Twelve restaurants. Thirteen videos. One week, start to delivered. Here is the actual shape of that week, because the schedule is the interesting part.
The timetable
Shooting ran days one to five. Editing ran days two to five. Finishing took days six and seven.
Read those again: editing starts on day two, while the crew is still out. That overlap is not a way to save a day. It is the entire reason the week works.
Why the overlap is the point
When editing waits for the shoot to finish, every problem is discovered after the only people who could fix it have gone home. A missing establishing shot, a room that graded badly, an interview where the answer never quite arrives. Found on day six, each of those is a return visit you do not have time for.
Cutting alongside the shoot means the first restaurant is assembled while the crew is at the third. If something is short, they are still out, still kitted, and the fix costs an hour instead of a day.
What has to be true beforehand
This schedule is not a rescue for a vague brief. It only holds if three things are decided before day one.
The format is fixed. Every restaurant gets the same treatment, so each location is a repeat rather than a fresh creative problem to solve on the pavement.
The shot list is known on arrival. The crew is not deciding what the video is while standing in someone's dining room during service.
The edit structure is agreed once, up front, and then applied thirteen times. If the shape is still being argued in week one, there is no week one.
The honest version
A week like this looks fast from outside and feels unremarkable from inside, which is the goal. The speed does not come from working harder on the days. It comes from having removed every decision that did not need to be made on them.