You look at the beat, then you feel the energy. In a fight you’re not playing a chess game – you’re setting a pulse. First, map out the action in thirty‑second chunks. The moments that feel like a punch, a block or a twist are the peaks. If you cut too early, the audience will think the hit didn’t land; if you linger too long, the impact wears off. So I keep the cut right after the climax of a move, when the sound hits the screen, and then give the audience a split‑second breath before the next beat. I also watch the actors’ timing; if they need that extra hit to show muscle, I extend. In short, cut at the sound of impact, linger to let the emotion settle, and keep the rhythm tight so the audience can’t predict the next move.

Got it. Stay tight on the cuts, keep the beat sharp, and make sure the actors hit their marks like a drum. If they slow down, the rhythm dies. Keep the music in sync, let the impact hit the screen, and give the audience a clean, sharp taste before the next hit. That’s how you keep the energy alive.