Agencies open the white label video editing conversation the same way almost every time: can you cut this without our client ever seeing your name? Yes, and that turns out to be the easy part. The arrangement that survives a year of weekly deliverables is built out of less exciting details. Whose review link the cut lands on. Who holds the raw footage and for how long. What happens when a client swaps a brand font in month four. Who the invoice goes to, and what you can mark it up against. This is how we run it, so you can judge whether it fits the way your agency already works.
What White-Label Video Editing Means in Practice
White-label means the work ships without a trace of us on it. No logo on the export, no watermark on review cuts, no name in the file metadata, no email from an editor you have never introduced landing in your client's inbox. You brief us, we cut, you present. If your client asks who edited it, that is your answer to give, not ours.
The division of labour is the same one we use across every partnership. Your agency owns sales, the client relationship, strategy, creative direction, and every scope decision. We own the timeline: transcripts and selects, story and pacing, colour, sound, captions, versioning for each aspect ratio, and the exports. An AI first pass handles the mechanical half, meaning transcription, silence and filler removal, multicam switching, reframing drafts, and caption drafts. An editor then does the part clients actually notice, which is what stays in, what order it goes in, and how it feels.
Practically, that means you can sell video on a content retainer without the retainer being capped by one editor's week. Filming and strategy scale when you add people. Editing does not, because every new client adds hours of footage and all of it lands on the same queue.
White-Label VFX Is a Different Unit of Work
Editing is priced by the video. White label VFX is priced by the shot, and agencies that treat the two the same get surprised. A shot is one continuous piece of footage between two cuts, and the cost is driven by how hard it is, not how long it runs. Painting a logo off a jacket in four seconds of locked-off footage is straightforward. Replacing a phone screen while a hand moves across it, on a handheld camera, is a different job at a different tier, and both can live inside the same 30-second ad.
So when you brief VFX, send the shot list, not the runtime. We would rather look at the actual frames and tell you a shot is simple than quote a minute of film blind. Two more things worth knowing before you promise anything to a client: send original camera files rather than a social download, because compression destroys the detail a clean track needs, and clearing a logo or a trademark for removal is a decision for your client and their lawyers, not something we advise on.
The Handoff: Brand Kits, Review, and Footage
Three operating details decide whether this holds up past the first month.
A brand kit per client. Fonts, caption style, lower thirds, intro and outro, colour treatment, music direction, and the rules a particular client cares about. We keep one per client of yours so the twentieth video matches the first, including when a different editor is on it. Updating the kit is a message, not a renegotiation.
Review runs through you. Cuts land on a review link you control, you consolidate your client's notes into one pass, and we work from that. The reason is less about secrecy than about signal: notes that have been through your creative director arrive as decisions. Notes forwarded raw from three stakeholders arrive as contradictions, and somebody pays for the extra round either way.
Footage and confidentiality. We sign your NDA, or ours if you would rather, before any files move. Footage comes in over a link, lives in a per-client folder, and is deleted after an agreed window once the project closes. Your client's material is your client's material, and none of the work appears in our portfolio unless you tell us in writing that it can.
A Known Cost You Can Price Against
The commercial reason agencies outsource video editing rather than hire is that it converts a fixed cost into a variable one. A second in-house editor solves one peak month and leaves a salary behind for the quiet ones. A partner costs what the work costs.
Our editing and VFX prices are published as per-video packages, monthly plans, and per-shot VFX tiers, with the footage each package takes in and the runtime it returns. For a steady content retainer, a month of volume typically sits in the low five figures, and a one-off edit sits well below that, though every project is scoped individually because footage volume, number of aspect ratios, and turnaround all move the number. We publish two price books, one in USD for international agencies and one in PHP for Philippine ones.
What matters for your margin is that the number is knowable before you quote. You price the client retainer on strategy, creative direction, and account management, with a markup on a production cost you can see in advance, rather than on a guess about your own team's capacity. Invoicing goes to the agency, in your currency from the matching price book, on your billing cycle. We never invoice your client.
When a Video Editing Partner for Agencies Is the Wrong Call
Honest limits, because they save everyone a bad month.
If your volume is one video a quarter, a partnership is overhead you do not need. If the brief genuinely changes while the edit is in progress, which is normal for launch films and less normal for social, expect that to cost rounds no matter who cuts it. If your client insists on talking directly to the editor, white-label is the wrong frame and a straightforward introduction is the right one. And if what you actually need is someone to decide what the video should be, that is creative direction, which stays on your side of the line in this arrangement.
If it does fit, the details above are most of the contract. The rest is a call about your volume, your turnaround, and the clients you would hand over first.
Read the service pages for white-label video editing and white-label VFX, or see how the whole agency partnership is structured.
