The answer to the consistency problem was built before the week started. A modular open and end slate system — one to three seconds, layers swappable per cut — was delivered ahead of coverage so every film, including the ones cut by the on-site team, carried the same identity. The transition language was locked in pre-production too: dolly-zooms, slow shutter, speed ramps, golf-swing match cuts, Aston Martin and Hoag logo matching, empty-versus-filled venue reveals. Then the pipeline: footage captured on site each day, handed off nightly, cut overnight into a 60-second recap and delivered by 11 AM the next morning. With the look and the transitions decided in advance, the overnight edit was assembly, not invention — which is what made the turnaround routine instead of heroic.