Parvessh Agarwal
Founder & CEO
An entrepreneur at heart. He links business analysis, strategy, clear goals and ROI to practical technology.
LinkedIn →Hire video editors
who edit for the platform each video runs on.
A dedicated video editor, or a small team, who turns raw footage, stock or motion graphics into finished videos. Each cut is made for where it will run: a social feed, a product page or an onboarding flow. Every editor is vetted on real edited work before they see yours. They work inside your asset library and review cycle, and you can scale up or down each month. You meet the editor who would cut your footage before a contract is signed.
Interview before signing · Scale monthly
Tell us about the role
Start Your Enquiry
Send a short brief. Once we have a complete brief, we confirm the date you will receive your itemised proposal.
What you get
Hiring a video editor through PixelCrayons gets you a vetted editing and motion graphics specialist inside your team. They edit short-form, social, product demo and explainer video from your footage or stock. Motion graphics, sound and resizing for each platform happen in the same pass. This is not a film crew. You interview the editor first and scale monthly.
- Vetted on real published cutsEvery editor has delivered published platform video to our delivery standards before yours.
- Cover when revisions pile upA named coordinator, an escalation contact and a named second editor who knows your timelines.
- Working inside your teamYour Slack, stand-ups, project tools and asset library, with a view of every decision.
Our work
See what we've built
and the results it brought.
Real projects for real clients, with results we can show.
2004
Established
500+
Agencies served
4,500+
Projects delivered
340%
Revenue growth · 7 months
eCommerce
+127%
Organic traffic · 5 months
SaaS
85%
Faster delivery · backlog cleared
via agency partner
Technologies we work with
- Commerce and web
- Shopify
- WooCommerce
- Magento
- WordPress
- Webflow
- Next.js
- Marketing
- Google Ads
- Meta Ads
- GA4
- Klaviyo
- Cloud
- AWS
- Microsoft Azure
- Google Cloud
- AI models
- OpenAI
- Anthropic
- Google Gemini
- Build and deploy
- Docker
- Kubernetes
- Terraform
- GitHub Actions
- CRM and automation
- HubSpot
- Salesforce
- Zapier
- n8n
Product names and marks are trademarks of their owners. Naming a technology means our teams build with it. It does not mean a partnership, certification or endorsement.
Monthly rate for this hire
From $2,000per month, 160 hoursSenior specialists from $4,000, quoted per person.
Direct prices for brands and companies buying for themselves.
What they cover
Video editing and motion graphics
for your social, product and explainer videos.
This is not a graphic designer who also owns an editing timeline. Their job is footage and motion. They know what a cut needs to hold attention, and what a still image could never do.
Video editing
- Story and pacing edits for short-form and social video, cut to keep people watching
- Product demo and explainer edits that help a viewer reach a decision
- Interview and talking-head edits built from footage you supply
- Sound design, mixing and licensed music, handled cleanly from the start
- Colour correction and a consistent look across a whole batch of cuts
Motion graphics and platform formats
- Motion graphics and animated text built for the pace short-form video needs
- Formats for each platform: shape, pacing and captions matched to each placement, not one file stretched everywhere
- Building videos from stock and licensed assets when there is no fresh footage
- Template and brand-kit graphics for repeat formats, such as social batches and ad variants
- Captions and accessibility checks on every finished cut
Footage, files and sign-off
- Working from your footage, stock or remote-directed filming, and saying so when a brief needs a studio or crew
- Clear revision rounds: feedback logged against a specific version, and a set sign-off point
- Project files and assets handed over in a tidy form your team can reuse
- Final exports made to each platform's real specs, not just a polished preview
- Clear reports tied to what was delivered
In practice
What a video editor
does between upload and sign-off.
The cut is the part you see. Most of the job is the work around it.
A week on the timeline
A typical week starts when new footage or a new brief arrives. The editor logs what is usable before cutting anything. Then come first cuts: a short-form batch for social, or a product demo tightened around one feature. Captions and motion graphics go in during the same pass. Midweek brings feedback, logged against a specific version, and a second round. By the end of the week, finished cuts are exported to each platform's specs. Project files are saved where the next person can find them. Organised files are half the job.
Signs of a strong editor
Ask them to show one piece in three versions: first cut, revised cut and final. Ask what changed and why. A strong editor talks about pacing and the hook in the opening seconds. They say what they took out, not only what they added. Ask how they would turn a long webinar into social clips. Listen for moments that stand alone, reframing for vertical screens, and captions for people watching with the sound off. Ask how they organise a project so someone else could open it cold. Messy folders usually mean messy handovers. Ask, too, how they handle a note they disagree with. Good editors argue once, with a reason, then make the change.
What goes wrong with the brief
Most weak video comes from a weak brief, not a weak editor. "Make it pop" gives them nothing to aim at. Say who the viewer is, where the cut will run and what they should do after watching. Say what must not change, such as a product claim or a legal line. The second problem is feedback. Comments come from several people across email and chat, and they contradict each other. Collect feedback in one place, from one decision-maker, against one version. Editors can cut fast, but they cannot guess which stakeholder wins. Share a reference cut too, because it says more about tone than any adjective.
Ready on day one, and the wrong fit
Share the footage library with sensible folder names. Add the brand kit with fonts, colours and logo files. Include any licensed music or stock accounts you already pay for. Share examples of cuts you like and dislike, and agree the export specs for each platform. Then check the fit. If the brief needs a shoot with crew, lighting and locations, you need a production company first. If you need still social graphics or a brand identity, a graphic designer suits it better. An editor is right when footage exists, or is simple to capture, and needs to become finished video regularly.
How it works
How hiring works,
from brief to first day.
Start
Brief and a call
You tell us about your footage, formats and the gap. We propose the editor, or small team, whose edited work fits.
Once the brief is complete
Proposal and interview
We confirm the date your proposal will arrive. You interview the person who would cut the work before anything is signed. If the fit is wrong, we propose someone else.
Your decision
You sign off
You confirm the scope, the payment and the access we need. Nothing starts before this.
Typically 2 to 3 business days later
The editor starts in your asset library
The editor picks up your raw footage, brand kit and review process, and joins your stand-ups.
Every month
Scale up or down
Add a second editor when your backlog of cuts grows. Step down when it does not. You can resize each month, with no hiring decision involved.
You make requests, give approvals and see the weekly review in your Prism workspace. Each decision is written down with the result it was meant to bring. See how Prism runs the work →
Get a Proposal
Meet the people who will do the work before you sign
Why through us
Why hire through us:
the editor and the revision process behind them.
Hiring a freelance video editor gets you their editing skill. Hiring through a company that delivers this work every day adds support around that skill. Work keeps moving when a revision round runs long or someone is on leave.
Vetted on real published cuts
Every editor in our team has delivered edited video to live platforms before yours. That work met our own delivery standards. Cuts were reviewed, and revision rounds followed the same rules you will see. A reel shows taste. A track record shows whether a cut meets a real platform's specs.
Cover when revisions pile up
You get a named coordinator, an escalation contact and a named second editor. The second editor is briefed from day one. They follow the open timelines and the revision log as they run. If the first editor is away or leaves in a busy week, the second picks up without a slow start. A lone freelancer cannot offer this, and an in-house hire needs a whole team to cover it. You get an editor and the revision process behind them.
Working inside your team
Your Slack, your stand-ups, your project tools, your asset library. Dedicated means working the way you already brief and review work. Footage is not dropped into a queue and returned days later, with no view of the decisions in between.
Honest about the scope
We work from what you supply: your own footage, stock, or remote-directed filming where there is none. If a brief needs a studio shoot or a full production crew, we say so on the call. We do not quietly stretch what an edit can do. That keeps what you expect and what you get in line.
Side by side
Hiring on your own,
compared with hiring through us.
An in-house hire is still right when video work is a permanent, full-time and central job for you. We will say so when it is. This page is for every other case.
| Hiring it yourself | Through PixelCrayons | |
|---|---|---|
| Time to a working editor | A full recruiting cycle: sourcing, reel review, interviews and notice periods | Eligible work can typically start two to three business days after scope, payment and required access are confirmed |
| Vetting | Reel review and interviews: you find out how they handle revisions on the job | A track record on real published video, held to our own standards and reviewed cut by cut |
| Management work | All yours: briefing, tracking revisions, organising assets and cover | A named PM and escalation path are included; you direct the creative, not the admin around it |
| Scaling | A new hiring cycle each way: months to grow, an awkward conversation to shrink | Resize monthly: add an editor or step down after a conversation |
| Risk when it doesn't work | A wrong hire costs a quarter and leaves a half-finished backlog of cuts | If the fit is wrong, we propose someone else, who starts from the project files and brand kit |
Who is accountable
The people responsible
for your work.
Saundaraya Gupta
Technical Manager
Brings technical work, client updates and project management together, so work moves smoothly from brief to launch.
LinkedIn →Every engagement
A named coordinator and escalation contact
Know who coordinates your engagement, who owns the work and how to escalate an issue.
All engagements. Roles may be combined and vary with your engagement.
Before you sign
Our commitments
Each one says where it applies and links to its full terms.
Time-zone overlap
At least four hours a day inside your core working hours. Two hours plus a daily written handover for the US West Coast.
Managed specialists only; not a staffing promise for project teams.
Full termsClear IP & Ownership Terms
Your materials remain yours. Bespoke deliverable rights, licences and handover are agreed before work starts.
All engagements.
Full termsClear Delivery & Escalation Ownership
Know who coordinates your engagement, who owns the work and how to escalate an issue.
All engagements. Roles may be combined and vary with your engagement.
Full termsWhy not just hire a freelancer?
A freelancer can be the right choice for a single, well-defined task. We are set up for work that needs an accountable team: a named coordinator, delivery reviewed by QA and a senior lead before release, and continuity arrangements written into the engagement. Confidentiality, ownership and escalation terms are agreed in writing before work starts.
How does time-zone overlap work?
Your engineers work at least four hours a day inside your core working hours. We set the window with you before the engagement starts and hold it for as long as the engagement runs. For the US West Coast the live overlap is two hours each morning, with a written handover at the end of every Indian day. We do not run night shifts: engineers who work nights leave quickly, and keeping the same people on your team matters more to us than a longer overlap.
Can we try you before we commit?
For eligible managed specialists, yes: up to 14 calendar days or 80 logged working hours, whichever comes first. Stop within it and eligible trial hours are free; continue and they're billed at the agreed rate. Unpaid trial work stays ours. Project work and other roles get a paid pilot with scope, acceptance criteria, duration and fee agreed first.
What if we want to stop?
Cancellation, notice and any renewal terms are written into your proposal or statement of work before you accept it. If an engagement ends early, we hand over completed, paid-for work and list any unfinished work separately. For an eligible specialist trial, you can stop within the trial window and pay nothing for eligible trial hours.
How we handle claims, credentials and your data: group credentials, dated ratings, how case figures are signed off, client permissions and data handling.
How we vet
How we vet a video editor
and what to ask them.
A reel shows the final cut. It does not show how the editor handles revisions, long source footage or a project someone else has to open. Our vetting tests those.
- 01Shortlist on real published workWe put forward the editor whose published video work fits your footage, formats and gap. That work met our own standards and was reviewed cut by cut. No generic reels. You can ask to see real published cuts they delivered, under NDA.
- 02Interview them on three versions of one pieceAsk to see a first cut, a revised cut and the final, and what changed and why. A strong editor talks about pacing and the hook in the opening seconds. They say what they took out, not only what they added.
- 03Test reuse of footage and file habitsAsk how they would turn a long webinar into social clips. Listen for moments that stand alone, reframing for vertical screens and captions for sound-off viewing. Ask how they organise a project so someone could open it cold. Messy folders usually mean messy handovers.
- 04First month: inside your asset libraryOnce started, they review your footage, brand kit and asset library and write up any gaps. They work in planned revision rounds, with feedback logged against a cut version. If the fit is wrong, we propose someone else.
Questions
Frequently
asked.
Eligible work can typically start two to three business days after scope, payment and required access are confirmed. Once we have a complete brief, we confirm when your proposal will arrive. You interview the editor before anything is signed, and can see real published cuts under NDA. If your footage library is disorganised, the first sessions include sorting it.
No, and we won't sell it as if we do. Most briefs run on footage you already have. Others use remote-directed filming with our shot list, or stock and motion graphics when there is no fresh footage. If a brief needs a studio shoot, a full crew or broadcast-grade production, we will say so. We will not stretch the scope.
Usually not. The editor's job covers footage and motion together. They know what a cut needs to hold attention, and what a still image could never do. With no fresh footage at all, building a video from stock and motion graphics is part of the same role.
It starts with an NDA, then access to your footage library, brand kit and asset library. The editor reviews what is there and writes up any gaps. Then the first month's work is agreed. They join your review cycle from week one, so onboarding runs inside your process, not off to the side.
Revisions run in planned rounds, not an endless loop. Feedback is logged against a specific cut version, and changes are tracked between rounds. The brief sets the point where a cut counts as signed off. Agencies placing an editor on client work get revision tracking in their own templates. So nothing needs explaining again to the client.
Tell us early and we will propose a different editor; that is a normal step. The new editor gets the project files, brand kit notes and open revision threads. So the switch costs days, not a restart. The proposal names the backup editor and says whether that cover is in the monthly rate.
Interview your video editor
before you sign anything.
Tell us about your footage and the gap, and meet the actual editor before anything is signed. If you really need a full production shoot rather than editing, we will say so on the first call.
Interview before signing · Scale monthly
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