Pricing video editing work has two failure modes. The first is undercharging — quoting based on what other editors charge without knowing whether they're actually sustainable, and without accounting for the full cost of running a freelance business. The second is overcharging relative to what you can actually deliver — quoting rates that can't be justified by your portfolio or experience, and losing the work that would build the track record to justify those rates. Both are more common than they should be.
Day rates vs project rates: which to use when
Day rates are appropriate when scope is uncertain, when the client wants flexibility to adjust direction, or when you're working embedded in a client's team. Project rates are better for productised services where you know the scope precisely. Most experienced video editors use project rates in their proposals but build them from a day rate internally. This is the right approach: it means you always know your margin, even when you present a fixed price to the client.
How to estimate project time accurately
Break the project into phases — pre-production, filming days (if applicable), editing by phase (assembly, rough cut, fine cut), colour, audio, graphics, revisions, and delivery — and estimate days for each. For revision time, use 0.5 days per included round as a baseline and adjust for your experience with this client's complexity. Then apply a complexity multiplier: 1.0 for standard corporate, 1.3–1.5 for motion graphics or multi-camera, 1.5–2.0 for VFX or heavy post.
The revision clause that protects your margin
The single pricing decision that most affects post-production profitability is how revision rounds are specified. 'Unlimited revisions included' is a liability, not a selling point. 'Two rounds of revisions included, additional rounds at £X per round' is a professional clause that defines the scope and protects your margin. The revision clause should appear in your quote, your proposal, and your project agreement — in all three places, so there is no ambiguity.
Quoting a range instead of a point
Quoting £3,500–£4,500 rather than £4,000 is a stronger commercial position, not a weaker one. A range signals that you've assessed the project systematically and are being honest about uncertainty. It leaves you room to land at the top end when the project takes longer than the lower estimate. And it naturally opens a conversation about what's in and out of scope — which is exactly the conversation you want to have before you start work, not after delivery.
Raising your rates without losing clients
The right time to raise your rates is when you win every pitch you enter. If you never lose on price, you're almost certainly undercharging — you have headroom that you're not using. Raise rates by 15–20% with existing clients on contract renewal, and by the full amount with new clients from the first quote. Most clients will not leave over a 15% rate increase if the relationship is good; those who do leave over a small increase were the clients most likely to be difficult about budgets throughout the relationship.
“The most reliable sign that you're undercharging isn't losing pitches — it's winning every pitch you enter. That's the market telling you there's headroom you're not using.”
A systematic approach to video editing pricing
- Start from your floor rate, not market rates — know your minimum before you quote anything
- Break projects into phases and estimate days per phase; never quote the total from the top down
- Apply a complexity multiplier for motion graphics, VFX, or multi-camera work
- Specify revision rounds explicitly — two rounds included, £X per additional round
- Quote a range (£X–£Y) rather than a point — honest about uncertainty, leaves room to land high
- Review your rates annually; raise them when you win every pitch
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