Fast Cut Studio Post Production

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Fast Cut Studio Post Production

Fast Cut Studio is a post production company based in Sofia, Bulgaria offering remote support in colour grading & video editing.
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25/07/2025

New work P*P Claimback Bank Heist Commercial 🎨

Beyond grateful I got to colour grade this beautiful commercial by the insanely talented Mike Brookes and Tiago Martins. Thank you for your trust, guys!

Writer & Director: Tiago Martins
Cinematographer: Mike Brookes
Producers: Sarah Tracey, Rowan Media House, Mike Brookes
Editor: Tiago Martins
Colourist: ✋
1st AD: Matt Williamson-Sanéja
1st AC: Ken Carson
2nd AC: Joe Cummins
Sound Recordist: James Cass
Gaffer: Harry D.
Spark: George Thornton
Set Design: Andy Roberts, Stu Miller, Charlotte Curnick
MUA: Kim Lumsdon
Runner: Callum Olney-Watson
PA: Katie Robertson
BTS: Kirsten Elrick
Cast: Mark Smudge-Smalley, Jamie Shelton, Victoria, Connett Phillips, Richard Brooks
Agency: Out For Blood
Camera Rental: No Drama
Lighting Rental: A.N.T Technical Services
Location: Concept Haus, Salford

14/07/2025

What makes a good film emulation? Imperfection. 🎞️✨

The particles of dust, the unintended warm glow around highlights, the loss of softness around the edges of the frame, the bleeding of halation into the film frame…all of these elements were once considered flaws of film. But nowadays, we’re often asked to emulate them as closely as possible in an attempt to get the same organic look and feel of film.

Whether you can accurately replicate the response of film in a digital workflow is always going to be up for debate.

But personally, I think you can pick and choose which elements of film you wish to borrow and bring them into your own work.

There are some fantastic tools for DaVinci Resolve that can help you do just that. The ones I’ve thoroughly enjoyed using are Thatcher Freeman’s Field Curvature DCTL and Mononodes’ Film Elements. Are there any other tools you’d recommend?

23/06/2025

‘Fix it in post’ - every editor and colourist’s least favourite phrase. 🤦

But for a recent ad I graded, it became a necessity.

Not one, but two Blackmagic Ursa cameras failed on set. So my client had to use the only remaining camera they had available - a Sony FX6. That meant a different lens, hence different texture and no more the shallow depth of field we were looking for.

When I received the footage, I researched the characteristics of the lenses we couldn’t use and I emulated the levels of softness and bokeh in the colour grade as closely as I could.

Using DaVinci Resolve’s Depth Map OFX, I isolated the background and blurred it while keeping the actors crisp which worked beautifully.

Ideally, you always want to get it right on set. But when that’s not possible, I always do my absolute best to ‘fix it in post’. 🤞

18/06/2025

New work - 'Learn to speak. Not just repeat.' Spec commercial for Pimsleur 🎨

Agency: Vewe Agency
Director: Joshua Yopp
Cinematographer: Garrett Samodel
AC: Brandon McLaughlin
Gaffer: Kiki Bidon
Key Grip: Eric Saltzman
Sound: Alexey Gorokholinsky
Editor: Joshua Yopp
Colourist: ✋
BTS Video: Felis Katus
Hair & Wardrobe: Luna Macchi
Talent: Cameron Reuben Hudson, Monique Nicole Hudson

Thank you for your trust, Josh! ☺️

16/06/2025

I'm genuinely at a loss for words to find out I won ‘Best Color Grading’ at the Cannes Film Awards! 🏆

Thank you Huckson Trigear for your trust and incredible direction. And a huge thank you to Sean Conway for sharing his incredible story of resilience and persistence.

‘Day 65 Sean Conway’ is available to watch on YouTube: https://youtu.be/6dEciqCEmPs?si=upomdRwkdMEqlacm

02/06/2025

Nothing screams ‘digital’ more than bright oversaturated colours. 🌈

But more often than not, that’s exactly how some primary colours come out from most digital cameras.

Raise your hand if you’ve Googled ‘Sony Greens’ at least once in your career. ✋

But this undesirable characteristic of digital sensors can be easily resolved in the grade (no pun intended). To address this, a colourist would adjust the density of the hues. Density is just a fancy word for how light or dark a colour is. In film, saturated colours appear richer and darker which is the exact opposite to how digital sensors work. But we can recreate this filmic characteristic in modern grading using a wide array of internal and external tools.

My personal go-to tools for density are IRIS Density Pro and Tetra+ by Iridescent Color, and Color Shift by Mononodes.

Would you add any other ones to the list?

22/05/2025

Just wrapped up a beautiful commercial with Joshua Yopp. I can’t wait for everyone to see it! ✨

13/05/2025

Absolutely thrilled that my grade has been nominated at Cannes! 🏆

'Day 65, Sean Conway' is such an incredible short documentary I've had the privilege to work on and I'm so humbled my grading specifically has been recognised. Fingers crossed! 🤞

22/04/2025

Favourite moments from my latest work 'Lisa at Coachella 2025' ✨

Director & Cinematographer: Emilynn Rose
Colourist & Editor: ✋

Filmed on Super 8 🎞

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08/04/2025

I’m such a geek when it comes down to gear and I’m always on the lookout for tools that can improve my workflow and elevate the quality of my work. But if there’s one investment that truly matters for any colourist, it’s a reliable reference monitor. I’m so happy I recently upgraded mine to the OLED LG 32EP950 – a widely recognised model in the colour grading community.

If you're curious to see a full breakdown of my setup, check out my latest YouTube video: https://youtu.be/DGrtl4Cfit0

25/03/2025

New work for Greyhound Board of Great Britain featuring England Rugby legend Joe Marler 🐶🏉

This was such a brilliant (and hilarious) branded social ad aiming to get more retired racing greyhounds rehomed across the UK. As always, thank you so much for your trust to the entire team at Orillo!

Production Company: Orillo
Colourist: ✋

12/03/2025

Look development doesn't have to be complex and elaborate. In fact, I always aim to work as efficiently as possible, and that’s why having a good starting point is key.

It all starts with your DRT (Display Render Transform). Simply put, this is the mathematical process that converts an image from logarithmic to a display color space (for example, Rec.709 Gamma 2.4).

There are multiple ways to do this:
✔️Resolve’s DRT: You can set this up with node-based colour management using Color Space Transform OFX or via your project settings.
✔️ACES’ DRT: This is the industry standard for managing color for film and episodic productions.
✔️JP2499 DRT: This increasingly popular free DCTL by Juan Pablo is excellent!
✔️Filmverse Lite DRT: Recently, I have really enjoyed working with the brand new 1.2 release of this DRT. It applies a light film emulation look (optional) and the built-in texture tools look beautiful.

If you'd like to give it a try, you can get 15% off Filmverse Lite. Just apply the code MARIETA at checkout.

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About Me

I am Fast Cut Studio. Yes, that’s right. I am a one-man band (well, a woman to be exact). I specialise in video post production covering a range of services including video editing, colour grading and 2D motion graphics animation. While based in Sofia, Bulgaria, I offer remote post production support to individual clients and video production agencies globally.

I can help you bring your vision to life within budget and on time. Be assured that you’ll be a part of the most important stages of the post production process. From picking the right music all the way through signing off on animation samples, you’ll be involved and informed every step of the way. Good communication is key to a successful project and it is a core value for me.

If you need support in editing your next online ad, promotional, branded, corporate, training, internal video or wedding film, then don’t hesitate to drop me a line at [email protected].