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HayaCut wasn’t built by a software company. It was built by an editor.

Every editor who has spent enough years in the room has had the same thought: I wish this tool worked the way I think. Most never get the chance to fix it. The opportunity to actually build it came once, and it was taken.

The path to HayaCut started in the analog era — splicing film and cutting sound on tape, long before anything was digital. That meant living through the entire transition firsthand: from flatbed to Avid as an editor, from tape to Pro Tools as a sound editor, from photochemical and early Digital Intermediate suites to Baselight as a colorist. Add years in 2D and 3D VFX from before Maya existed, and eventually directing, editing, and sound-mixing a feature film — and what’s left is a post-production career that has sat on every side of the timeline at least once.

That range matters, because it means HayaCut wasn’t designed from a single chair. It was designed by someone who has been the editor under deadline, the sound mixer matching picture, the colorist protecting a director’s intent, and the director depending on all three.

After years of working inside Avid, Pro Tools, Premiere, After Effects, Baselight, and Resolve — the same realization kept surfacing: every editor eventually imagines the feature their software doesn’t have, and almost none of them ever get to build it. Most professional tools are designed by people who have never sat in the chair they’re designing for.

When the opportunity to change that finally arrived, the response was to learn to program — not to hire it out, but to actually build it. JavaScript first, then the harder question: out of everything editors quietly wish for, what’s the one thing that’s been missing since NLEs existed?

The answer was real-time cutting. Not multicam tricks. Not automated assembly. The actual feeling of cutting on instinct — playing a scene and cutting the moment it’s felt — using only the footage a single camera shot. That feeling has existed in live broadcast and multicam workflows for decades. It has never existed for the single-camera editor working alone in a room.

Five years of building later, it does.

HayaCut exists so that editors spend less time fighting the interface and more time doing the part of the job that actually matters — making the cut. The hope is simple: that editors get to spend a little more time outside the edit room, because the time inside it finally moves at the speed it always should have.

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Background

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Education

Master of Fine Arts (MFA), Film Production University of Southern California (USC)

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Career

Began in film post-production as a Sound Editor, Sound Mixer, and Film Editor during the analog-to-digital transition. Went on to manage a post-production and VFX studio specializing in film and television commercials, working as a 3D and 2D compositing artist while supervising teams, schedules, budgets, and creative execution. Worked as a colorist on Baselight, handling Digital Intermediate workflows and color grading for feature films. Directed, edited, and sound-mixed an independent feature film.

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Core Skills

End-to-end post-production supervision across every major discipline — sound mixing, film editing, 3D and 2D VFX compositing, and film/TV commercial color grading — combined with a technical background in JavaScript for building post-production tools and workflow systems.

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Software

Avid Media Composer  ·  Pro Tools  ·  Adobe Premiere Pro  ·  Adobe After Effects  ·  Autodesk Maya  ·  Baselight  ·  DaVinci Resolve