Studio

Studio

One building. The set at one end, the suite at the other.

One building. The set at one end, the suite at the other.

A studio floor with a camera on a tripod under a single beam of light

On set

A forty-square-metre stage with a lighting grid, blackout and a door wide enough for a car.

A forty-square-metre stage with a lighting grid, blackout and a door wide enough for a car.

A dark edit suite with one desk lit by its monitors

In the suite

Two edit suites and a grading room, twelve steps from the stage.

Two edit suites and a grading room, twelve steps from the stage.

How we work

How we work

The people who shoot your film are the people who cut it. That is the whole idea.

Cutaway started in 2014 as two people and a borrowed camera. We are eleven now, with a stage, two suites and a grading room under one roof in Finnieston.

Most production companies shoot and hand over. Most post houses receive and repair. We do both, so the editor reads the script before the shoot and the director sits in the grade. Fewer hand-offs, fewer surprises, and a film that looks like the treatment.

People

People

Eleven people, two rooms, one kettle.

Eleven people, two rooms, one kettle.

On set

Isla Marr

Director

Callum Reyes

Director of photography

Niamh Okafor

Producer

In the suite

Tomasz Brodie

Lead editor

Hana Lindqvist

Colourist

Rory Deans

Sound and finishing

The building

The building

Stage

Forty square metres, three-phase power, a lighting grid and blackout drapes.

Kit room

Two cinema camera packages, prime and zoom lens sets, grip and a van that starts.

Edit suites

Two rooms with shared storage, so a job can move between editors overnight.

Grading room

A calibrated reference display, a sofa and a door that closes.

Camera operator carrying a stabiliser rig through beams of light

You bring the story.

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