What we cut, what we turn down, and how it is delivered

Yes, and vertical is a different craft from long form rather than a shortened version of it. A video editor for reels is solving for a hook that earns the first two seconds, burned-in captions, and safe zones that survive every platform's interface.

We usually deliver several hook variants of the same cut, so you can test openings instead of guessing — which matters twice over if the video is also going to run as a paid ad.

All of those, regularly. Podcast episodes and multi-camera conversations, event recaps and after-films, educational videos and course content, kids' videos, corporate films, and one-off project edits for students and small businesses.

By industry the regulars are D2C, real estate, gaming, fitness and restaurants — but the format matters more than the sector when we scope it.

Usually not, and this is a deliberate no. Wedding films are a specialism with their own editors, their own pacing conventions and their own relationship to the footage. They are better at it than we would be.

If you ask, we will point you at someone who does it properly rather than take the job and deliver something ordinary.

Whatever the destination needs, from one edit: 16:9 for YouTube, 9:16 for reels and shorts, 1:1 where a feed still wants it, plus a high-bitrate master you can archive.

Subtitles come as burned-in captions for vertical and as a separate .srt for YouTube, because YouTube reads the file for search and burned-in text is invisible to it.

For one simple cut, a good freelance video editor wins on price and we will say so.

A video editing company earns its cost when the work needs more than one skill — colour, sound and motion graphics are separate crafts, and one person doing all three means two of them are merely passable. The one that slips is almost always sound. It also earns it when you need a predictable schedule: a freelancer with flu has no bench behind them.

Judge on a finished piece that resembles your job, not on a showreel. Showreels are the best four seconds of fifty projects. Ask to see one complete video for a brand your size, watch it on a phone with the volume low, and see whether you can still follow the dialogue.

That last test fails more editors than any other.