In short
- The cutoff is the last moment filmed that can still enter the film.
- Work backwards from the screening time, not forwards from the start.
- Moments after the cutoff go into a later film, not into the screening.
- Choose the cutoff together with the person who approves the film.
A same-day film can only include what was filmed in time. The footage cutoff is the last moment that can still enter the film before it plays, and choosing it early removes most surprises on the day.
This guide helps you choose it. For the whole workflow, see how a same-day event edit is planned.
Work backwards from the screening
Do not start from the beginning of the event. Start from the time the film is shown, then subtract the steps that come before it:
- Playback and check. The audio-visual (AV) team tests the file. See playback testing before an event screening.
- Approval. Someone confirms the film. See who approves a same-day video.
- Editing and export. The editor builds and exports the film.
- Footage handover. The files move from the cameras to the editor.
The moment your footage handover must be complete is the cutoff. Anything filmed after that point belongs to a later film.
Which moments to include
Not every moment deserves a place before the cutoff. Sort them by how much the screening audience will care.
| Type of moment | Include before the cutoff? | Why |
|---|---|---|
| Arrivals, set-up, early atmosphere | Yes | Easy to film early and safe to edit |
| Key speech or presentation | Often | Strong for the audience, if it falls before the cutoff |
| Main ceremony or award | If timing allows | Important, but may fall too close to the screening |
| Closing moments | Usually not | They happen after the film must play |
Our must-capture moments checklist helps you decide which moments matter most.
An illustrative example
This is an example only. Suppose a company dinner starts with arrivals, a welcome speech, an awards segment and closing remarks. The organiser wants the film to play during dessert.
If the awards segment ends close to dessert, the cutoff may fall in the middle of it. Then the film can show arrivals, the speech and the first awards, and the rest appears in the longer video. A different plan moves the screening to the end of the programme, but then the film plays when guests are leaving.
Set the cutoff and the rule for changing it
Write down three things: the cutoff time, the person who can move it and the reason it may move. For example, a late start may move the cutoff later, but only if the screening time also moves.
If the programme overruns, use the contingency guide to choose a fallback. The same-day edit deadline planner can hold your timings.
Common mistakes
- Choosing the cutoff by feel. Without working backwards, a cutoff often turns out too late to use.
- Wanting every highlight. A short film with three strong moments plays better than a rushed one with ten.
- Forgetting the approver. If nobody can approve the film in time, the cutoff means little.
- Leaving no fallback. A late programme should trigger a plan you agreed, not a debate in the room.
Tell the audience what they are seeing
If the film shows only the early part of the event, say so in one short sentence at the screening. Guests then understand why a moment is missing, and know the fuller film follows after the event. The emcee can say it.
What we confirm for your event
- The latest usable footage. We work it out backwards from your screening time.
- Footage handover. We agree how files reach the editor.
- Moments after the cutoff. They go into the longer film delivered later.
- A late programme. We agree who tells us, and which fallback applies.
Our same-day event edits page describes the service. The run-sheet filming planner helps you map the programme.
If you know when the film should play and what the programme looks like, send us the run sheet and screening time. We suggest a sensible cutoff and a plan for the moments after it.
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