Video Editing Agency for US Brands and Production Teams
Send the footage your US shoot already captured and get back a fully graded, sound-mixed cut without booking a single call.
What you actually get
Ingest and Sync From US Camera and Drone Footage
Whatever reached your hard drive stays usable — footage shot on RED, ARRI, Sony Cinema Line, Blackmagic, or a DJI drone a local operator flew for you all lands in the same edit bay. Our editors log every clip, sync multi-camera and multi-audio sources, and flag any gaps before a single cut is made. Files travel over encrypted cloud transfer or a shipped drive, whichever suits a US-sized project.
Story-Driven Assembly From a Written Brief
We build the first cut from your brief, script, or interview notes rather than guessing at intent on the fly. Editors structure pacing to hit a target runtime, trim dead air out of interviews, and keep the strongest footage doing the most work. A rough cut goes back for your sign-off before any polish is added, so direction gets corrected early rather than after grading.
Color Grading and Audio Finishing
Footage shot across a morning exterior, an interview under mixed lighting, and a drone pass rarely matches straight out of camera. Our colorists bring every source to one consistent look, then balance dialogue, music, and ambient sound into a clean final mix. The result plays the same on a broadcast monitor as it does on a laptop screen.
Motion Graphics and Platform-Correct Delivery
Titles, lower-thirds, captions, and branded graphics are built to your style guide, not a stock template. We export to whatever the destination demands — broadcast-spec masters, streaming platform packages, or vertical crops sized for Reels, TikTok, and Shorts. One project can leave our bay as five different files without five separate edits.
How this actually works
Editing on Pune Time, Delivered on Your Morning
India sits nine and a half to thirteen and a half hours ahead of the US depending on the coast and the season, so we stopped pretending a live call was the efficient option. A brief handed off at the end of your workday reaches our Pimple Saudagar studio while your team is still asleep. Editors have been cutting for hours by the time your first coffee is poured.
Every review happens on a private link where comments attach to an exact frame instead of a vague note in an email thread. You mark the moment, we see the timecode, and a description like around the two minute mark never has to survive translation into an actual edit point. The studio runs Monday through Saturday, so a note left on your Tuesday afternoon is usually addressed before your Wednesday morning begins.
The building in Pimple Saudagar where all fifteen editors, colorists, and sound people work has been running as an edit studio since 2019 — which by now means more than five years of cutting for clients who were never in the same room or even the same time zone, US brands included, long before remote post-production was the default anyone expected. In 2024 the studio became a registered private limited company with DPIIT recognition as a startup, which mostly matters for the paperwork side: invoices are issued in USD, so nothing needs converting on your end, and a single producer stays your point of contact throughout, even though the actual cutting happens overnight relative to you.
Editing Capabilities
- Multi-Camera Sync
- Color Grading
- Motion Graphics & Titles
- Audio Mixing
- Broadcast & Social Delivery
Learn
What You're Actually Paying For
What is video editing, exactly?
You've already got the footage by the time you call us — our job starts at the point yours ends. Send us the raw files — from your own shoot, a freelance camera operator you hired locally, a drone pilot, licensed stock, or footage sitting on an old hard drive — and our editors sync the audio, cut the timeline down to what actually tells the story, and build it out into a finished file. We're not on set and there's no AI generating anything here. We're taking footage that already exists and turning it into something you can publish, whether that's a broadcast-safe master, a streaming-platform export, or a set of cuts sized for social feeds.
Most of the actual work is decisions, not software. Which take of an interview answers the question best. Where a cutaway covers a jump cut. How far a color grade can push warmth before skin tones start looking off. Whether the music comes up under the dialogue or waits for the line to land. None of that requires us to have been in the room when you filmed — it requires footage that's reasonably usable and an editor who knows how a US audience expects a cut to move. That's the service: sync, cut, grade, titles and motion graphics where they're needed, final sound mix, delivered in whatever spec your platform actually wants.
What is a reel edit?
Somewhere between 15 and 30 seconds, shot or reframed vertical, built for a viewer whose thumb is already moving — that's a reel edit, and it's a genuinely different job from cutting the broadcast spot the same footage might also need to become. A 30-second broadcast cut can open on an establishing shot and let a voiceover set up the premise, because a TV or streaming viewer isn't scrolling away in the first second. A reel built from the same source footage doesn't get that runway — the opening frame has to be the strongest single moment in the footage, cuts land faster, and captions carry more of the message since a lot of viewers watch with the sound off.
It isn't the broadcast spot cropped down and shortened — treating it that way is usually how a reel ends up feeling like a trailer for a video nobody's watching. It's cut on its own logic, from the same underlying footage, which is why a project that needs both a broadcast master and a TikTok or Shorts version doesn't need two separate shoots or two separate briefs — both cuts come out of the same video editing engagement, sized and paced for where each one actually plays.
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. Feedback goes on a private review link where you drop timestamped comments directly on the cut, and our editors work through them without waiting for a live meeting. If a project genuinely needs a call, we can still book one inside our Monday–Saturday, 10:00–19:00 IST hours.
We regularly cut footage from RED, ARRI, Sony Cinema Line and mirrorless bodies, Blackmagic cameras, and DJI drones, in codecs ranging from H.264/H.265 to ProRes and native RAW. If your US-based freelancer or drone operator delivered something unusual, send a sample clip first and we will confirm before the full transfer.
Most revision rounds turn around overnight relative to US hours, since our editors are working while your evening becomes our day. A typical first cut on a short-form project ships within a few business days of receiving usable footage and a brief, with longer broadcast or documentary projects scoped individually.
Yes, every quote and invoice is in USD. You send raw footage plus a brief describing structure, tone, and delivery specs, we quote the edit, and a producer confirms scope before cutting begins.
Every project includes two structured revision passes, but what counts as a "structural" note in round one depends heavily on which deliverable you're looking at. On a 30-second broadcast spot, a structural note is usually about sequence and legal timing — moving the product shot earlier, extending a disclaimer super to a readable length, re-ordering beats so the tag line lands in the last three seconds where broadcast standards expect it. On a 15-second TikTok cutdown pulled from the same footage, a structural note looks completely different — it's about which single moment carries the whole cut, since there's no room for a build-up, and whether the hook survives being trimmed to a vertical frame. Round two, on both formats, stays narrower: color, titles, final audio mix — the polish pass, not a re-edit. Feedback that shows up after we've locked and graded both versions — reworking the broadcast structure after the social cut is already approved, for instance — gets billed separately, since that's effectively two projects' worth of re-cutting dressed up as one revision.
Ready to book a date?
See the fuller service breakdown on our video editing page.