The edit room keeps a different clock after midnight. Cutting at 2AM runs on rhythm rather than plan: scrub, mark, lift, then stillness while the seam plays again and again. Judgment narrows. Sound leads; picture follows, tired earlier than the ears. Decisions arrive faster than they did at noon, not always better, but clearer — mistakes announce themselves plainly at this hour instead of hiding behind polish. Notes written now read strange by morning and turn out mostly right. The discipline is telling help from mere lateness. When the hour serves, sequences tighten frame by frame. When it does not, the honest move is to leave the timeline alone and let the room go dark.