Post production services
Editing, motion graphics, color grading, and audio post, delivered by the team that shoots for national brands and networks. Bring us your footage or bring us the whole job.
Finishing done by people who shoot
Post is where a good shoot becomes a good film, and where a rushed one gets found out.
Most post houses never hold a camera, and most production companies treat post as the bit that happens after the interesting work is done. We do both, which changes the decisions. An editor who has stood on the set knows which take the director was protecting. A colorist who knows how the scene was lit knows what it was supposed to look like before anyone graded it. Color grading and audio post are covered on their own page.
We take footage shot by anyone. A large share of our post work arrives from clients who filmed in-house, or inherited an archive from a previous agency, and needs it turned into something broadcast-standard. There is no penalty for not having shot it with us, and no attempt to talk you into a reshoot when the material is fine.
Everything happens in-house: offline and online edit, motion graphics and titles, color, sound design and mix, captions, and every delivery format you need. One producer owns the schedule, so the version that goes to broadcast and the version that goes to your social team come from the same place on the same day.
Work that has run, for brands you know
Broadcast, corporate, and campaign work finished in-house, from offline edit through final grade and mix.
Post production services
Video editing
Offline and online edit, from a single cutdown to a full campaign. Story first, then rhythm, then polish. We will tell you when a cut is not working rather than delivering it quietly.
Motion graphics and titles
Title sequences, lower thirds, animated charts, and full explainer sequences, built to your brand system rather than a stock template.
Color grading
Primary and secondary grade on calibrated displays, matched across every camera and every day of a shoot, and finished for the platform it will actually play on.
Audio post and mixing
Dialogue clean-up, sound design, music selection and licensing, and a final mix balanced for broadcast, web, or headphones. The fastest way to make a video feel more expensive.
Captions, versioning and deliverables
Accurate captions, aspect-ratio versions, language variants, and every codec and spec your platforms and broadcasters require, delivered together rather than in dribs.
Recuts and sizzle reels
Existing footage and archive turned into something new. Most companies are sitting on far more usable material than they realize.
What separates finished from exported
Six things account for most of the distance between footage that looks amateur and footage that looks bought. None of them are visible individually; all of them are visible together.
A cut with a spine
Structure before polish. If the first thirty seconds do not establish why anyone should keep watching, no amount of grading or sound design rescues the rest of it.
Color matched across cameras
Two cameras on the same shoot never match out of the box, and untrained eyes still register the mismatch as cheap without knowing why. Matching first, then grading, is the order that works.
Audio treated as half the picture
Viewers forgive a soft image far longer than they forgive hollow, echoing dialogue. Clean-up, level discipline, and a real mix do more perceived-quality work than any camera upgrade.
Graphics that belong to your brand
Titles built from your typeface, palette, and spacing rules rather than a preset. Off-brand motion graphics undo an otherwise expensive-looking piece instantly.
Music that is actually licensed
Properly licensed tracks with the paperwork retained. Borrowed music is the most common reason a finished corporate video has to be pulled and recut later.
Deliverables planned up front
Aspect ratios, captions, runtimes, and specs agreed before the edit locks. Retro-fitting a 9:16 version out of a 16:9 finish always costs more than building both from the start.
What post production costs
Post pricing is driven by how much footage there is, how finished it needs to be, and how many versions come out the other end.
These are the ranges our post-only work lands in, for projects where the footage already exists. Post included as part of a full production is quoted inside that production rather than separately.
$1,500 to $5,000
Cut and deliver Offline and online edit from footage you already have, with basic titles, a music license, captions, and the delivery formats you need. Typical for a single video or a short cutdown.
$4,000 to $12,000
The full finish Edit, color grade, sound design and mix, custom motion graphics, captions, and multi-format delivery. This is where a video stops looking like footage and starts looking like a film.
$15,000 and up
Volume and archive Campaigns, series, and library builds. Multiple pieces sharing one grade, one graphics package, and one music license, with a producer running the schedule across all of them.
A finishing partner, not a render farm
You get an editor and a producer, not a ticket in a queue. We work in rounds with real review sessions, we tell you when a note will make the piece worse, and every discipline sits in the same building, so a color question does not become a three-day email chain with a subcontractor.
Post production questions
Will you edit footage we shot ourselves?
Yes, and a large share of our post work arrives that way. Send us what you have, including the material you think is unusable. We will tell you honestly what the footage can support before you commit to anything.
What is the difference between offline and online editing?
Offline is the creative edit: story, structure, pacing, and the version you review and change. Online is the finish: conform at full resolution, color, graphics, mix, and delivery. Quotes that only cover offline are the usual reason a post budget doubles late.
How long does post production take?
A single video from existing footage is typically one to two weeks including two rounds of revisions. A full finish with custom graphics and a proper mix runs two to four weeks. Rush turnarounds are possible and priced accordingly.
How many rounds of revisions are included?
Two rounds as standard, which is enough for almost every project when the notes are consolidated. Scattered notes from six stakeholders arriving separately is what turns two rounds into five, so we ask for one consolidated set each time.
Do you handle music licensing?
Yes, and we retain the paperwork. Properly licensed music is not optional for commercial work. Borrowed tracks are the most common reason a finished corporate video has to be pulled and recut months later.
Can you match footage from different cameras?
Yes. Camera matching before grading is standard on any multi-camera or multi-day project. Untrained viewers cannot name the problem but they register mismatched footage as cheap, so it is worth doing properly.
What formats and deliverables do you provide?
Whatever your platforms and broadcasters need: broadcast specs, web codecs, aspect-ratio versions, captions, and language variants. Agree the list before the edit locks and it costs nothing; add it afterwards and it always costs more.
Do you do audio post separately from editing?
We can. Audio post, including dialogue clean-up, sound design, and final mix, is available as a standalone service on footage cut elsewhere. It is often the highest-return single thing you can buy for an existing video.
Can you work with our existing editor or agency?
Yes. We regularly take on the finish (color, graphics, mix, delivery) on projects cut in-house or by an agency. We work to your project files and hand back everything at the end.
What do you need from us to start?
The footage, any brand assets and fonts, a rough sense of length and audience, and one named person who owns the notes. That last one matters more than most clients expect.
Which markets do you cover?
Post-production is location-independent and we work with clients everywhere. Our offices are in New York, Boston, Los Angeles, Chicago, Houston, Washington DC, Fort Lauderdale, Tampa, and Miami, and we cover 48 markets for production.
Have footage that needs finishing?
Send us roughly how much material you have, what you want out of it, and when you need it. We will come back with a scope, a schedule, and a fixed quote, usually within two business days.