Post-productionwith a point of view.

Post-production is where raw footage becomes a film. The choice of a take, the space between two shots and the relationship between image and sound can change what a scene means. A clear brief gives those decisions a direction.

NaF+ brings post-production into the production conversation early. We consider the main film, the review process and the required delivery versions together. Whether the footage comes from a NaF+ production or an existing shoot, we begin with the story you want to tell and an assessment of the available material.

The selected work above shows films produced by NaF+BrandFilms with their creative collaborators. On The Sound of Japan, G&L are credited for direction, cinematography, editing and creative audio composition; Karin Sugiura for sound mixing and mastering; and Jithu Appu for colour. Those credits describe the team behind the film and guide how we present the work.

The edit starts with understanding the brief and reviewing the footage. We look at the material available, the intended audience and the target duration before developing the structure. A narrative campaign, an interview film and a product demonstration each ask different things of the edit.

For a corporate film, the task may be to find a coherent story across several interviews. A product film may depend on clarity and the order in which information is revealed. A campaign film may be driven by performance, visual rhythm or an unexpected moment.

We agree review stages and how feedback will be delivered. Consolidated, timecoded comments give the editor a clear set of decisions to work through. A lead approver helps resolve competing notes before they become another version of the film.

Once the editorial direction is agreed, the finishing work brings the elements together. The scope can include:

• Colour grading: establish a consistent look across shots, then develop the mood and visual treatment for the final grade.
• Sound design, editing and mixing: shape dialogue, music, atmosphere and effects around the picture.
• Titles and motion graphics: introduce information with an agreed design and timing.
• Visual effects (VFX) and cleanup: address shots with specific compositing or finishing requirements.
• Captions and versioning: prepare the agreed language, text and format variations.

We scope these disciplines to the needs of the film and identify the relevant collaborators. A reference, shot list or existing cut helps establish the work required. Complex visual effects and graphics are most useful to discuss before filming, when they can influence how the footage is captured.

Share approved graphic design assets, title references and any voice-over requirements with the creative team. For brand films, colour references can help the colourist understand which product or brand details need particular care. Agree the picture edit before the final grade and mix so the finishing team can work from the same version.

The main film is only one part of many delivery lists. A campaign may also need short edits, different aspect ratios, language versions, captions or versions with different end frames. Each variation needs to be defined and checked.

Plan those requirements early with your publishing, media or distribution team. We agree the technical specifications, naming and handover around the intended destinations. Broadcast, event and online deliveries may call for different outputs; the receiving team’s requirements should be part of the brief.

For social media content, a change of format can require a change in composition, graphics or editorial structure. We discuss those decisions in the versioning plan so each edit works as a complete piece.

If the shoot has already happened, start with a description of the material and the desired result. Useful information includes the source format, approximate volume of footage, available audio, any existing edit and the status of graphics and music.

Data management begins with a clear handover. Keep the original raw footage and folder structure intact, identify any missing media and tell us whether the edit uses proxies. Agree how the project files will be transferred, who retains backups and how long the working media needs to remain available. These decisions help define the post-production services and technical support your project needs.

We also need to understand permissions and the intended usage. Tell us which elements are approved and who can answer questions about the source material. Reviewing a sample or the existing cut helps establish what is possible before a scope and schedule are agreed.

The production resources include a delivery planner that can help organise the required versions. For a project that also needs filming, explore our video production services and bring the shoot and edit into one conversation.

We agree the scope around your film: video editing, colour grading, sound design and mixing, titles, motion graphics, any required VFX and final delivery versions. Each project needs a different combination. Share your existing material and delivery list so we can identify the work and collaborators involved.

Yes, subject to reviewing the files and agreeing the scope. We need to understand the footage, audio, project handover and usage permissions before confirming the approach.

The amount and condition of the source material, editorial complexity, finishing requirements, review rounds and number of deliverables all contribute. Share the brief and available assets so we can discuss a realistic scope.

The schedule depends on the work and your approval process. Identify the decision-makers and any fixed launch date early. Allow space for review, revisions and final checks as well as the edit itself.

We can assess the source film and supporting project files. A shorter version often needs a fresh editorial structure. Share the intended duration, placement and message so we can assess the available options.

Specify any need for editable projects, source media or separate audio elements at the briefing stage. The agreed handover should identify those files and any third-party assets or licences that affect their use.