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For creators who pay an editor

Send us your raws, get back a cut the way your editor already cuts it

Your channel has a formula. Same cut rhythm, same punch-in habit, same balance of face and graphics, same grade. We measure that formula out of videos you have already published, then hand back a 90%-done timeline in it — a Premiere or Resolve project file, not a rendered video. For about a tenth of what you pay now.

Get the read on my channel

How it works

Step one — you send nothingWe watch three of your videosAlready published, already public. We measure how they are cut and send you the read: your cuts a minute, your shot lengths, your punch-in rate, your grade.
Step two — proxies, not originalsYou send the footage small720p proxies with the same filenames, which your own editing software makes for you. Two to four gigabytes for a fifteen-minute video. Your camera originals never leave your drive.
Step three — the timelineYou get a project filePremiere XML, Resolve FCPXML and an EDL, plus a note saying what we did and what we left for you. Open it, relink, fill the b-roll slots, export.

What we match

Everything here is a number we read out of your own published videos. Nothing here is a guess about taste.

Dead air, goneOn a real raw this takes about a quarter of the runtime out — measured at 24% on the eight-minute test take. Those joins are meant to be invisible, and we tested that they are: at our join points the audio differs from a random instant no more than chance.
Every um and uhTaken out. We checked three channels against two independent transcripts: a published cut contains essentially none. That makes it table stakes, not a style — so we do it and we do not charge thinking for it.
B-roll slots at your cadenceYour channel leaves the camera at its own rate and for its own length. We mark every slot there, sized the way you size them, with the line being spoken underneath — and leave it empty.
Punch-insHow often you re-frame on a cut, and how far in you go. One channel we measured does it on 11% of cuts; another on 3%.
On camera vs on graphicsHow much of your runtime is you talking versus a card, a chart or a screen recording — and how often the edit leaves your face.
Your grade, as a targetBrightness, saturation and colour balance measured on your camera shots only, so a white graphic card cannot drag it. A look to match, not a LUT to install.

What we leave empty, and say so

Here is the number nobody else will give you. Taking dead air out is invisible by design, so it is not your cut rate and we do not count it as such. Your visible cut rate comes mostly from b-roll, graphics and second angles — material we do not have. We supply the part we can (punch-ins at your rate, slots at your cadence) and we print the shortfall on your delivery note as a number. On the test cuts that gap ran from about 12 to 37 visible cuts a minute depending on the channel, and it closes as you fill the slots.

What you get insteadEvery b-roll slot marked on its own track, at your channel's own cadence and length, with a marker carrying the line being spoken underneath it. The timing is done. The choosing is yours.
What we do not touchTransitions and speed ramps, music choice and ducking, your audio chain, and your thumbnails. If we have not measured it, we do not do it to your timeline.
Do I get a finished video?

No, and we will not pretend otherwise. You get a project file — a Premiere XML, a Resolve FCPXML and an EDL — that opens as a cut timeline against your own footage. You open it, drop in your b-roll, and export.

Do I have to upload hundreds of gigabytes?

No. Two things, neither of them your camera originals. For the style read we need nothing at all — we watch three videos you already published. For the job itself we take proxies: 720p files at about 6 Mbps with the same filenames, which Premiere and Resolve both make for you. A fifteen-minute video is two to four gigabytes, not three hundred. You relink to your originals when the timeline opens.

How do you know what my style is?

We measure it. Cut times, shot lengths, where cuts fall against your speech, re-framing, how much of the runtime is on camera, and the grade — all read out of videos you have already published. In the test we ran, hiding one video from a channel and measuring the rest put it back with its own channel every time, on cutting decisions alone.

What can't you do?

We cannot know which b-roll, meme or overlay belongs on a given sentence — that needs what the sentence means and what is in your library. So we mark the slot, size it the way your channel sizes it, write the line being spoken underneath, and leave it empty. And we cannot manufacture your visible cut rate out of one continuous take: most of it comes from material only you have. Your note states that gap as a number rather than hiding it. We also do not touch transitions, speed ramps, music choice or your audio chain.

What does it cost?

About a tenth of what you pay an editor now, quoted against your own number. Pay per video or monthly, whichever suits, and you can stop whenever you like.

What if the cut is wrong?

It is a timeline, so every decision in it is one you can drag. That is the point of handing back a project file instead of a render — nothing in it is baked.

Start with the read, not the footage

Tell us your channel and what you pay now. We come back with how your videos are actually cut, and a price. No footage needed to get that far.

About a tenth of what you pay an editor now, quoted against your own number. Pay per video or monthly, and you can stop whenever you like.

Send us your raws, get back a cut the way your editor already cuts it | Hiro