05 / Saga / Editorial
Saga
Saga turns finished shots into a directed sequence—choosing performances, shaping pace and continuity, and creating the locked timeline shared by the rest of post-production.
Concept visualization / future editorial studyThe edit
Shots do not become a film by standing next to one another. Performance, duration, adjacency, withheld information, and the exact frame of a cut determine what the audience experiences.
Saga works against the same narrative intent that began in Mimir, comparing the emerging cut with the film's energy, tension, intimacy, and revelation while keeping every decision inspectable and overridable.
One cut / visible decisions
Saga can compare takes, shape pacing, test transitions, and converge against narrative intent. A human editor can make, inspect, override, or refine the same decisions because every version resolves into the same frame-accurate OTIO structure.
Concept visualization / editorial room study01 / The edit
Performance, technical quality, continuity, duration, and adjacency are evaluated in context. The narrative waveform gives the emerging sequence a shape to compare against without pretending that a metric can replace editorial taste.
Concept visualization / picture-lock study02 / The lock
Each selected take, trim, transition, evaluation, and revision retains decision provenance. Picture lock is not a flattened result; it is the exact OTIO structure shared with review, conform, music, and sound.
A common structure, not a closed editor
Saga does not require filmmakers to surrender the editorial room. OTIO carries the decisions, and human review can happen wherever the production prefers while the same authoritative timeline continues downstream.
Editorial architecture
Finished takes, performance evidence, scene structure, beat targets, and narrative waveform.
Performance, technical quality, continuity, alternatives, and surrounding context shape the choice.
Frame-accurate trims, shot order, hard cuts, dissolves, match cuts, and J/L structure form the sequence.
The emerging cut is measured against script intent, then revised where emotional divergence matters.
Picture, dialogue structure, editorial versions, and downstream change events resolve into OTIO.
OpenTimelineIO · EDL interchange · SMPTE timecode · OCIO/ACES delivery pathThe editorial room
Available takes are weighed against dramatic purpose, technical quality, continuity, and the surrounding sequence.
Trim, transition, pace, and shot order are iterated against the narrative waveform and the felt experience of the scene.
OTIO preserves the frame-accurate structure whether the cut is made by Saga, a human editor, or both.
The handoff
Saga receives
Mimir supplies context and available media; Saga makes and records the editorial decisions.
Saga delivers
The locked OTIO and cut-stage waveform dispatch together to Bragi and Heimdall while dialogue stays attached to picture.
Picture lock / Branch 06A