Video Editing Agency for Footage You've Already Shot
You don't need a second production to fix a first one — send the footage you already have and our editors take it from raw clips to a finished file.
What you actually get
Any source footage, one edit suite
Camera-original files from a shoot you ran yourselves, drone footage from an operator you hired locally, stock clips, even old archive material — it all comes into the same edit suite and gets treated as raw material, not a problem to work around. We don't require a specific camera, codec or shoot style before we'll take a project on; the brief is what the footage needs to become, not where it came from.
Grading and motion graphics without a second vendor
Colour grading, titles, lower thirds and motion graphics are handled by the same in-house team doing the cut, so a finished edit doesn't mean routing footage through three separate freelancers on three separate timelines. That's usually where a straightforward edit turns into a three-week wait — not the cutting itself, but the queue behind a colourist or a motion designer juggling other clients. Keeping it in-house removes that queue.
Review on your schedule, not a booked call
Feedback comes back as timestamped comments on a private review link — mark the exact frame, leave the note, move on — rather than a live call that has to fit two calendars and a timezone gap. Revisions get actioned against that list and a new cut goes back up, so a project can move forward a full day before anyone's had to be on a call about it.
Making footage that wasn't shot for this work for this
Nobody asked the original camera operator to leave headroom for a vertical crop or hold a cutaway two seconds longer for a shorter cut — the footage exists exactly as it was shot, and reformatting it is entirely an editorial problem now, not a production one. That means punching into a widescreen frame and accepting we lose whatever was at the edges, re-cutting a sequence that paced well at ninety seconds so the same beats still land at fifteen, and sometimes dropping a shot from the format-specific version entirely because it simply doesn't survive the crop. There's no reshoot to fall back on if something doesn't work, so we test the tightest version first and build outward from there rather than the other way round.
What's included
- Any source footage accepted
- Colour grading & motion graphics
- Async timestamped review
- Multi-format delivery
Learn
Video editing and reel edits, explained
What video editing actually involves
Video editing is the work that happens after a camera has already stopped rolling — turning raw footage into a finished, watchable piece. That means syncing multi-camera or multi-audio sources, cutting for pacing and story, colour grading so mismatched clips read as one consistent look, adding titles and motion graphics, and mixing sound so dialogue and music sit right against each other.
None of it requires us to have been on set. Whatever a client sends over — their own camera footage, files from a freelance operator hired locally, or an archive nobody's opened in years — goes through the same process, because what matters to us is what the finished piece needs to look like, not who held the camera.
On the technical side: we take footage off most common cameras and drones as native files — H.264, H.265/HEVC, ProRes, and RAW formats from the more common cinema cameras — plus already-edited masters if a re-cut or re-grade is what's needed rather than a rebuild from scratch. Grading is done against broadcast-safe levels by default and matched to Rec.709 for standard web and social delivery, or a wider colour space on request for a client with their own broadcast or cinema spec. Captions and subtitles are built as a separate pass from the picture edit — a clean, timed transcript first, then a decision on burned-in captions sized for a muted phone screen versus a separate SRT file for platforms that render their own — because captioning after the cut is locked catches timing errors that get missed when it's rushed alongside the edit itself.
What is a reel edit, and is it part of this service
Fifteen to thirty seconds, vertical, built to survive a thumb moving past it in under a second — a reel edit isn't a trimmed-down version of a longer video, it's cut with entirely different instincts from the first frame. When the footage already exists rather than being shot to order, that mostly means finding the hook inside material that wasn't necessarily captured with one in mind: scrubbing through for the three or four seconds that read fastest out of context, opening on that instead of wherever the story chronologically starts, and accepting that some footage simply doesn't have a punchy opening hiding in it anywhere.
Clients who need one long-form edit and several reel-length cuts from the same footage get both from the same project, priced and delivered together rather than as separate bookings — including a caption pass timed to how each version is actually paced, not one caption file stretched across every length.
Recent work in this space
Video Editing
Client-footage recut
Raw footage sent in by a client, cut, graded and delivered without a shoot on our side.
Video Editing
Drone footage edit
Aerial footage from a client's own drone operator, edited into a finished piece.
Video Editing
Archive footage remaster
Older footage re-cut and colour graded for a new campaign, no reshoot required.
FAQ
Questions before you get started.
No — that's the point of this service. Send footage from your own shoot, a local operator, a drone pilot or a stock library, and we edit it without ever needing to have been on set.
Video production is a full shoot with our own crew and camera, run out of Pune. Video editing starts after the camera work is already done — you provide the footage, we handle everything from the cut onward, and it isn't limited to Pune-region clients.
Yes — send reference material or a past edit and we'll grade and pace new footage to match it, useful for brands adding to an existing video library rather than starting fresh each time.
Most common camera and drone formats, along with existing edited masters if a re-cut or re-grade is all that's needed. If a file won't open on our end, we'll tell you immediately rather than let it sit in a queue.
Two structured rounds are built into the standard scope — a first cut you review and mark up, then a revised cut that addresses that list — with further rounds available if a project needs them. Revision means adjustments to pacing, trims, graphics and grade within the footage and brief already agreed; if a request turns into a materially different edit — a new structure, additional footage, a different music track requiring a re-lock — we'll flag that as a scope change before starting it, rather than quietly absorbing it into round two and running short on the rounds that were meant to catch genuine notes.
Ready to book a date?
Need supporting graphics or a brand refresh to go with the edit? Talk to our graphic design team on webcomp.in.