Monthly editing
You shoot it. We cut it. Every month, without a conversation.
Two films a month from footage you recorded yourself, cut to your own template and back inside a week. No crew, no kit, no travel, no shoot day, and nothing in the diary to arrange.
Who it is for
The people who already film themselves, and have a folder full of it uncut.
You have the room, the light and the microphone, and you record when you have something to say. What you do not have is an evening free to learn a colour panel, or the appetite to brief a new freelancer every time. The filming was never the bottleneck.
This is the least glamorous thing we sell and the one most likely to still be running in two years. It has no shoot day in it at all.
How the month runs
Nothing to schedule, and nobody has to be anywhere.
Whenever
You shoot
Record when it suits you. Nothing is scheduled and nobody has to be anywhere — the whole point is that the filming already happens without us.
Drop it
Footage arrives
Into the same shared folder every month, with a line about what each recording is. No file naming to learn and no portal to log into.
5 days
First cut
Five working days from usable footage. Cut to your template, graded, mixed, subtitled, and delivered in the ratio you publish in.
One round
Your changes
One round of notes, taken in one go, turned around in two working days. Two rounds happen; they are quoted rather than pretended away.
Monthly
It repeats
Two films a month, every month, until you stop it. No term, one month's notice, and nothing to cancel in writing beyond an email.
Films do not carry over. A month you do not use is a month that has gone, which is the honest version of a retainer this size: what you are holding is a place in the edit week, and it is held whether or not you fill it.
Included
- Two finished films a month, up to ten minutes each
- Cut to your template — titles, lower thirds, the look built once
- Graded and mixed, so the third film matches the first
- Subtitles and a captioned master for every film
- One round of changes on each
- Five working days from footage to first cut
- Delivered named to your convention, in the ratio you publish in
Your part
- Shoot it yourself, on a setup that works — this is the service for people who already can
- Get the sound right in the room; it is the one thing an edit cannot fix
- Send the footage, with a line about what each recording is
- Give notes once, in one message, rather than three times over a week
Not included
The things that would quietly double it.
None of these is refused. They are quoted, because each one is the specific way a month of templated editing turns into two, and finding that out in month three would be worse for both of us.
- Anything shot by us — there is no shoot day in this at all — A content day or a programme
- Films longer than ten minutes finished — Quoted per film
- Vertical and square cutdowns — Quoted per film, or built into a content day
- Motion graphics beyond the template — Motion graphics, per the rate card
- A second and third round of notes — Quoted, and rare
- Rescuing footage that cannot be cut — A clinic, which is the actual fix
The template
£450 once, and nothing if we have been in your room.
Titles, lower thirds and the look every film is cut to, built once against your room and your brand. It is charged once and it is yours — project files included — so if you ever stop, anybody else can carry on cutting to it.
It is waived if you came through a studio clinic or a clinic and install. By the end of one of those we have photographed the room, set the light and heard how you talk, and charging again for the same looking would be charging twice.
Questions
The ones people actually ask.
What if I shoot four things in a month and nothing the next?
Send all four. The allowance is two a month and it does not bank, but your footage can wait: two get cut now and two next month. What does not work is four every month at the price of two, and you would be told that rather than discovering it in the turnaround.
Who owns the template?
You do, along with the project files. If you stop, you can hand the whole thing to anybody else and they can carry on cutting to it. Nothing here is built to be hard to leave.
My footage is not very good.
Then this is the wrong thing to buy first. A clinic is half a day and it fixes the cause; cutting round bad sound every month is paying us to hide a problem you could have removed.
Can somebody else on my team send the footage?
Yes, and most do. One folder, whoever fills it.
Is there a contract?
A one-page agreement and a monthly invoice. Rolling, one month's notice, no term and no auto-renewal to catch you out.
The honest bit
If your footage is the problem, this is the wrong thing to buy.
Editing cannot fix a room. If the sound is hollow, the light is the monitor and the camera is looking up at you, then paying every month to have that hidden is a worse deal than half a day spent removing it. Say so in the brief and you will be told which one you need — including when the answer is neither.