hero, shot with no plan for how it becomes the other forty assets the brand actually needs. We walk on set with the whole cutdown tree already drawn — and we cut like the projector charges by the frame.

Book the shoot Roll the acts
SC 01ACT I · THE PLANTHE TREE COMES BEFORE THE TRUCK

The whole cutdown tree, drawn before anyone loads a camera.

Hero, 30s, 15s, 6s, 9:16, 1:1 — planned as one family, so a single day on set feeds every screen you buy. That is the entire trick, and almost nobody does it: the cheapest cutdown in the world is the one the director already shot for.

One shoot.Forty cutdowns.Every platform fed.

  1. HERO · 60sCTV · YouTube · siteThe flagship. The argument at full length.
  2. 30s · A · PRODUCTPre-roll · siteThe hero, distilled to the product claim.
  3. 30s · B · LIFESTYLEPre-roll · OOH tileSame day, different spine: life, not spec.
  4. 15s · SOCIALMeta · squareHook first. The claim lands by second six.
  5. 9:16 · VERTICALReels · TikTok · ShortsFramed for thumbs, not sofas.
  6. 6s · BUMPERYT bumper · retargetOne image, one claim, gone.
ACT II · THE SHOOTPROD. OFFICE · DAYLIGHT

Eight people on the day. Six of them ours.

Treatment, casting, crew, location, wardrobe, DP, grip, sound: produced under one roof, so nothing falls into the gap between vendors. And the director walks on set already cutting: every setup is called with every cutdown in mind, the six-second bumper edited in her head before lunch.

Director
in-house
DP
external · 2 options
Producer
in-house
Editor
in-house
Colour
partner · LA
Sound
partner · NY
ACT III · THE EDIT

What gets cut is the craft.

Multiple films from a single shoot, hero to bumper, each with its own spine, and a bin full of beautiful, irrelevant takes. A shot survives because it moves the argument, not because it cost the most. The audience never sees the bin. They feel it.

f-1 · the edit instrument: three tracks, one argumentevery cut is a decision somebody defends00:0000:0800:1600:2400:3200:40V2V1MXHANDSPOURLOGOSC01 · TK03SC02 · TK07SC03 · TK02THE KEEPERSC04 · TK01SC05 · TK06SC06 · TK01SC07 · TK02TC 00:00:21:16CUT LOG · REEL ASC 03 · TK 02KEEPshe forgets the camera is thereSC 03 · TK 05KILLprettier. emptier.SC 06 · TK 01KEEPcut on the turnSC 02 · TK 11KILLargues with the six-second cutTHE BINTK 04: performanceTK 09: boom in frameTK 12: beautiful, irrelevantwhere good footage goes to make the film better
f-1 · the edit instrument00:0000:1600:32V1V2MXSC01·TK03SC02·TK07SC03·TK02KEEPERSC04·TK01SC05·TK06SC06·TK01HANDSPOURLOGOTC 00:00:21:16CUT LOG · REEL ASC 03 · TK 02KEEPforgets the cameraSC 03 · TK 05KILLprettier. emptier.THE BINTK 04: performanceTK 09: boom in frameTK 12: beautiful, irrelevantwhere good footage goes to make the film better

EDIT · MULTIPLE VERSIONS FROM A SINGLE SHOOTevery cutdown is its own film, not the hero with bits missing.

INTERMISSION · WHY A FILM MOVES

A clip shows. A film persuades.

At twenty-four frames a second, your audience is doing half the work, completing the motion the screen only implies. That completion is participation, and participation is why a film moves people a clip never will. We direct for it, cut for it, and refuse any frame that breaks it.

f-2 · half a second of persuasion: twelve of twenty-four framesthe eye does the restFR 01FR 02FR 03FR 04FR 05FR 06FR 07FR 08FR 09FR 10FR 11FR 12CUT THIS ONE FRAME AND THE THROW STOPS BEING TRUEyour eye completes the motion, and that completion is consent a still can never collect.
f-2 · twelve of twenty-four framesFR 01FR 02FR 03FR 04FR 05FR 06FR 07FR 08FR 09FR 10FR 11FR 12CUT FRAME 07 AND THE THROW STOPS BEING TRUEyour eye completes the motion,that completion is consent.

Sound and picture, argued into alignment.

The cut lands on the downbeat. The sound arrives a beat early when the ear should open the door. Then every master leaves the room colour-corrected and format-correct, speaking its platform’s native dialect, captioned for the muted scroll.

f-3 · the score: sound and picture argued into alignmentthe cut lands on the downbeatPICSH 01SH 02SH 03SH 04SH 05SH 06SH 07MXON BEATJ-CUT · SOUND ARRIVES FIRST:THE EAR OPENS THE DOORCAPCAPTIONS · BURNED-IN + SIDECAR: WATCHED ON MUTE IS STILL WATCHEDwhen the cut and the beat agree, the audience calls it taste.
f-3 · the score, portraitPICMXCAPSH 01SH 02SH 03SH 04SH 05SH 06BEATJ-CUT · SOUND ARRIVES FIRST: THE EAR OPENS THE DOORCAPTIONS · BURNED-IN + SIDECARwhen cut and beat agree, the audience calls it taste.
  • 16:9 MASTER
  • 1:1 SQUARE
  • 9:16 VERTICAL
  • 6s BUMPER
  • CAPTIONED + SUBTITLED
  • COLOUR-CORRECTED

The premiere.

What you walk out holding: the full credit roll, every cut of it yours.

THE HERO FILM
the flagship cut — your argument at full length
EVERY CUTDOWN YOU NEED
the whole tree, delivered — not promised
PLATFORM-NATIVE FORMATS
each master exported in its platform’s own dialect
CAPTIONS & SUBTITLES
watched on mute is still watched
AN ARCHIVE, BY USE CASE
every cut filed by the job it does, not by filename
LEFT ON THE CUTTING-ROOM FLOOR · YOUR JOB, NOT OURS
  • You don’t write the treatment.
  • You don’t sit through casting.
  • You don’t wait around for one lonely deliverable.
Green-light your film we plan the tree before we plan the day.
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