Rough Cut to Final Cut

Here is how this works in practice. We set up full cut-development workflows — assembly, rough cut, fine cut, picture lock — through Park Road Post Wellington, Pop Productions, Resolved Pictures, Top Films, Department of Post, Imagezoo Auckland, and The Outfit Auckland. Avid Media Composer with shared-storage Avid Nexis is the standard for feature and longform broadcast. DaVinci Resolve Studio cut pages handle features moving direct to in-house finishing. Adobe Premiere Pro remains in use for documentary and corporate longform.

Here is how this works in practice. Park Road Post hosts director and producer screening rooms calibrated to DCI-P3 with Atmos monitoring, ideal for first-cut director screenings before VFX-locked assembly hands off to Weta FX. Reference sites include Frame.io, Wipster, and Sohonet ClearView for remote-producer review. NZ on Air-funded productions follow specific milestone deliverables — rough cut by milestone two, fine cut by milestone three, picture lock by milestone four — that we structure into post schedules.

Here is the short of it. NZ editorial heritage runs through Jamie Selkirk's Lord of the Rings Return of the King editing Oscar (2003) — the only editing Oscar to date won for finishing in NZ — alongside the assembly campaigns on King Kong, The Hobbit trilogy, Mortal Engines, Avatar: The Way of Water, and Power of the Dog. Whale Rider (2002, Niki Caro). The Piano (1993, Best Original Screenplay Oscar for Jane Campion), and Thor: Ragnarok (Waititi 2017) all routed through Wellington and Auckland editorial. Iwi and kaitiaki consultation under tikanga applies on Māori narrative content. Te reo Māori subtitle and onscreen text follow the 1987 Language Act with macron-correct rendering. NZ Sign Language sidecars (2006 Act), Privacy Act 2020 chain-of-custody, AWS Auckland-region storage, GST 15 percent, NZD invoicing, and ACC accident cover apply.