Outsource Wedding Video Editing for Videographers

You shot the wedding. The footage is sitting on a drive, and there are three more weddings before the end of the month. That is the problem this page is about.

You send us the footage. We edit it. You deliver it to your couple under your own name.

Who This Is For

Videographers and studios who shoot more than they can edit. That is most of the people we work with: a peak season that produces more weddings in four months than the other eight combined, and a choice between turning work away, delivering late, or spending every evening in front of Resolve.

It is not for couples. We do not shoot weddings and we do not sell to couples. We only work with the people who do.

Who Actually Edits Your Film

Nine full-time in-house editors. No freelancers, no subcontractors, and no rotating pool of whoever happens to be free that week. The same editors stay on your account, so the second film we cut for you starts from everything we learned on the first.

Everyone works in DaVinci Resolve, and only in DaVinci Resolve. That is a deliberate decision rather than a preference. One program across the whole team means a project can move between editors without conforming or rebuilding anything, and it means colour happens in the tool built for it rather than as an afterthought at the end.

Since 2022 we have edited more than 450 weddings for over 100 videographers. Around 80% of them are in the US and Canada.

What We Edit, and What It Costs

Film	Length	Price
Teaser	60-90 seconds	$250
Highlight film	3-7 minutes	$350
Full-length film	The whole day, in sequence	$250
Ceremony video	Multi-camera, synced and cut	$200
Bride, groom or couple reel	Vertical, for social	$70 each
Teaser reel	The teaser, cut vertically	$250
Wedding package	Teaser, highlight and full-length together	$650

Colour grading and sound design are included in every film we edit. Both are also available on their own, colour grading and sound design, if you cut in-house and want one part handled.

The prices are published because you should not have to book a call to find out whether we are in your range.

How a Project Runs

You send the footage. Google Drive, Dropbox, or whichever cloud storage you already use. There is no size limit. Three to five hundred gigabytes for a wedding is normal here.

You fill in the project intake form. One per wedding. It covers the theme and direction, the moments that have to be in the film, names and pronunciations, music direction, and anything in the footage you would rather we did not use. This is the brief the film gets built to, and it is the single biggest factor in how few revision rounds a project needs.

We edit. The cut, the colour and the sound are handled together rather than passed down a line.

You review, we revise. Notes go on the Frame.io link that carries the files.

You deliver it to your couple. Under your name.

What We Need From Your Footage

We work with what a professional camera produces. Log and RAW are ideal, and 4K 10-bit is our preference. If your situation is different, we would rather talk about it than have you guess.

Two or three camera angles is what we see most often. Multi-camera sync is part of the job rather than an add-on, and that includes ceremonies and speeches where several angles have to line up against a single audio source.

Send everything. Deciding what is unusable is our job, and the shot you nearly deleted is quite often the one the film turns on.

Turnaround

Standard turnaround is 7 to 8 working days. Not three to four weeks.

The more useful answer is that we work to your date. Tell us when you have to deliver to your couple, and we will confirm whether we can hit it before you commit to anything. That is a better question than an average, because a wedding you shot last weekend and a wedding you shot in June are not the same job.

If something needs to move to the front of the queue, expedited delivery in 48 to 72 hours is available at +50% of the project price. We charge for it because it displaces other work, and pretending otherwise would only mean quietly deprioritising somebody else.

Revisions

Four rounds are included: one internal alignment round before the film reaches you, and three with you.

Small changes are included generously: trims, shot swaps, colour and audio adjustments, spelling and title corrections. What needs a separate scope is a re-edit: switching the pacing from chronological to non-chronological, altering the storyline, substantially changing the length, or moving to a new music concept. Those rebuild the film rather than refine it.

The full terms are on our revision policy page, including what counts as a standard revision, how to send notes, and how long a project stays open.

What You Get Back

The finished film, rendered at the highest quality we can give you, in the format you need.

If you want the project file as well, you can have it: the Resolve project with the assets, so you can open it on your own machine. Two things worth knowing: some of the plugins we use are paid, so you would need your own licences for those, and for most people the rendered master is all they actually need.

Music and Licensing

If you have already chosen a track, send it and we will cut to it. The licence for that track stays yours.

If you need us to supply licensed music we can, within the platforms we have access to, but tell us early rather than late. A change of music concept after the first draft means retiming every cut in the film.

Working Under Your Brand

Everything we deliver is yours. No watermark, no credit, and no contact with your couple.

We sign NDAs and white-label agreements on request. A lot of our clients would rather their couples never knew an outside team was involved, and that is entirely reasonable.

Why Not a Marketplace or a Hundred-Editor Studio

Both of those work for some people, and it is worth being honest about what you give up.

On a gig marketplace you start again with a stranger every time. At an operation with a hundred editors your film goes to whoever has capacity that week, and style drift becomes something you manage rather than something that does not happen.

Nine editors is small enough that the same people know your work. That is the reason clients send us their second wedding, and it is also the honest limit of what we offer. We are not the largest option available to you and we are not trying to be.

Getting Started

If you have not worked with us before, we will do a sample edit, after a short call, so that we understand what you are actually looking for rather than guessing at it. If you are sending us most of what you shoot, a dedicated editor is usually the cheaper arrangement.

First-time clients can split payment 50/50 instead of paying in full up front, and there is a money-back guarantee on a first project. Both exist for the same reason: you have no way of knowing whether we are any good until you have seen us work.