Agencies with more retained creative than capacity
Performance, content and social agencies whose content commitments have outgrown one in-house editor but have not yet justified a second.
"Versmos team is super talented and very quick. Easy to work with and gets the vibe effortlessly." - Dilpreet Kaur Founder & CEO at South Asian Today
White-label video editing for marketing agencies
You already sold the work. We build it under your name, to your naming conventions and your internal deadline, and stay off the client call unless you want us on it.
The problem
The work is sold. The capacity is the problem.
Agency creative demand is lumpy in a way that headcount cannot follow. A retainer lands, a client approves a quarter of content in one meeting, a new channel gets added mid-campaign, and an in-house editor sized for the average month is underwater in the peak one and idle in the quiet one. Hiring for the peak is how agencies end up carrying a salary against a month with nothing in it.
Freelancers solve the arithmetic and introduce a different failure. They disappear mid-retainer, they hold the project file, and the fifth video does not match the first because a different person made it. The consistency problem is not a taste problem; nobody wrote the system down, so every new editor rebuilds it from scratch and the client notices.
Then there is the format your team has not produced before. An agency that lives in paid social knows exactly what performs in a feed. A long-form YouTube edit, a motion-led explainer or a connected-TV spot each has its own rules for pacing, type size and delivery, and learning them on a client's budget is an expensive way to find out. That is usually why this kind of work gets subcontracted at all.
What you get
What we produce under your name
No watermark, no credit in the corner, no signature in the file name. What we hand over is finished work in your delivery format.
Client campaign creative
Paid social ads, cutdowns and variant sets built to your brief, for your client's account. We work from the assets the client actually has and deliver into your naming and folder conventions.
A format your team has not produced for
Long-form edits, motion-led explainers and connected-TV spots each need their own pacing, type sizes and delivery specs. We plan for the placement from the first frame instead of resizing a social cut at the end.
Testimonial and interview edits
Long, unstructured interview footage cut to the moments that carry proof, captioned for autoplay. We work from your brief and never contact the person on camera or your end client.
Your agency's own explainer
Agencies market themselves last. A short animated piece that sets out what you do and who you do it for, without leaning on claims a prospect cannot check, is often the asset your own pipeline is missing.
Overflow editing at peak
The same system applied across a batch, so the fifth video looks like the first. The point of a partner over a rotating freelancer bench is that the visual decisions are recorded somewhere and reapplied, not reinvented.
Delivery in your conventions
Your file naming, your folder structure, your ratios, your handover destination. Files should be uploadable by your account manager without being renamed first.
The workflow
How an agency partnership runs
The review loop here is nothing like a direct client's. Your account manager owns the relationship and the client's notes arrive consolidated, which changes where the decisions get made.
Step 1: The brief comes from you, not the end client
We work from your brief, your client's assets and your read of what the client will accept. You already know what will not survive their review; that judgement is worth more than a direct line to them.
Step 2: We stay off client calls unless you want us there
The default is invisible. If it helps you to have the person who built it on the call, we will join and work to whatever framing you have set for who we are. That is your call to make, every time.
Step 3: We work to your internal deadline
Not the client's. The date that matters is the one that leaves you room to review, push back and still deliver on time, so the deadline we are given is yours, and it sits before the one on the client's calendar.
Step 4: Notes come back consolidated, through you
You gather your client's feedback and hand us a reconciled version of it. We do not sit in the client's comment thread arbitrating between two stakeholders who disagree, because resolving that is the account manager's job and doing it for you would undermine the relationship you are protecting.
Step 5: Nothing is published as ours without your sign-off
White-label means white-label. Work stays off our site, our showreel and our socials unless the agency signs it off in writing, and anything already up comes down whenever you ask us to.
The fit
Who this is a fit for
Agencies expanding into a new format
You have sold long-form, motion-led or connected-TV work and would rather not learn the delivery requirements on a live client campaign.
Agencies who lost an editor mid-retainer
Continuity matters more than the individual. The work is picked up as a system so the client does not see the seam where the handover happened.
We are not the right fit if: you want a production partner who will take over the account. We do not do media buying, strategy, reporting or client management, and we do not want to own the relationship you built. We are also not a rebrandable rate card to resell without a brief; every job still needs someone on your side who can say what the client is trying to achieve.
The scope
What drives scope on an agency partnership
Ongoing agency work is priced on the shape of the arrangement, not on a per-video figure, because the same deliverable costs differently depending on how it reaches us.
Volume and cadence across the retainer
A predictable monthly batch and an unpredictable burst of the same annual total are different operational commitments.
How many end clients we are holding
Each client is a separate brand system to keep straight. Five brands at low volume can be more work than one at high volume.
What the brief looks like when it arrives
A finished script with tagged assets is one job. A folder of raw client material and a sentence about the goal is another.
The channel being delivered to
A social cut and a long-form or connected-TV master are different delivery problems: safe areas, typography scale, audio assumptions and specs all diverge.
Whose tooling and conventions we work in
Adopting your naming, folder structure and project management is straightforward, but it is a real setup step and worth agreeing at the start.
How rounds are structured
Consolidated notes from you move faster than a thread with the end client's stakeholders in it. Both are workable; they are not the same job.
We would rather agree how the partnership operates before agreeing what it costs, because for ongoing work the operating model is what determines the number.
Proof of work
Work you can review before you brief us
White-label work belongs to the agency that sold it, so it stays off this site unless that agency signs it off. What you can review is work published under our own name, including the logo animation below for Digitopa, a digital marketing agency, and the case study for a seven-module course built as one motion system.
Buyer questions
Frequently Asked Questions
Will our client know Versmos was involved?
Not from us. There is no watermark, no end credit and no signature in the file naming, and we do not contact your client. Whether you tell them you use a production partner is entirely your decision; plenty of agencies do, and it changes nothing about how we work.
Can we see white-label work you have done for other agencies?
Not publicly. White-label work belongs to the agency that commissioned it, so it is only shown where that agency has agreed. We can walk you through how we work on a call, and our portfolio and case study show work published under our own name.
Do you need to be on calls with our client?
No, and the default is that we are not. Your account manager knows what the client will accept better than we would learn in a call. If you decide it helps to have the person who built the work on the line, we will join and work to whatever framing you have set.
Can you match our file naming and delivery conventions?
Yes, and we prefer to agree them at the start, not retrofit. Your naming, folder structure, ratios and handover destination: the goal is that your account manager can upload what we send without renaming or re-exporting anything first.
Do you take on media buying, strategy or reporting?
No. We produce. You keep the strategy, the buy, the reporting and the client relationship. That boundary is deliberate: an agency subcontracting production should not be introducing a partner who could credibly take the account.
How much does white-label video editing cost for an agency?
We quote from your client briefs, footage, delivery volume, motion or design work and revision structure. Include the client-review time and handover requirements. We agree a scope and capacity for the work rather than promising unlimited production for every account.
Can you support recurring client work and revision rounds?
Yes. Share the expected cadence, formats, internal deadlines and who consolidates client feedback. We agree the review rounds and delivery plan before production. A new direction, extra runtime or additional versions can change the scope and must be raised with your account team.
Tell us what you have sold and what your team cannot absorb.
The application asks about the channel, the cadence and how you want the work to reach your client. That is enough to work out whether this is a one-off overflow job or an operating arrangement.