Cut List Bays
Every edit decision becomes a numbered entry with reel, timecode and duration, checked against the locked picture. The cut list leaves the suite ready for an assistant editor to rebuild the sequence without guessing.
Spliced inPost production services from 30 Carr St, Toronto
Bad Hombres Post Production Inc. runs a working editorial floor at 30 Carr St, Toronto - M5T 1B5, Canada (CA), and every job that leaves the room is documented before it leaves the building. Cut lists, mix notes and screener letters are prepared in the same suite where the picture is conformed, so nothing travels between rooms and loses meaning on the way. If a distributor needs a clean paper trail alongside a clean deliverable, see how the six services fit together →
Book a suite review →Six desks, one room
Bad Hombres Post Production Inc. keeps cut lists, mix notes, screener letters, conform windows, color review rounds and screening sittings under one schedule. Each desk below is a real station in the Toronto suite, not a label on a brochure.
Every edit decision becomes a numbered entry with reel, timecode and duration, checked against the locked picture. The cut list leaves the suite ready for an assistant editor to rebuild the sequence without guessing.
Spliced inA note run collects each sound comment against a scene and a character so the re-recording stage starts with a working document. Comments arrive as plain sentences, not as a pile of timestamps.
Spliced inReviewer letters are drafted, proofed and matched to the exact screener version that was sent out. Each letter records the running time, the watermark and the delivery date.
Spliced inScheduled blocks where the sequence is rebuilt from original camera and audio. The window is booked in advance so color and sound teams both know when the online cut will be stable.
Spliced inStructured viewing sessions with the director present and the notes typed live. Grades are checked on a calibrated display and compared against the approved reference stills.
Spliced inSmall invited screenings held in the Toronto suite for producers, distributors and press. Each sitting is logged with attendance, format and the questions raised afterward.
Spliced inHow the room works
Picture finishing has a habit of turning into a long conversation between departments, and most of the friction comes from documents that disagree with each other. Bad Hombres Post Production Inc. was set up to remove that friction. The same editor who builds the cut list is the person who checks the conform window against it, and the mix notes are written by someone who has already sat through the color review rounds. There is no handoff day where the paperwork is reconstructed from memory.
The suite on Carr Street runs a simple weekly rhythm. Monday morning is reserved for cut list bays, when the previous week of edits is reconciled against the assistant inventory and every unresolved reel is flagged. Tuesday and Wednesday belong to mix note runs, where dialogue, effects and music comments are grouped by scene. Thursday is for conform windows, and the room is closed to visitors so the rebuild is not interrupted. Friday is left for color review rounds and any screening sittings that a distributor has booked.
That rhythm is not decoration. It gives clients a predictable calendar and it gives the technical team a place to put each request. When a producer writes to news@badhombrespost.surf at short notice, the answer is usually a date and a desk, because the desks already exist.
Why clients return
Delivery paperwork is often written at the end of a project, when everyone is tired and the deadline is close. We write it as we go. The screener letter desks keep a copy of every letter that leaves the building, tied to the screener version that left with it. If a reviewer later asks which cut they were sent, the answer is on file within the same working day.
The same discipline applies to sound. Mix notes are stored scene by scene, so a second pass can be run for a festival print without rebuilding the first conversation from scratch. Color review rounds are logged with the exact grade settings that were approved, which means a trailer pulled six months later can be matched to the feature rather than approximated by eye.
None of this is glamorous. It is simply what a working post production house owes the people who trust it with a finished film. The Toronto suite was arranged around that obligation, and the six desks are the physical form of it.
Start here
Most enquiries begin with a screener that needs a proper letter or a cut that needs a clean list before it travels. Tell the studio what stage the project is at and which desks you need, and a suite review will be proposed inside the same week. The contact page carries the form, the address and the telephone number, and the services page carries the full scope of each desk.
Bad Hombres Post Production Inc.
30 Carr St, Toronto - M5T 1B5, Canada (CA)
news@badhombrespost.surf
+18159131683