Using your script supervisors notes, you would then proceed to make a rough cut ending in the tempo draft visual effects done in pre production earlier, to at least give your key crew members a rough idea of how those would look like in sequence. So this here is an animatic I did during the early pre production phase, and you might have seen this a little bit earlier in one of the lessons just using storyboarded frames, basically to time out the film and help in editing. Now, since my shot was very visual effects intensive, this helped a lot and definitely save time during editing since I just matched the timing of my animatic for the most part, with some degree of flexibility. Now, once you have the sequence set, your rough cut is then set to be a Final Cut, where the shots are more or less locked for post production, sound and digital effects.

The trim sequence then cannot be unnecessarily changed randomly You would have to send a reference timecode of the sequence, otherwise also known as the Edit decision list, or EDL, to the visual effects and sound people. This is important because once again, as a professional filmmaker, you have to respect everyone's time, energy and efforts. Changing your cut unnecessarily can affect these people as well. Just be aware of that before you decide to finally lock that cut down.