Film Editor Services

Here is how this works in practice. Brazilian editors carry the inheritance of Daniel Rezende, whose first feature credit — City of God 2002. This covers was nominated for the Best Film Editing Oscar (one of the picture's four nominations) and who has stayed Fernando Meirelles's editor of record through The Constant Gardener, Blindness, 360, The Two Popes, and the Adventureland US studio crossover. The cutting-room bench also runs through Lia Buarque de Hollanda Cavalcanti and Manga Campion (Bacurau). With Globo PROJAC delivering generations of episodic and telenovela editors operating at unmatched daily volume.

Here is the layout. On the ground, our editors work from suites at O2 Filmes, Conspiração Filmes, Casablanca, Gullane, and Globo Estúdios. Plus boutique rooms across São Paulo's Vila Madalena and Pinheiros districts and Rio's Lapa, Santa Teresa, and Botafogo neighbourhoods. Standard stations run Avid Media Composer with Symphony, Adobe Premiere Pro with team-projects shared storage, and DaVinci Resolve Studio for grade-and-cut hybrid rooms. Assistants handle Avid prep, dailies sync, group clips, ScriptSync, and PIX/Frame.io review-and-approval.

Here is the short of it. Edit brief sweep is broad. We staff features (Walter Salles's I'm Still Here Oscar-nominee 2025, Kleber Mendonça Filho's Aquarius and Bacurau, Karim Aïnouz's Eurídice Gusmão, José Padilha's Elite Squad franchise), Netflix and Globoplay top drama (Narcos was a Padilha-created Brazilian production base), documentaries (Petra Costa's The Edge of Democracy 2019 Oscar-nominee), commercials, music videos, and the country's vast telenovela output.

Here is how the work shapes up. On the ground, Editors are SindCine and SATED-registered. With CLT contracts, FGTS 8% termination fund, INSS workers comp, 13º salário, and 30-day paid vacation accruals managed in-house, and reciprocal ACE/MPEG plan for visiting US editors on co-productions. Currency advantage (BRL ~5:1 USD), Lei do Audiovisual federal rebates via ANCINE, and ICMS 17-20% state VAT keep finishing budgets meaningfully below LA/NY equivalents while the Oscar/Cannes/Berlin/Sundance track record shows the ceiling.