Tool 1 of the Get Paid Kit · For video editors

Video editor hourly rate calculator

This free calculator works out the hourly rate a video editor should charge, starting from the income you need — not from the per-minute price a job board suggested. It adds the licence, stock and storage costs editing quietly carries, and divides by the hours clients actually pay for, with revision rounds and render time counted in the thinking.

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The pricing reality for freelance video editors

Editing gets priced in more units than almost any other trade: per finished minute, per video, per day, per hour — and the units are not interchangeable. Per finished minute is the worst of them, because the finished length is the one thing that tells you nothing about the work: a tight one-minute cut from a single clean take and a one-minute video assembled from nine hours of footage carry the same price tag and wildly different weeks. Project fees hide the revision rounds — two are quoted, six arrive. Day rates hide the difference between a rough assembly, which flows, and a notes-heavy polish day, which does not.

The invisible work in editing is structural. Ingesting and organising footage, syncing audio, hunting for the right stock clip or music track, building the graphics package, exporting in five aspect ratios, uploading, re-exporting when a platform rejects a file — clients see the timeline; they do not see the scaffolding around it. Even so, editing is desk work with a high sellable share, which is why the preset below starts billable time at 60%: more of an editor's week genuinely lands on a project than in most trades, and the leak is concentrated in revisions and machine time rather than everywhere.

The numbers below are starting presets, not a survey: a $72,000 target income, $6,000 a year of expenses — a realistic shape for editing licences, stock footage and music, storage and an accountant — and 60% billable time. With those starting numbers the calculator lands near $99 an hour. Change any figure to match your own books; the point is not the preset, it is that every cost gets counted before the project is quoted, not discovered at the sixth revision round.

Your numbers — video editor presets

Your recommended rate

$0 / hour
$0Day rate (8 hours)
0Billable hours per year
Income + expenses needed$0
Grossed up for tax$0
With profit margin$0
Working weeks0
Total working hours0
Billable hours0

Your rate is saved on this device only, so the Proposal Generator can show it when you price a project.

Easy to miss

Costs video editors forget to put in the rate

  • Licences and stock. The editing suite, the plugins, the stock footage, the music library, the font for the titles — each renews separately, and the track a client falls in love with often needs a licence tier your subscription does not include.
  • Storage. Raw footage is heavy and clients expect it kept. Working drives, backup drives and cloud archive space grow with every project and never shrink.
  • The rendering machine. A workstation powerful enough to edit and render modern footage is a serious purchase on a replacement cycle, and every hour it spends rendering is an hour it cannot do anything else.
  • Revision rounds. Notes that arrive as a week of scattered messages instead of one consolidated round quietly double a job. Uncapped revisions are the most common way editing quotes stop matching editing reality.
  • Project archives. The client who returns eighteen months later wanting one graphic changed expects the project to open exactly as it was left — keeping it that way is storage, organisation and time.
The maths

How this calculator works

Start with the hours you can genuinely sell. Take 52 weeks, subtract your vacation weeks, multiply by your hours per week, then multiply by your billable percentage. With the video editor presets — four weeks off, 40 hours a week, 60% billable — that is 1,152 billable hours a year, against the 2,080 hours a salaried job is counted on. That gap is why dividing a target salary by 2,080 always underprices editing work.

Next, work out what those hours must bring in. Add your desired income and your annual business expenses together, gross the total up for tax by dividing by one minus your tax rate — at a 25% estimate, divide by 0.75 — then add your profit margin and divide by your billable hours. That final number is the rate below which the year stops adding up.

Use it as the engine inside your project fees, too. A project quote is really an honest estimate of the edit hours — assembly, polish, revisions, exports — multiplied by this rate, plus the licence and stock costs that belong to that job. A day rate is this figure times eight. And when a client asks for a per-minute price, you can translate your hourly number into one if you must — but estimate from the footage and the brief, never from the finished length alone.

Disclaimer: This is a planning estimate, not tax advice. Tax rates, deductions and allowances vary by country, state and business structure. Enter the rate you expect to pay, and check significant decisions with a qualified accountant.
Questions

Video editor rate questions

Hourly, or a project fee built from hours — per finished minute is the trap in this trade. A finished minute says nothing about the work behind it: one minute cut from a single clean take is an hour of work, while one minute assembled from nine hours of footage, three interviews and a graphics package is two days. Price per minute and the client with the messiest footage gets the deepest discount, paid by you. Estimate the editing hours honestly, multiply by this rate, and let the finished length be the client's concern, not your pricing unit.
Two is the common structure, and the definition matters more than the number: a round is one consolidated set of changes from one review, not a rolling week of messages. State what counts as a round and what happens after — further rounds at your hourly rate — before the first cut is delivered. Then track revision time separately from edit time for a few projects. If rounds regularly eat a third of the job, either the brief is being written in the review stage or your included rounds are too generous, and both are pricing problems, not editing problems.
Your machine's time, yes, in the sense that it has to live somewhere in your pricing — a workstation tied up rendering cannot edit the next project. Most editors cover it through the billable percentage or a per-project allowance rather than a stopwatch line, because clients reasonably resist paying an hourly rate for unattended processing. What you should not do is sit watching exports: queue renders overnight or in batches, count your attended time honestly, and let the calculator's expenses carry the machine that does the waiting.