RUNTIME — 22:04
Grade note: tungsten key held at 3200K, everything else pushed to the blue floor. The trackballs barely moved after reel one.
REC 00:00:00:00
(01) — What I cut
- Docs & Brand Films
- Vertical Cutdowns
- Grade & Finish
- Titles & End Cards
(Suite 4B · Cutting since 2019)
Mara Voss
Cuts & colour, Suite 4B
Films earn their feeling one cut at a time. I edit long, cut short, and grade every frame until the light sits right.
LONGTAKE
(02) — Selected work
TC 00:00:00:00
Four pieces I still think about at night.
RUNTIME — 22:04
RUNTIME — 01:58
Grade note: one sodium lamp does all the work. Crushed the wet asphalt to teal and let the doorway burn amber.
RUNTIME — 04:31
Grade note: skin stayed alive under the pendant while the window went full night-blue. Cut on breaths, not beats.
RUNTIME — 13:47
Grade note: a single streetlight rim, defended for eleven minutes. The city bokeh never turns green. Not once.
← Drag to scrub the strip
(All grades photographed off the reference monitor)
(03) — The cutdowns
RUNTIME — 0:24
@longtake.cut
Graded on the way down. One lantern carried the whole frame.
0:090:24
Cutdowns that keep the film in them. I don't strip a piece for parts. I find the twenty-four seconds that were always a film of their own, and grade them like one.
(04) — The grade
(Same frame, both worlds)
Drag the light across the frame.
Left of the line is the log scan: flat, lifted, honest and unlovable. Right of the line is the finished grade. Everything between them is the job.
LOG
GRADED
(05) — Services & deliverables
(No mystery line items)
01
Docs & Brand Films
Docs, brand films, episodes. Structure first, then rhythm, then the invisible stuff nobody can name but everybody feels. I cut for the person watching at minute nine.
Assembly in 5 days
3 cuts included
Music & pull list
Vertical Cutdowns
9:16 built from your long-form or shot native. Hooks that don't feel like hooks, captions that don't shout, and the grade travels with every crop.
9:16 / 1:1 / 4:5 masters
3 hook variants
Captions burned or sidecar
Grade & Finish
A show LUT built per project, never off the shelf. Night stays blue, skin stays alive, and the one warm light in your frame gets treated like the lead actor.
Show LUT + stills
HDR on request
Scopes-clean delivery
Titles & End Cards
Type that behaves like part of the cut, not a sticker on top of it. Openers, lower thirds, end cards, all timed to the edit and graded with the film.
Opener + lower thirds
Editable project files
Fonts licensed
First cut
5 days From footage in hand to assembly in yours.Revision rounds
3 included Real rounds, with notes answered line by line.Reply time
<24 hrs Even mid-grade. Especially mid-grade.Delivery record
214 /214 Every deadline since the suite opened. On time.
SUITE 4B — 02:14 AM
(06) — The editor
I fell for editing in the dark, and never fully came back out.
I'm Mara Voss. I spent six years as an assistant editor syncing other people's dailies at two in the morning, and somewhere in there I learned the only lesson that matters: the cut you don't notice is the one that took all day.
LONGTAKE is a one-woman suite on purpose. When you hire me, the person who watched your footage at 1x, all of it, even the slates, is the same person who cuts it, grades it, and answers your notes. Nothing gets handed down the hall, because there is no hall.
I grade at night because that's when my eyes are honest. I keep the room at 6500K and my coffee count to myself. If your film has one warm light in it, I will find it and build the whole world around it.
Mara Voss
Cuts & colour · LONGTAKE
Cuts & colour · LONGTAKE
(07) — Last looks
Your footage deserves a patient pair of hands.
Start a cut cut@longtake.studio · reply within 24 hoursTC 00:05:00:00 · End of reel