Video editing & post-production in Eugene, Oregon
Cutting story-driven videos that connect with audiences.

Twenty years of broadcast instinct, applied to whatever video you're making.


Trusted by videographers, creative agencies, and brands from across Oregon.
Story structure
Story before scissors.
We watch everything before we cut anything. The structure, the pacing, the emotional arc — that gets figured out first. Then we edit.


Editorial direction
Every cut is a decision.
Not just where to trim, but what the audience should feel next. We direct through the timeline — pacing, tone, and tension are editorial choices, not afterthoughts.
Broadcast standards
Craft across every deliverable.
The same editorial instincts that finish a television episode go into your brand spot, your training video, and your social cut-downs. The budget changes. The standard doesn't.

COMMERCIAL & BRAND VIDEOS
Hundreds of brand videos delivered.
Edited for platforms, paced for attention — so your content earns the second look.
CORPORATE & TRAINING VIDEOS
Nobody should sit through bad corporate video.
Your onboarding and internal comms get the same instincts we bring to broadcast.
Film, television, & streaming
We know broadcast-ready.
140+ episodes delivered for Discovery, MotorTrend, InsightTV, and MavTV, plus promos and a dozen-plus sizzle reels.
About cutpoint
A post-production studio driven by story.
Cutpoint's founder, D.L. Watson, has spent over two decades shaping stories for broadcast television, brands, and organizations. Eight seasons as Executive Producer and Director of Graveyard Carz on MotorTrend TV and Discovery. Thousands of hours of raw footage turned into television that held audiences week after week.
Cutpoint Studio is where that instinct lives now — applied to every project, every client, every story that needs to be found inside the footage.
Listen first.
Great storytelling starts with deep listening. Not just what clients ask for, but what their audience needs to see, feel, and do. We understand the brief behind the brief.
Cut the waste.
To do exceptional work, we say no to everything that doesn't serve the story. Distractions get eliminated. Complexity gets simplified. Focus drives impact.

Capabilities
Everything your video needs. Nothing it doesn't.
video types
Community Awareness
Company Culture
Company Marketing
Customer Engagement
Direct Sales
Music Videos
Product Marketing
Real Estate
Trailers
Travel
Weddings
HUB International
It's rare to find a partner so dependable and talented in this industry. I highly recommend them to anyone in need of top-tier content creation.

get started
Simple process. Simple pricing. Serious craft.
Something great doesn't need to be complicated and expensive.
Get a quote.
Book a call or fill out an intake form. We listen to your goals, vision, and provide you with a custom tailored, flat-rate quote so you can move forward with confidence.
We find the story.
Before we start cutting, we watch everything. We look for the moments that matter, the structure that serves the audience, and the pacing that keeps them in it. Then we build.
We finish it right.
Color. Sound. Graphics. Titles. Formatting. Delivery specs. Every detail handled so what you send to your client, your network, or your audience is ready to perform.
FAQs
Great questions deserve clear answers.
I've been burned by an editor before. Why would this go differently?
Most of what goes wrong with an outside editor isn't talent. It's a price that moves, a revision loop with no defined end, and silence when something breaks. All three are experience problems, and our extensive experience has solved them.
With Cutpoint Studio, the price is fixed per finished minute and quoted before anything starts. Two passes of revisions are included for every deliverable. And if we can't proceed, you hear it with a list of exactly what's missing.
Cancel before work begins and you're refunded in full; cancel after and you're capped at what you've already paid.
Wouldn't it be better to hire an editor in-house?
Sometimes. If you're publishing near-daily, need deep product context in every cut, or want same-day turns on demand, a staff editor earns their seat.
Below that line you're carrying a salary through slow months, plus software, storage, hardware, and someone's time managing it.
A retainer gives you the reserved capacity without the headcount: commit finished minutes for a term, get one rate for every deliverable whatever its length, and pay less per minute as the commitment grows.
No recruiting, no ramp, no bench.
What will my project actually cost?
Every project is quoted before it starts. Runtime, scope, and how fast you need it all move the number, so a single price on a page would be a guess.
Projects start at $345. Tell us what you're making and when you need it and you'll get a fixed price — not an estimate that drifts once we're underway.
Do you offer a retainer or a subscription?
Yes. Commit a number of finished minutes per term — monthly or longer — and we reserve the capacity, at one rate for every deliverable whatever its length. We'll size it to what you actually publish.
What if the first cut completely misses?
On your first project with us, you can walk away. If the first draft is so far off the brief that revising it would be pointless, say so within your review window and we'll refund 75% of the project fee. You don't have to justify the call. It's yours to make.
Rejecting it means giving up both revision rounds and any right to the cut. We'd rather refund you than walk a bad edit through two rounds of notes and hope it turns.
How much footage can I send?
Two hours per finished minute is included, which covers most shoots. Beyond that it's an additional fee per hour, and it extends delivery by a day per five hours.
If you send selects or a paper edit, the overage charge is waived entirely — you've already done the work it pays for.
What do you edit in?
Twenty years in Adobe Premiere, After Effects, Audition, and Photoshop. Ten in Final Cut Pro and Motion, and ten in DaVinci Resolve.
We pick per-project rather than per habit. Resolve is where the grade carries the piece, After Effects where the motion does, Premiere or Final Cut where the story is in the assembly. Most projects touch more than one.
Do I get the project files?
Not as a rule, and the reason is the answer above. A finished piece is usually assembled in one application, graded in a second, and comped in a third. There's no single project file that contains it. You'd get three that don't open each other's work, plus references to fonts, plugins and stock we hold under non-transferable licences.
If project files are a deliverable you need, tell us before we start. Knowing that up front changes how we build: we can plan the job around a handover, keep as much as possible in one application, and licence fonts, stock and assets so they can travel with the project. It does mean the work is built in our software of choice, and you'll need to be set up to open it. Handover of this kind is scoped and quoted with the job, not added afterwards.
By default, what we deliver is the finished master and any versions or clean elements you order. Re-edits, cutdowns and new versions are quoted separately.
Your own footage stays yours. It's only our working files that don't travel.
How does payment work?
Two options, chosen when you accept the quote. Pay in full before we start, or split it — half up front, half at day 30 — for 5% on top.
Payment comes before work does. It's how the slot gets reserved, and it's why the price you're quoted is the price you pay. Retainers bill at the start of each month.
Cancel before we start and you're refunded in full. Cancel after we've started and you're charged for hours worked plus a 25% fee, capped at what you've already paid — never more.
Still have questions?
You know what to do.
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