Answer in brief
A business owner wants one number, and the honest answer is a range with named drivers. This piece separates the three cost blocks — shooting days, the edit and licences — and says which one VITON13 sells from a price list and which stays on your budget.
The short answer: three costs, not one
A business owner wants one number. The honest answer is a range, and the useful version of that answer names what moves it. The cost of a video splits into three blocks that behave differently: shooting days, the edit, and licences. Quoted as a single line, they cannot be compared between two suppliers.
VITON13 publishes a fixed price for the middle block only. Editing runs from $70 for a Single Reel to $290/mo for the Monthly Content Engine, and you know that figure before the work starts. Filming is not part of any package here, so it stays a separate line you cover yourself or through another supplier.
The third block is rights. Single Reel includes a licensed track. Campaign Edit does not include licensed music — the licence is purchased by you. The Monthly Content Engine leaves filming days and paid stock outside the package. The wording differs from package to package, and it deserves to be read one package at a time.
The rest of this article takes each block apart: what drives its price, what can be reduced without losing the result, and which sentences in a quote deserve a second reading. When the footage already exists, you are budgeting two blocks instead of three, and the conversation with a supplier changes accordingly.
Why a single number falls apart on the first question
The question of what a business video actually costs sounds like a question about a product, but it describes work whose size you define. Thirty seconds cut from existing footage and thirty seconds shot with a crew are two different quotes that end up with identical run times.
Duration is a weak unit of measure in any case. A one-minute piece built from a single locked-off interview can be assembled faster than a fifteen-second cut drawn from forty short takes. What counts is decisions: how many scenes, how many versions, how many locations, and how many people sign off on the finished assembly.
This is why suppliers answer with a range. A range here is not evasion; it is an admission that several variables still sit on your side of the table. Your job while choosing is to turn each of those variables into a budget line with a price and a date attached to it.
A practical way to run that conversation is to ask for boundaries rather than a total. What sits inside the fixed price, what is counted separately, and what is bought in the name of your own company. Three answers to those questions give you a quote you can audit line by line.
Shooting days: what actually moves this line
Filming is paid for in the time of people and equipment, not in finished seconds. A day includes preparation, travel, lighting, takes and packing down at the end. A short clip can still occupy a full day when there are several scenes and the locations sit at different addresses.
The drivers are unglamorous: how many people are on the call sheet, whether a location has to be rented, whether actors appear on camera, whether a sound recordist is needed, and how long the moves between setups take. Each one can be cut, and every cut costs you options later in the edit.
No VITON13 package includes filming. Single Reel excludes shooting, scripting and actors. Reels Pack excludes filming — you supply the footage. Reels Pack Express excludes shooting. The Monthly Content Engine keeps filming days outside the package. Those exclusions are printed plainly so your budget does not carry a hole through it.
The practical conclusion follows: if nobody is holding a camera yet, start with this block rather than with the choice of editing package. Only what was shot can be cut, and the condition of the footage decides how much work is left for the second block of the budget.
The edit: the part that has a published price
Editing is the block that can be sold from a price list, because its scope is describable in advance: how many clips, how many versions, and how many rounds of changes. VITON13 publishes five packages, and the boundaries around each one matter more than the headline figure.
Single Reel is $70 and runs 1-2 working days with 1 round of revisions. It includes captions, a licensed track and exports for every vertical placement. Shooting, scripting and actors are not included. What it buys is one finished vertical clip cut from material you already hold.
Reels Pack is $90 and runs 1-2 working days from footage delivery, covering up to five edits with 2 rounds on the edit. Filming is not part of it — you supply the footage. The package is built for a run of posts rather than for a single clip on a single occasion.
Reels Pack Express is $150 with a timeline of 1 working day and a 24-hour turnaround from footage, and 1 round of revisions. Shooting is excluded, as is licensing beyond the supplied track. The higher figure buys compression of the calendar rather than a larger volume of work.
Licences: music, stock and the paperwork you pay for
The third block is rights. Music, archive shots, the typefaces in your titles and the faces on camera all have owners, and permission either costs money or requires a signature. It is easy to leave out of a budget and impossible to leave out of a publication.
The wording differs between packages and should not be generalised. Single Reel includes a licensed track. Campaign Edit does not include licensed music: the licence is purchased by you. Reels Pack Express excludes licensing beyond the supplied track. The Monthly Content Engine leaves paid stock and filming days outside the package.
The difference shows up on the invoice. A library track cleared for one organic social post and the same track cleared for paid placement are different licences at different prices. Decide before the edit begins, because swapping a track afterwards changes the rhythm of a cut that is already assembled.
People on camera work the same way. An employee or a customer agreeing to appear in advertising is a signed release, not a verbal nod. Collecting it on the shooting day costs almost nothing, while chasing it a month after publication costs time that nobody put in the plan.
The packages in order: what sits behind each price
Single Reel — $70, one vertical clip, 1-2 working days, 1 round of revisions, captions, a licensed track and exports for every vertical placement. Outside the package: shooting, scripting and actors. It suits a first test of the format on material that is already sitting on your drive.
Reels Pack — $90, up to five edits, 1-2 working days from footage delivery, 2 rounds on the edit. Filming is not included and the footage is yours to supply. It suits the case where plenty has been shot and the plan is to publish as a series rather than as one post.
Campaign Edit — $180, a hero cut plus short derivatives, 3-5 days, 2 rounds on the cut and 1 on the grade. Licensed music is not included and the licence is purchased by you. It suits a launch that already has campaign logic standing behind it.
Monthly Content Engine — $290/mo on a monthly cycle, 30 days notice to stop, with volume agreed at the start of each cycle. Filming days and paid stock stay outside the package. Reels Pack Express — $150 — sits beside these as the option for a compressed publication deadline.
Revision rounds: what is included and how it shapes the budget
A round of revisions is not a small tweak. It is one consolidated list of notes from you and one rebuild from the editor. The tighter the list, the more you get from an included round; notes arriving one message at a time across a week spend the same resource with less to show for it.
The allowance differs by package. Single Reel includes 1 round. Reels Pack includes 2 rounds on the edit. Campaign Edit includes 2 rounds on the cut and 1 on the grade. Reels Pack Express includes 1 round. Those numbers describe directly how many iterations sit inside the quoted price.
Rounds run out because every rebuild costs hours, not because anyone is being difficult. If you know the file will pass three people, gather their notes before sending rather than after. One combined list is executed in a single pass; three sequential lists take three.
Notes that editing cannot solve send you back to the first block. Asking to shoot a scene differently is a shooting day, not a revision round. Separating those two kinds of feedback is easier before a disagreement about the invoice than in the middle of one.
Timelines are part of the price: read the wording literally
Timelines belong in the price conversation, because speed is sold separately. The wording varies between packages, and the difference between working days and days changes the delivery date as soon as a weekend falls between you and the editor.
Single Reel: 1-2 working days. Reels Pack: 1-2 working days from footage delivery. Campaign Edit: 3-5 days. Reels Pack Express: 1 working day, with a 24-hour turnaround from footage. The Monthly Content Engine runs on a monthly cycle with 30 days notice to stop.
Two of those clocks start at footage delivery rather than at payment. That matters for planning: if the drive is handed over on a Friday evening, the delivery date is counted from the handover and not from the day on which you decided to go ahead.
The price of urgency is visible in the list itself. Reels Pack Express is $150 with a 24-hour turnaround from footage, while Reels Pack is $90 at 1-2 working days from footage delivery. When a publication date is known well in advance, the express tier is money you do not need to spend.
The footage you hand over changes the total
The second block depends on what you hand over. Level sound, stable framing, takes with a margin and file names that mean something all shorten the work. Material shot in a hurry across mismatched settings adds hours of matching before anything creative can start.
Formats matter too. MDN Web Docs documents media container formats and the codecs they carry; in practice, an MP4 carrying H.264 video and AAC audio plays across current browsers and mobile devices. Send the originals rather than a copy that a messaging app has already recompressed for you.
Vertical placements need a frame of their own. Single Reel includes exports for every vertical placement, but the vertical crop is better planned during the shoot: a subject centred in a wide frame loses part of its composition once the sides are cut away for a portrait format.
Handover organisation is a saving in itself. One archive with folders per scene, a scene list and a marked selection of preferred takes can save an entire revision round. It costs nothing but attention, and it lowers the odds of a second rebuild on the editing side.
Captions and sound are scope, not decoration
Feed video is often watched with the sound off, so on-screen text carries meaning rather than decorating the picture. Captions are included in Single Reel along with the licensed track. For the other packages, the volume of on-screen text belongs in the brief instead of in an assumption.
There is an external frame as well. The W3C quick reference for WCAG 2.2 places captions for prerecorded synchronised media at Level A. For a company website that makes captioning part of an accessibility requirement rather than an aesthetic choice made by a designer.
The budget effect is direct: localised on-screen text multiplies versions. One clip in three languages is three assemblies, three checks and three exports. Count the languages while you are still planning, because otherwise they arrive in the quote later and arrive as an urgent job.
Sound is worth planning at the shoot. Clean speech from a lavalier microphone saves hours of cleanup in the edit, and a noisy recording sometimes cannot be rescued at all. This is the case where spending in the first block visibly reduces spending in the second.
Budgeting a quarter instead of a single clip
A one-off clip and a continuous stream are budgeted differently. A single launch fits the pairing of a shooting day with an editing package: Campaign Edit at $180 delivers a hero cut plus short derivatives on a timeline of 3-5 days.
Regular publishing follows another logic. The Monthly Content Engine is $290/mo on a monthly cycle, with volume agreed at the start of each cycle and 30 days notice to stop. Filming days and paid stock remain a separate line of spending on your own side.
A planning mistake worth avoiding is funding the edit while forgetting to refill the footage library. A stock of your own material depletes; after two months the same setups start reappearing. A shooting day scheduled a quarter ahead removes the need for an emergency shoot on every occasion.
The third block deserves a place in the quarterly plan as well. If a track is bought for a campaign, compare the licence term against the placement period. A licence that expires before the campaign does turns into unplanned spending at an inconvenient moment.
What to ask before you sign, and where to go next
Four questions are worth asking before signing: what sits inside the fixed price, what is counted separately, how many revision rounds are included, and which event starts the clock. The answers should match the contract and not only the thread of messages that preceded it.
Then match your case to a package. One clip from existing footage is Single Reel at $70. A series is Reels Pack at $90. A launch with derivatives is Campaign Edit at $180. A compressed deadline is Reels Pack Express at $150. A steady stream is the Monthly Content Engine at $290/mo.
Settle the filming question separately, because no package covers it. It can be your own phone on a tripod, a member of staff with a camera, or a contractor booked for a day. That decision belongs before the edit rather than in the middle of it.
The service description, package contents and timeline wording sit on /services/video-production. Carry that wording into your own budget sheet, and the three blocks of cost end up counted before the project starts rather than after the first batch of notes arrives.
Practical checklist
- Split the budget into three lines: shooting, edit, licences.
- Settle the filming question before choosing an editing package.
- Match the size of the job to a package: $70, $90, $150, $180 or $290/mo.
- Collect all notes into one list before spending a revision round.
- Confirm which event starts the clock on your delivery date.
- Check who buys the music licence and for which placement period.
Questions and answers
How much does one vertical clip cost to edit?
The Single Reel package is $70 with a timeline of 1-2 working days and 1 round of revisions. It includes captions, a licensed track and exports for every vertical placement. Shooting, scripting and actors are not included.
Does any package include filming?
No. Single Reel excludes shooting, scripting and actors. Reels Pack excludes filming, so you supply the footage. Reels Pack Express excludes shooting. The Monthly Content Engine keeps filming days outside the package.
How does Reels Pack differ from Reels Pack Express?
Reels Pack is $90 for up to five edits with 2 rounds on the edit, delivered in 1-2 working days from footage delivery. Reels Pack Express is $150 with a timeline of 1 working day, a 24-hour turnaround from footage and 1 round of revisions.
Who pays for the music in the video?
It depends on the package. Single Reel includes a licensed track. Campaign Edit does not include licensed music and the licence is purchased by you. Reels Pack Express excludes licensing beyond the supplied track. The Monthly Content Engine leaves paid stock outside the package.
How is the Campaign Edit timeline counted?
The price list says 3-5 days, not working days. Campaign Edit is $180 and covers a hero cut plus short derivatives with 2 rounds on the cut and 1 on the grade, while licensed music is not included in the package.