Film crew hire/New York/Editor
Hire an editor in New York. From a drive full of rushes to the cut you sign off.
Freelance editors for brand films, branded documentaries, corporate films and social cutdowns, working on set, in your suite in Manhattan or Brooklyn, or remotely. Or hand the whole edit to our post team, who cut, grade and mix our own New York films. From $600 a day, paid to the editor in full.
- 54 five-star Google reviews
- 2 hrs for our team to read your brief, in working hours
- 10 hrs a New York crew day, plus a meal break
- 500+ productions, filmed in sixteen countries
Photos: Mark Cruz, Here Now Films, Ryan Snaadt and Nejc Soklič
The role
What an editor does on your film
An editor turns the rushes into the film. They watch everything, log it, find the story, build the cut and take it through rounds of notes to picture lock. The online, the grade, the mix and the deliverables finish it: the same editor on a small job, specialists on a bigger one.
Book a freelance New York editor and they work to your producer: on set, cutting selects as the cards come off the DIT cart, in your suite, or from their own.
Or hand the edit to our post team in London. On the films we make in New York, New York crews, booked and run by our producers, do the shooting, and the post team cuts, grades and mixes, as they did on the AlTi × Nevis fireside chat.
- The story found. Hours of interviews and B-roll watched, logged and built into a structure.
- Notes handled. Every round of notes worked through on the timecode, and the new cut back on a review link.
- Ready for every screen. Masters, cutdowns, captions and the right ratio for every platform.
- Your software, or theirs. Premiere Pro, DaVinci Resolve, Avid or Final Cut, matched to your project.
What’s included
What the day rate covers
In the day rate
- A 10-hour day, plus a meal break
- On set, in your suite, or remote
- Syncing and logging the rushes
- Building the cut to your brief and notes
- Review exports whenever you need them
- The project and media handed back at the end
On top, each on its own line
- Our 10% booking fee, on the whole quote
- Payroll and insurance for the job, at cost
- An edit system, if the editor brings one, at a day rate
- Grade, sound mix, music and stock, each quoted separately
- Drives and couriers, at cost
- Travel outside the five boroughs, and any cars or vans, at cost
How our rates work, and the two ways to book: crew rates in New York.
Two ways to book
Crew hire or full production: who’s the producer of record?
Two ways to get it cut: book a New York editor who works to your producer, or hand the edit to our post team, who cut, grade and mix our own New York films.
Crew hire
You run the shoot.
10% booking fee, on everything we book for you: crew, kit and travel. Payroll and insurance at cost, on their own line.
We do
- Find, book and brief the New York crew
- Every crew member employed for the job: payroll, workers’ compensation and COIs
- Book kit, vans and travel too, if you want them
- Send the full price, in dollars, before anything is booked
- One person to call all day
You do
- Run the shoot, or your producer does
- The plan, the schedule and the call sheet
- The location, its COI and any Mayor’s Office permit
- Responsibility for the production: you’re the producer of record
Payroll and insurance are their own line on the quote, at cost: payroll for each crew member, the insurance they need for the job, New York workers’ compensation included, and the certificates of insurance your location asks for.
Full production
We’re the producer of record.
From $20,000 for a New York production; most land between that and $75,000. One quote, in dollars, every line shown.
We do
- Our producer plans it with you and runs the job
- Locations, permits, kit, studio and travel, booked in the production’s name
- The production’s insurance, the COIs and the Mayor’s Office permit
- One quote and one contract with us, wherever you’re based
You do
- The creative calls
- Signing off the plan and the budget
The production’s insurance, the crew’s payroll and any permits are lines in the quote, so you see each one before you sign.
Not sure which you need? If your own producer or director will run the day, it’s crew hire. If you want us to take the production on, it’s a full production quote.
On the day
A day in the edit, rushes to first cut
Day one on a two-minute customer story, from a day of interviews in a Midtown office, cut in the client’s suite in Manhattan. Times are an example.
- 09:00 Rushes in The drive arrives from the shoot, or the files are already on the shared storage from the night before. Copied, checked against the camera reports, and backed up.
- 10:00 Watch it all Synced to the sound, organised by interview and scene, every answer watched, and the best lines marked in a selects sequence.
- 13:00 Lunch Away from the screen.
- 14:00 The radio edit The interviews cut for story first, as if for radio: a beginning, a middle and an end, in the contributors’ own words.
- 16:00 Pictures B-roll laid over the interviews, and the pace set with temp music.
- 18:00 First cut Exported with burnt-in timecode and shared on a review link, so the producer can watch it on the way home.
- 19:30 Wrap Project saved and backed up. Tomorrow: the notes.
Which editor
Which editor do you need?
The edit has stages, and on bigger films a specialist for each.
Offline editor The creative cut From $600 a day
Builds the story and the cut, and takes it through notes to picture lock.
Best for brand films, documentaries and customer stories.
On-set editor Selects while you shoot From $600 a day
Cuts selects and an assembly on set as the cards are backed up, so the director sees the film forming before wrap.
Best for multi-day shoots, events and anything with a fast turnaround.
Assistant editor Ingest, sync and logging Quoted on the brief
Organises the rushes, syncs the sound, logs and transcribes, so the editor can start cutting.
Best on long-form and multi-camera projects.
Social editor Cutdowns and versions Quoted on the brief
Turns a master into 9:16, 1:1 and 16:9 cutdowns, with captions, for every platform.
Best after a brand film or an event, when the content needs to go out this week.
Our post team Edit, grade and sound, done for you Quoted on the brief
One team from the rushes to the masters: the cut, the online, the grade and the mix. They cut the AlTi × Nevis fireside chat we filmed in Chelsea, with cutdowns for LinkedIn and YouTube.
Best when you want the film finished for you, not an extra pair of hands.
What it’s for
What people book an editor for in New York
Agency overflow
An extra editor in your suite in Manhattan or Brooklyn, or remote, for a busy week or two.
Visiting productions
A team flies in to shoot in New York and wants selects or a first cut before the flight home.
Corporate films
Leadership interviews and customer stories shot in Midtown, cut to a brand template.
Event highlights
A conference or a fireside chat cut the same night, for the morning after.
Social cutdowns
Vertical, square and captioned versions of a master, for a campaign going out this week.
Recent work
Edits on our New York films
Our work · Nevis × Focus · released October 2026
Five cuts in eight days
The announcement film for Nevis and Focus Financial Partners went through five cuts in eight days, reviewed by both firms. We rebuilt the script from the transcripts, which is how the film came to open on Justin Ferri’s line about technology decisions, and graded it warm in the library and black and white on the streets. Our own post team cut, graded and mixed it, and it was delivered 22 days after the shoot.
Our work · Chelsea, New York · April 2026
A fireside chat, cut, graded and mixed
For AlTi × Nevis we filmed The Future of AI in Wealth Management on 16 April 2026: a multi-camera fireside chat in a daylight loft on West 24th Street, with Nancy Curtin hosting Phil Dundas, AlTi’s CTO, and Mark Swan, CEO of Nevis. A New York crew shot it. Our own post team did the edit, the grade and the sound, and cut it down for LinkedIn and YouTube.
Our work · Union Square, New York · October 2025
The Purpose of Wealth, two cities in one film
AlTi Tiedemann Global’s flagship brand film, shot in two cities, and our fifth production for AlTi. The New York interviews were filmed over two days in October 2025 in a loft studio near Union Square, with senior leadership and advisors, Nancy Curtin among them, and both shoots came together in one film.
Before you book
Things to know
The day
- 10 hours, plus a meal break.
- Any overtime is agreed with you before it happens.
- In your suite, the editor works your building’s hours and signs in at the lobby desk.
Working remotely
- Rushes by drive or secure transfer, with proxies first for speed.
- Cuts shared on a review link, with notes on the timecode.
- Our post team works five hours ahead of New York for most of the year, so plan review calls for your morning.
Paying and changes
- Nothing to pay until you confirm the editor.
- 50% when you book, 50% on delivery of the cut.
- Every line on the quote: day rate, booking fee, payroll and insurance, kit, travel.
- Cancellation terms are on every quote.
Employment and insurance
- Every editor we book is employed for the job, on payroll, with New York workers’ compensation.
- Certificates of insurance (COIs) for your location or permit, naming whoever needs naming, on request.
- On a crew hire the location, its COI, the permit and your own general liability stay with you. When we’re the producer of record, the production carries them.
- In New York, Here Now Films books its crews through established New York production companies, so every crew member is employed, on payroll and fully insured for the job.
From $600 a day
Union rates quoted on request.
| Editor, a 10-hour day | $600 |
| Booking fee, 10% | $60 |
| One edit day, before payroll, kit and travel | $660 |
Every editor we book in New York is employed and insured for the job. Payroll and insurance are their own line on the quote. What that covers
You won’t pay anything until you confirm the editor.
- Every crew member employed and insured for the job
- 50% at booking, 50% on the final rushes
- Our team reads every brief within 2 working hours
Or call us on +44 7412 543822.
Reviews
What clients say about our crews
Straight from our Google Business Profile.
Book an editor in New York.
Tell us how much footage, how many films, the software, and whether the editor comes to you or works remotely. Our team reads every brief within 2 working hours. Or call us on +44 7412 543822.
Check availability
The whole crew
Every role in New York, booked the same way
One brief, one quote in dollars, every role on its own line. Our day rates in New York, paid to the crew member in full:
Production 06
- Director From $1,500
- Producer From $750
- Production manager $650
- 2nd AD $600
- Production assistant $250
- Runner $250
Camera 07
- DP From $1,200
- Camera operator $750
- 1st AC $700
- 2nd AC $550
- Steadicam operator From $1,500
- Gimbal operator $750
- Drone operator From $1,000
Data and playback 02
- DIT $750
- Video playback $650
Sound 01
- Sound mixer $850
Hair, make-up and costume 02
- Hair and make-up $650
- Costume $700
Art department 02
- Art director $750
- Set builders $550
Post-production 01
- Editor This page From $600
How our rates work: crew rates in New York. Or start from a set-up: interview crews and units in New York.
Questions
Hiring an editor in New York: questions
How much does a video editor cost in New York?
Our freelance editors in New York start at $600 for a 10-hour day, and the editor is paid all of it. There’s no published union scale for the role. On top go our 10% booking fee, so one day comes to $660, before payroll and insurance (at cost, on the quote), an edit system if you need one, and travel. If you’d rather hand the whole edit over, our post team quotes the job: the cut, the grade and the mix.
Who employs the crew, and are they insured?
Every crew member we book in New York is employed for the job and fully insured: payroll, New York workers’ compensation, and certificates of insurance for your location or permit. Payroll and insurance show as their own line on the quote, at cost. On a crew hire, the location, its COI and the permit stay with you, because you’re the producer of record. If you’d rather we were, it’s quoted as a full production.
Where does the edit happen?
Wherever suits the job. A freelance New York editor cuts on set, in your suite or from their own, and our post team in London cuts, grades and mixes our own New York films remotely. New York is five hours behind London for most of the year, and four for a few weeks in March and in October and November, when the clocks change on different dates.
Can an editor work in our suite in Manhattan?
Yes. Tell us the software and the version your project is in, and the editor comes to your suite in Manhattan, Brooklyn or wherever it is. If your building signs visitors in at the lobby desk, send us the details and we’ll pass them on. If you need an edit system as well, the editor brings one or we rent it, on its own line. Overtime is agreed with you before it happens.
Can an editor cut on set in New York?
Yes, and on a multi-day shoot it often pays for itself. The editor sits with the DIT, takes the cards as they’re backed up, and cuts selects and an assembly while you shoot, so the director sees the film forming before wrap and any pick-ups happen while the crew is still there. They need a table, power and a quiet corner away from set, and in an office building, their name on the security list with the crew’s.
How do rushes get from a New York shoot to the edit?
By drive or by upload. Every card is backed up twice on set before it’s wiped, then a courier takes a drive from set to your suite the same day. For our post team, proxies go up at wrap so the cut can start, and the camera originals follow by upload or on a drive. See DIT in New York for the set end of it.
What software do your editors use?
Premiere Pro, DaVinci Resolve, Avid Media Composer and Final Cut Pro. Tell us what the project is in, including the version, and we’ll match the editor: a project saved in a newer version often won’t open in an older one, which matters if the edit is going back to your suite afterwards. Our own post team cuts, grades and mixes in DaVinci Resolve.