We Only Edit Weddings. That's the Whole Point.

How We Got Here

S&D Media didn't start as a wedding company. It started as freelance video
editing across a bunch of different niches, run by one person trying to keep up
with client work. As the workload grew, a close friend joined part time, and the
two-person setup grew from there.

Along the way, a pattern kept repeating. Solo freelancers hit the same wall
eventually: download speeds that can't keep up with raw footage, editing machines
that choke on 4K, ISPs capping monthly bandwidth, no real backup system for
hundreds of gigs of client data, and deadlines that slip because one person is
trying to do a five-person job. It's not a skill problem. It's a structural one,
and no amount of talent fixes it alone.

So we built a system instead of staying a freelancer. We hired and trained
editors, standardised the workflow, and built the infrastructure a single
freelancer never could. That work was still spread across multiple niches at
first. Wedding video editing kept showing up more than anything else, we kept
getting better at it, and eventually we made the call to go all in on one
industry instead of spreading thin across many. That's the version of S&D Media
that exists today.

To put dates on that: we have been editing weddings since 2022, first as a
freelance operation and then as a small team. The business was incorporated
in the United Kingdom as S&D MEDIA LTD on 1 May 2025, company number
16423103,
registered at 32 Hollywall Lane, Stoke-on-Trent, ST6 5PP. The company is
newer than the work, which is the usual order of things.

Why "S&D"

The name Splice and Dice is literal. Splice means to join footage together,
dice means to cut it. That's editing, at its most basic level. It also carries
the first initials of the two people who started the company. It's a name that
means something on both counts, not just a placeholder.

Who We Work With

We work exclusively with wedding videographers and studios. We do not film
weddings, and we do not take on couples as direct clients. That's not a
limitation, it's the whole model: because we never compete with the person who
hired us, your client relationship stays entirely yours from first contact to
final delivery.

About 80% of our clients are based in the US and Canada, but we serve
videographers worldwide and have edited weddings across a wide range of cultural
traditions, ceremony styles, and regional formats. If you shoot weddings
anywhere, we can very likely edit for you.

To date, we've edited over 700 weddings for more than 100 videographers and
studios.

How We Train Our Editors

We don't hire editors and throw them straight onto client footage. Every editor
goes through a structured 3-month training programme before they touch a
single paying project.

That programme covers camera settings and format handling specific to wedding
delivery, the technical and creative depth of sound design, a professional
workflow built to prevent mistakes before they happen, and storytelling technique
broken down from studying how films and directors actually build emotional
pacing. If someone comes to us with strong editing instincts but experience in
Premiere or Final Cut, we retrain them into our software during this period,
because consistency across the team matters more than what they walked in
knowing.

During training, editors only work with archived footage from past projects,
footage the original videographer and couple have already given us permission to
use for that purpose. Trainees never touch a live project or footage from
clients who haven't given that permission. Client work stays client work, always.

One Team, One Piece of Software, No Exceptions

Every editor on our team works exclusively in DaVinci Resolve. That's a
deliberate choice, not a limitation. When the entire team works in the same
software, a project isn't tied to one irreplaceable person. If an editor is on
leave, hits an emergency, or a client needs a same-day revision over a weekend,
another editor can pick up the exact same project file without missing a step.
Your delivery date doesn't depend on one person's availability.

Infrastructure Built for Wedding-Sized Files

Wedding footage runs into hundreds of gigabytes per project, and we built our
systems around that reality rather than working around it.

• Raw footage downloads automatically the moment we receive it, so editors
  start working the moment they sit down instead of waiting on transfers.
• Every finished project is backed up and held on our servers for 40 days
  after delivery, so if a client comes back with a change of heart weeks later,
  the footage is still there.
• The latest Mac and Windows machines, built to handle 4K and 10-bit log
  footage without bottlenecking the process.

Turnaround You Can Actually Plan Around

Our standard delivery window is 1 to 2 weeks, and hitting that window
is our priority on every project we take on.

For situations where you need something faster, we offer expedited delivery for an additional 50% of the project's value, and we confirm the date before you commit. We don't treat
speed as a vague promise, it's a real option with a real cost, stated upfront.

Where We Stand Today

Ten full-time in-house editors at the core. A small number of remote editors
join only after intensive training, and a project manager quality-checks their
work before it reaches you.
700+ weddings edited. 100+ videographers served across the US, Canada, and
beyond. One industry. One software. One standard.

We're not trying to be a general video editing company that happens to take
wedding work. We built this to be the wedding editing team videographers actually
want their name attached to, the kind where an S&D Media outro at the end of a
film means something to the videographer showing it off.