Video Editing & Post-Production

There is no fixed ratio, but the practical answer is that the shoot length matters far less than how much of it is usable. A ninety-minute webinar and a three-hour interview shoot can both become the same eight-minute edit. What changes the effort is the number of camera angles, whether the audio needs rescuing, and how many separate deliverables come out of the timeline. Send us the file list and the runtime and we will tell you what is realistic before you commit.

Correction is the technical stage: neutralising a flat log or raw image, setting white balance and exposure, and matching shots so cuts between cameras and takes are invisible. Grading is the creative stage that sits on top — the look, the mood, selective work on skin tones, sky, or product using masks and secondaries. Almost every problem people blame on a grade is actually an uncorrected image underneath it, which is why we always do them in that order and never skip the first one.

Yes. Send the camera originals in whatever log profile they were shot in and tell us the camera and profile, and we will start from a correct transform rather than eyeballing it. If you have brand LUTs from a previous production, we apply them as the creative layer over a corrected image, which is how they were designed to be used. If you have no LUTs, we build a look, send graded stills for approval, and can export it as a LUT you keep for future shoots.

Usually improved, sometimes rescued, occasionally not. Consistent problems — room hiss, air-conditioning hum, uneven levels between speakers, harsh plosives — respond well to clean-up and are part of the standard mix. Heavy echo from a reflective room, clipped and distorted peaks, and speech buried under louder noise are much harder, because the information is genuinely missing from the recording. Send us the worst thirty seconds you have before you book and we will tell you honestly which of those it is.

Yes, and it is a common request. Send the project file with linked media, or an XML or AAF export if you cut in a different application, and we pick up from your timeline for a finishing pass — colour, sound mix, graphics, captions, and versioning — without re-editing the story you already approved. If we think the cut itself is holding the piece back, we will say so and show you an alternative, but we will not quietly re-edit it.

Both. Every delivery includes the editable project with linked assets, fonts, grade settings, and the audio session, and on final payment ownership of the finished work and those source files transfers to you. There is no usage window, territory limit, or separate buy-out. You can hand the project to another studio or an in-house editor and they can pick it up without asking us for anything.

On the Scale Package the whole kit — including the edit — has a 14-day turnaround, because a package is several assets produced as one batch rather than a single file. A custom-scoped one-off edit typically runs 7 to 10 days with the schedule agreed in writing before kickoff. On the monthly retainer, single requests like a cutdown, a caption pass, or a re-grade average about 48 hours each, taken one at a time from your queue.