Video editing company
Professional editors cutting corporate, commercial, and branded content to a broadcast standard. Send us your footage. We will tell you what it can support before you spend anything.
The edit is where the film is actually made
Shooting produces material. Editing produces the film. They are not the same skill and they are not the same job.
A good editor is not someone who is fast in the software. It is someone who can watch four hours of interview and find the ninety seconds that carry the argument, then build around it so the audience never notices the joins. That judgment is the product, and it is the difference between a video that gets watched and one that gets scrolled past. Color grading and audio post are covered on their own page.
Most of what arrives here was filmed by somebody else: in-house teams, a previous agency, a conference AV crew, or an archive nobody has opened in three years. That is normal and there is no penalty for it. We will look at what you have and give you an honest read on what it can become, including telling you when the answer is that it cannot.
Editing sits alongside color, sound, and motion graphics in the same building, so a cut can be finished properly rather than exported and handed to a stranger. One producer runs the schedule and one editor owns your project, which is why revisions stay coherent instead of drifting between people.
Work that has run, for brands you know
Corporate, commercial, and unscripted work cut in-house for national brands, agencies, and networks.
Video editing services
Corporate and brand editing
Brand films, culture pieces, and executive communications cut for clarity first. The version that survives a legal review and still holds an audience.
Interview and testimonial edits
Finding the argument inside hours of talking. The single most underrated editing skill and the one that decides whether a testimonial persuades anyone.
Social and vertical cutdowns
One shoot recut for every platform and aspect ratio, framed deliberately for vertical rather than cropped and hoped for.
Event and conference edits
Multi-camera sessions cut into usable sessions, highlights, and clips. Most event footage is never touched again, which is where its value goes.
Archive and library recuts
Existing footage turned into something new. Most companies own far more usable material than they think they do.
Finishing and delivery
Color, sound mix, captions, graphics, and every delivery spec your platforms need, handled in the same building as the edit.
What makes an edit work
Six things separate an edit that holds attention from one that technically contains all the footage. None of them are about software.
A first ten seconds that earns the rest
Attention is decided almost immediately. Opening on a logo animation, a slow establishing drone shot, or someone introducing themselves is the most common way to lose an audience before the content starts.
One argument, not five
Every stakeholder wants their point included, and the result is a video that says nothing. Deciding what to leave out is the editor’s real job and the hardest conversation in the process.
Pace that varies
Uniform pacing reads as flat regardless of how good the material is. Cuts have rhythm, and the moments you slow down are what make the fast ones land.
Audio doing half the work
Level discipline, clean dialogue, and music that supports rather than fills. Viewers tolerate a soft picture far longer than they tolerate bad sound.
Consolidated feedback
One person owning the notes, delivered as a single set per round. Scattered comments from six people is what turns two revision rounds into six and makes the cut worse each time.
Deliverables decided early
Runtimes, aspect ratios, captions, and platform specs agreed before the cut locks. Retro-fitting a vertical version out of a finished horizontal edit always costs more.
What video editing costs
Editing is priced on how much footage there is, how finished it needs to be, and how many versions come out.
These are our ranges for editing footage that already exists. Editing inside a full production is quoted within that production rather than separately.
$750 to $2,500
One video, cut properly Offline and online edit from your footage, with titles, a music license, captions, and the delivery formats you need. Two rounds of revisions included.
$2,500 to $6,000
A batch from one shoot Several videos cut from the same material, sharing a graphics package and music license. The most cost-efficient way to buy editing.
$4,000 and up
Continuous output Monthly volume for teams publishing regularly. A named editor who learns your brand, predictable turnaround, and a standing slot in the schedule.
Editors, not a marketplace
You get a named editor and a producer who stay with your project, not a rotating pool and a ticket number. Fifteen years cutting for national brands and networks, color and sound in the same building, and an honest answer about what your footage can support before you commit to anything.
Video editing questions
Will you edit footage we shot ourselves?
Yes, and most of our editing work arrives that way. Send what you have, including the takes you think are unusable. We will give you an honest read on what it can support before you commit to anything.
How much does it cost to edit one video?
Between $750 and $2,500 for a single video from existing footage, including titles, music license, captions, and two rounds of revisions. Batching several videos from one shoot brings the per-video cost down substantially.
How long does an edit take?
A single video is typically one to two weeks including revisions. A batch runs two to three. Rush turnarounds are possible when the material is organized and the notes come back quickly.
How many revision rounds are included?
Two, which is enough for almost every project when notes are consolidated. We ask for one combined set of notes per round from one named person, because scattered feedback is what makes edits worse rather than better.
What footage formats can you work with?
Effectively all of them: cinema cameras, DSLRs, phones, drones, screen recordings, conference AV feeds, and old archive files. Mixed sources on one project are routine.
Do you provide music and is it licensed?
Yes, and we keep the paperwork. Properly licensed music is not optional for commercial use. Unlicensed tracks are the most common reason a finished video has to be pulled and recut later.
Can you cut vertical and social versions?
Yes. We frame vertical deliberately rather than cropping a horizontal edit and hoping, which is why our vertical cuts do not have people’s heads clipped out of frame.
Do you also do color, sound, and graphics?
Yes, all in-house. Editing, color grading, sound mix, and motion graphics sit in the same building, so a cut can be finished properly instead of exported and handed to a subcontractor.
Can we work with you on an ongoing basis?
Yes. Teams publishing regularly get a named editor who learns the brand, a standing slot in the schedule, and predictable turnaround, starting around $4,000 a month.
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 feedback. That last one matters more than most clients expect.
Which markets do you cover?
Editing is location-independent and we take clients everywhere. Our offices are in New York, Boston, Los Angeles, Chicago, Houston, Washington DC, Fort Lauderdale, Tampa, and Miami.
Have footage that needs cutting?
Tell us roughly how much material you have and what you want out of it. We will come back with a scope, a schedule, and a fixed quote, usually within two business days.