What people ask before hiring us

Send a message with what you need edited, roughly how long it is, and where it's going (Reels, YouTube, a client's channel). You get a quote back within 24 hours priced for that actual job, not a package you have to fit into. Once you approve it, we send a private Drive folder link, you upload your footage, and editing starts. No forms, no discovery call unless you want one.

Four things: what type of content it is, roughly how much raw footage there is, what the finished piece needs to be (length, platform, format), and any reference video or account showing the style you want. That's usually enough. For bigger or ongoing projects, we'll ask a few follow-up questions before quoting rather than guessing.

Not unless you want one. Most projects run entirely over email or messages, which is faster for both sides across time zones. If the project is complex, ongoing, or you'd simply rather talk it through, we're happy to jump on a call. It's your preference, not a requirement.

You get a private Google Drive folder for your project. Upload the raw files there, along with any logo, brand assets, music, or reference material. If you already work in Dropbox, WeTransfer, or Frame.io, that's fine too. Whatever is easiest on your end.

Not a problem. Drive handles large uploads well, and we regularly work with multi-gigabyte projects. If your connection struggles with the upload, we can split it into batches or you can send lower-resolution proxy files first so the edit can be structured while the full files transfer.

Yes, most of our work is with clients in the US, UK, Canada, Australia, and the UAE. The time difference is usually an advantage rather than a problem. Footage sent at the end of your day is often being cut while you sleep, so feedback tends to be waiting for you the next morning.

Four steps. You send a brief, you get a quote within 24 hours, you approve it and upload your footage to a private folder, then we deliver a first cut and revise within the terms agreed, usually three rounds on a fixed-fee project. Final files land in your folder in whatever formats you need. That's it. It's deliberately plain.

Yes, if you want. For longer projects we can send a rough cut partway through so you can flag direction issues early rather than at the end. For short-form work it's usually faster to deliver the first cut, since the whole edit is only 30 to 60 seconds.

Very little, by design. Once the brief is clear and your footage is uploaded, we can take it from there. Your involvement is mostly at two points: approving the brief at the start, and giving feedback on the first cut. If you want to be more hands-on, that's fine too.

No, we don't write scripts. We edit what you've already recorded. If your footage doesn't have the content in it, editing can't create it, and it's better to say that upfront than take your money and disappoint you. For social media management clients, we do handle content scheduling and planning, which is different from scriptwriting.

No. Framelink is editing only. We don't do filming, shoots, or on-site production. If you need someone to shoot as well as edit, you'd want a full production company. We'd rather tell you that immediately than take a project we can't do properly.

Send two or three videos you like, from anyone, in any niche. That tells us more than a paragraph of description ever could. If you genuinely have no reference, we'll suggest a direction based on your content and audience, and it can be adjusted from the first cut.

Sometimes, for outreach or when a client is deciding between editors. It would be a short sample from your existing footage, watermarked. What we don't do is unpaid bulk testing, meaning multiple full videos before any payment. That's a pattern that wastes everyone's time.

Adobe Premiere Pro for the main edit, After Effects for motion graphics, and Photoshop for thumbnails and graphics. We also use CapCut for certain caption styles and Firefly for generating specific b-roll or background elements when a project needs them. Everything is delivered as standard video files, so your software doesn't matter.

Yes, as a tool, not as the editor. AI is used for things like generating specific b-roll, backgrounds, or graphic assets that would otherwise need stock footage. Every edit is still built, paced, and finished by a person who understands your brand. Nothing here is generated end to end and shipped without a human deciding it's right.

Yes, within reason. Send the reference and we'll match the pacing, caption style, color treatment, and general feel. What we won't do is copy something exactly, both because it's someone else's work and because your content will land better with its own identity built on that reference rather than a duplicate.

Yes. We've handled overflow work for agencies, and it's a good fit when the scope and rate are clear upfront. Agency work is priced differently from direct client work since you're reselling it, so just tell us it's white-label and we'll quote accordingly.

Your final files stay in the shared folder, and project files are held on our end for a period afterward in case you need a small change or a different export format later. If you want the actual project files themselves, that's a separate working file buyout, since those aren't part of standard delivery.

Yes, and that's usually the better arrangement for both sides. A monthly retainer means a set allocation of deliverables each month, priority in the schedule, and consistency in how your content looks. Terms get set per client since volume varies. Just ask and we can figure out what fits.

Sometimes, depending on what's already scheduled. Rush work carries a surcharge because it means reshuffling other commitments, and we'd rather charge for that honestly than quietly deprioritize another client. If a deadline genuinely can't be met, we'll say so rather than take the job and miss it.

It depends on length and complexity, and the quote will state the actual timeline for your specific job. Short-form pieces are typically quicker than long-form or multi-cam projects. The clock starts when your footage and instructions are fully uploaded, not when you first message us, since editing can't begin on footage that hasn't arrived.

Most projects land in a few business days. Short-form is on the faster end, long-form and complex multi-cam projects take longer. Every quote includes the specific delivery date for that job, so you're never guessing. If a deadline is tight, say so upfront and we'll tell you honestly whether it's doable.

When you've provided everything needed: raw footage, brand assets, and clear instructions. If assets arrive in pieces over several days, the deadline shifts by the same amount. This isn't a technicality, it's just that editing can't begin on footage that hasn't been uploaded yet.

The delivery date moves by roughly the same amount of time. No penalty, no drama, just a shifted timeline. If it's going to be a long delay, let us know so other work can be scheduled in the gap and yours picked back up when it arrives.

Whatever you need. Standard is MP4 in the resolution and aspect ratio your platform requires, 9:16 vertical for Reels, TikTok, and Shorts, 16:9 for YouTube. If you need multiple aspect ratios, different resolutions, or specific codec requirements, just say so in the brief and it's included.

Yes. If you need one edit adapted for vertical, square, and horizontal, tell us at the brief stage. Doing it as part of the original edit is efficient. Asking for it weeks later means going back into a closed project, which may be treated as new work depending on scope.

Yes, burned-in captions are standard for short-form work since almost everyone watches muted. For long-form, captions can be burned in or delivered as a separate SRT file, your choice. Caption style, font, and highlight colors can all match your brand.

Yes. Aspect ratio, safe zones for platform UI, resolution, and length are all set for the platform you specify. A Reel and a YouTube Short have different safe zones despite both being vertical, and getting that wrong means your captions sit under the interface.

Tell us the actual deadline when you first message, not after work has started. If it's achievable we'll quote it with a rush fee, which reflects the schedule disruption. If it isn't achievable we'll say so rather than accept and then deliver something rushed and below standard.

Sometimes, depending on workload and deadlines. Weekend turnaround isn't guaranteed as standard, but we also don't disappear entirely on a Saturday if something is urgent. If your project has a Monday deadline, mention it and we'll plan around it.

The timeline pauses and you're notified as soon as it's safe and possible to do so, with an estimated return date so you can inform your own clients or audience. Work resumes immediately once power and internet are stable. This is written into our contract because we're based in the Philippines and weather events are a real, occasional factor.

Yes. You won't get silence for days on end. If something is taking longer than expected, or there's a problem with the footage, you'll hear about it while there's still time to solve it rather than at the deadline.

The same private folder you uploaded to. Final exports land there and you can download them directly. If you'd prefer delivery somewhere else, like Frame.io or a specific client system, that can usually be arranged.

Final deliverables stay in the shared folder for a period after delivery, and project files are held for a while in case you need a quick change. It isn't indefinite, so download your final files and keep your own backup once you receive them.

Message us. If it's within a reasonable window we'll likely still have them and can re-send. If it's been a long time, we may not, which is why keeping your own copy of the final delivery matters.

Usually yes, if the project files are still on hand. A simple re-export in a different resolution or aspect ratio is a small task. If it's been a long time or it requires rebuilding the project, it may be quoted as new work.

Not permanently. Storage is finite and projects accumulate. If a project matters to you long-term, download and archive the final files on your end. If you specifically need project files retained longer, that can be arranged as part of an ongoing arrangement.

That's what revisions are for, and it happens on plenty of good projects. Send consolidated notes on what's not working and we'll adjust. A first cut isn't meant to be perfect, it's meant to give you something concrete to react to, which is far more useful than trying to describe everything in advance.

That's the intention on every project, and the reason quotes state a specific date rather than a vague window. If something threatens the deadline, whether it's a technical problem or a calamity delay, you'll hear about it early rather than on the delivery date.

Yes. Tell us the date you need it and we'll confirm whether it works with the current schedule. If it doesn't, we'll tell you what's realistic instead of agreeing and then missing it.

It depends on how the project is structured. Fixed-fee projects include three consolidated revision rounds by default. Hourly engagements have no round cap since revisions are simply billed as hours worked like any other task. Retainer clients follow whatever terms are set for that specific arrangement. Whichever applies to you is stated in your agreement so there's no ambiguity.

One consolidated list of changes. Sending ten notes in a single message is one round. Sending three separate messages over three days as you think of things is harder to treat as one round, which is why gathering your feedback before sending is genuinely better for both sides.

Additional rounds are billed at our standard hourly rate. This isn't meant to be punitive, it's just that unlimited revisions on a fixed fee means the project can expand indefinitely while the payment stays the same. Most projects don't reach three rounds anyway.

That's not a revision, that's a new edit, and it's quoted as new work. A revision adjusts things within the brief agreed at the start. Deciding partway through that you want an entirely different concept means the original edit is being discarded, which is a different job. Tell us early and it's cheaper for you.

All at once, and as specific as you can be. Timecodes help enormously. "At 0:14 the cut feels too fast" is actionable. "It doesn't feel right" means we're guessing. If you can, gather everyone's notes before sending rather than forwarding reactions one at a time.

Yes, but consolidate it before sending. Conflicting notes from three people in three separate messages usually means work gets done and then undone. One person collecting the team's feedback into a single list is much more efficient and produces a better result.

Yes. Your agreement states a specific window after delivery. After that, the deliverable is considered approved and the project closes. This exists so projects don't sit half-finished indefinitely, not to rush you. If you need more time to review, just say so.

Once a deliverable is approved and paid, the project is closed and further changes are new work. Approval happens when you confirm it in writing, when you publish or use the video, or when the revision window passes. If you're not ready to approve, don't, and just tell us you're still reviewing.

Not within your included rounds. Beyond that, they're billed hourly. For hourly clients, revisions are part of the hours worked from the start, so there's no separate revision cost, it's just time.

Then we fix it, and it doesn't count as one of your revision rounds. If the brief was misread, an instruction missed, or there was a technical error, that's on us to correct. Revision rounds are for creative direction changes, not for correcting our own mistakes.

Depends on the tweak and the timing. A tiny fix shortly after delivery, like a typo in a caption, is usually just handled. A substantive change weeks later on a closed project is new work. We'd rather be reasonable about small things than rigid about the letter of the policy.

That's normal on creative work and nobody's going to make you feel bad about it. What helps is deciding as much as possible before the edit starts, since changing direction is cheap in a brief and expensive in a finished timeline. If you're genuinely unsure, say so and we'll build in room for exploration.

Not automatically, no. Retainer revision terms are set per client based on volume and what the arrangement covers. Some retainers include generous revision allowances, others treat revisions as part of the monthly deliverable count. Yours will be written down so it's clear from the start.

We talk about it. The test is simple: does this fit within the brief agreed at the start, or does it change what the brief was? Most cases are obvious to both sides. If it's genuinely borderline, we'll usually just do it rather than argue over a small thing.

Yes, just tell us. The project stays open and gets picked up when you're ready. If it's paused for a very long time, the revision window and file retention timelines still apply, so a very delayed restart might mean re-quoting.

It depends on the work, which is why every project gets a quote rather than being slotted into a fixed package. Pricing is based on the type of content, how much raw footage there is, complexity, and volume. Send a brief and you'll have a real number within 24 hours priced for your actual job.

Because a fixed price list either overcharges simple jobs or undercharges complex ones, and both are bad. A 30 second cut from clean footage and a 30 second cut from two hours of unsorted multi-cam are completely different jobs. Quoting the real work is fairer than making you fit a package.

Yes, for ongoing work. Monthly retainers cover a set allocation of deliverables at a rate that works out better than one-off pricing. For single projects, it's a flat quote for that job. Whichever suits you better is fine.

Three. Flat fee for one-time projects, monthly retainer for ongoing work, and hourly for open-ended or evolving engagements. Which one fits depends on how predictable the work is. Ongoing content usually suits a retainer, while a single defined project suits a flat fee.

You're billed at an agreed hourly rate, with time tracked using whatever method is agreed, a time-tracking tool, a shared timesheet, or a spreadsheet log. Invoices go out weekly or bi-weekly, and time logs are provided whenever you want to see them. Nothing is hidden.

For fixed-fee projects, typically a 50% deposit before work starts with the balance on delivery. Retainers are billed at the start of the period. Hourly work is invoiced as it's completed. The exact terms are in your agreement so there are no surprises.

Wise and bank transfer are standard, and platform payments work too if we're connected through Fiverr or similar. PayPal and GCash have also been used depending on the client and country. Tell us what's easiest on your end and we'll usually find something that works.

USD by default, unless agreed otherwise. If you're paying in another currency that can be worked out, just note that conversion and transfer fees affect the final landed amount, so the quoted figure is what needs to be received, not what leaves your account.

Yes. Rush jobs mean rearranging existing commitments, so they carry a surcharge. It's quoted upfront, never added quietly afterward. If the timeline isn't actually rushed, you don't pay a rush fee.

Not a hard one. Very small jobs are sometimes worth doing, particularly for existing clients or as a starting point for something bigger. That said, extremely small one-off jobs from new clients sometimes cost more in coordination than they're worth, so the quote reflects that reality.

Yes. Higher volume and ongoing arrangements are priced better per piece than one-off work, because they're more predictable to schedule around. If you're planning a batch of videos rather than a single one, mention it and the quote will reflect it.

Sometimes, if the scope matches the budget. What we won't do is quietly cut quality to hit a low number, or promise a scope that would have to be rushed. If your budget is tight, tell us the number and you'll get an honest answer about what's achievable within it. Sometimes that means a smaller scope rather than a discount.

Yes, that genuinely reduces the work. If you've already assembled a rough cut and just need graphics, captions, and polish, that's a lighter scope and it's priced accordingly. Tell us exactly what you're doing on your end and the quote reflects it.

We talk before any extra work happens, not after. If the footage turns out to be substantially more or messier than described, or the scope expands during the project, it gets flagged and the difference quoted. You'll never receive a surprise invoice for work you didn't approve.

No. Quotes are free, and a conversation about what you need is free. You only pay once scope and price are agreed and you've approved it.

For fixed-fee projects and retainers, if you cancel within seven days of payment clearing and before any drafts have been delivered, you're eligible for an 80% refund, with 20% retained for transaction fees and administrative setup. After seven days or once a first draft is delivered, payment is non-refundable. Billed hourly work is never refundable since it represents labor already performed.

Because transaction fees are already gone, and your project has already blocked out schedule time that other work was turned away for. The 20% covers that. It's a standard structure for professional service work and it's stated clearly upfront rather than buried.

If something catastrophic prevents completion, you get a refund for the uncompleted portion, capped at 80% of the total, with the percentage adjusted so that work actually performed is compensated. This is in the contract specifically so both sides know the answer before it's ever needed.

Rates get reviewed as the business grows and demand changes, yes. Existing quotes and active agreements stay at the agreed rate for their duration. Long-term retainer clients get notice before any change rather than a surprise adjustment.

Yes. Per-video pricing works fine for occasional or irregular work. It's usually a slightly higher per-piece rate than a volume arrangement, which is just the trade-off for flexibility rather than a penalty.

You do, in every way that matters practically. On full payment you get a full worldwide royalty-free license to use, publish, and commercially exploit the final deliverable for any purpose. You can post it, run ads with it, and use it commercially with no restrictions or additional fees.

Not by default. The final exported video is yours to use fully. The underlying project files, timelines, templates, and presets remain ours, since those contain systems built across many projects rather than just your job. If you specifically need the project files, that's a separate working file buyout.

Because they contain reusable templates, presets, and workflows built over years, not just your video. Handing those over is transferring the tooling, not the deliverable. Most clients never need them. If you genuinely do, for example because you're bringing editing in-house, just ask and it can be priced.

Yes, once it's publicly released, unless otherwise agreed. Portfolio display is how new clients find us, so it's a default term rather than an afterthought. If your project is confidential, tell us before work starts and it's handled accordingly.

Just say so, ideally before the project starts. Confidentiality is completely reasonable and plenty of clients need it. It's handled through a written agreement rather than an informal understanding, so both sides know exactly what's covered.

Yes, with review first. Any NDA is read before signing, and reasonable amendments may be requested, particularly around disproportionate financial penalties, multi-year restrictions that would limit ordinary professional work, or clauses with no defined payment terms. A fair NDA gets signed without friction.

Exorbitant fixed penalties for minor or accidental breaches, non-circumvention clauses lasting many years, terms that make normal editing workflow a technical violation, and agreements binding us to a foreign jurisdiction without mutual representation. These aren't hypothetical concerns, they're patterns seen in real contracts.

You are, for anything you provide. If you send a track, we're assuming you have the right to use it. If we're sourcing music, it comes from properly licensed libraries. Getting this wrong causes takedowns and copyright strikes, so it's worth being clear about at the brief stage.

Same principle. Anything you provide, you're responsible for having rights to. Anything we source comes from licensed libraries. If your project needs specific stock that requires a purchase, that's discussed and quoted rather than assumed.

Under the agreement, you're responsible for materials you provide and would indemnify us against disputes arising from them. This is standard for service work. We cannot verify rights to footage we did not shoot or source.

Framelink operates as an independent contractor. That means we set our own working environment and hours, work with other clients, and handle our own taxes and business registration. For US clients, a W-8BEN form can be provided on request for your tax compliance.

No. Exclusivity would mean turning away all other clients, which isn't viable for an independent team. We're happy to commit to your volume, your deadlines, and your confidentiality. What we can't do is agree not to work with anyone else.

Philippine law, since that's where Framelink operates from. This is stated explicitly in the contract. We don't sign agreements binding us to foreign jurisdictions without mutual representation, which protects against a pattern where a contractor ends up subject to laws they have no realistic ability to contest.

It stays in the private project folder and isn't shared with anyone. Unreleased or sensitive raw footage is never distributed to third parties. This applies whether or not there's a formal NDA in place, it's simply baseline handling.

Content involving minors is edited strictly in a clean, age-appropriate way. This is written into our contract as a standing term, not decided case by case. If a brief asked for anything otherwise, the project would be declined.

In line with the Philippine Data Privacy Act of 2012 and the published Framelink privacy policy. Your contact details and project files are collected securely and used only for delivering the service and meeting legal requirements. Nothing is sold or shared for marketing.

Yes, with fourteen days written notice from either side. We can also terminate immediately for cause, meaning non-payment, abusive behavior, or predatory legal threats. On termination, any work already completed is payable.

Non-payment, abusive or harassing behavior, or attempts to use legal threats coercively. These aren't things expected from most clients, and the clause exists because they've been genuinely encountered rather than as theoretical protection.

Capped at the total fees paid for that specific engagement. This is standard for professional services and prevents a disproportionate claim over a project of limited value.

For small one-off work, an agreed quote in writing is often enough. For ongoing work, retainers, larger projects, or anything involving confidentiality, a signed agreement protects both sides and is worth the five minutes. Clear terms upfront beat discovering a misunderstanding at the invoice stage.

You work directly with the editor handling your project. There's no account manager relaying your notes to someone you never speak to, and no rotating cast of freelancers relearning your brand every month. The person reading your brief is the person making the cut, which is why direction doesn't get lost in translation.

Two things. You deal directly with the people doing the work, so nothing is lost passing through layers. And there's no agency markup stacked on top of the editing. The trade-off is that Framelink is a focused team rather than a high-volume operation, so capacity is deliberate rather than unlimited.

Over eight years of hands-on editing across short-form, long-form, graphics, and motion work, including hundreds of completed projects for clients internationally. That includes a long engagement producing legal educational content for a US law firm, which is a good indicator of the professional-services work Framelink is best suited to.

San Fernando, La Union, in the Philippines. Most clients are overseas, which works well since editing happens while your day is ending. The location matters mainly for two things: time zone advantages, and the occasional weather event, which is addressed openly in our terms rather than hidden.

Professional service businesses, law firms, real estate agents, coaches, and small businesses that need their content to build credibility rather than just chase views. We also work with creators and general brands. The common thread is people who want consistent, reliable output rather than a one-off viral attempt.

Yes, and it's one of our strongest areas. We've produced a substantial volume of legal educational content for a US firm, which means we understand the tone: professional and credible without being stiff, informative without being dry, and appropriate for a regulated profession.

Yes. Property walkthroughs, listing highlights, and agent brand content. A common issue with real estate accounts is posting static graphics as reels, which platforms treat completely differently from real video. That alone is often why consistent posting isn't reaching people.

Yes, within a realistic capacity. Batches are actually more efficient than scattered single jobs since the setup work is shared. What we're careful about is committing to volume beyond what can be delivered at quality, so we'd rather cap a lane and deliver it well than take everything and slip.

It varies with complexity, and we're deliberate about not overcommitting. If you have a specific volume in mind, tell us the number and you'll get an honest answer about whether it's sustainable rather than a yes that unravels later.

Within reason, and with notice. Growing volume is a good problem and we'd rather plan for it than absorb it suddenly and let quality slip. If you're expecting your needs to increase, mention it early and the arrangement can be structured so it grows properly.

Filming and scripting, feature-length or broadcast deliverables, and paid ads or media buying. If your job needs any of those, you'll be told upfront rather than handed a padded quote. Saying no to the wrong fit is better for both sides.

You might not, and that's fine. What you get here is consistency, direct communication, and people who know your brand and stay with it. Very cheap editing usually comes with turnover and inconsistency, which means re-explaining your style every month. Whether that trade-off is worth it depends on your priorities.

Agencies add a markup and often route your work to whichever editor is free, which is why quality varies month to month. Here the work stays with the people who know your brand, and nobody's margin is stacked on top of the editing. The trade-off is capacity, which is covered above.

Yes, the portfolio on the site covers short-form, long-form, and graphic work across different client types. If you want to see something specific, like legal content or real estate work in particular, just ask and we'll point you toward the most relevant examples rather than making you scroll.

Email business@framelinkmedia.com, or use the contact form on the site. Include what you need edited, roughly how much footage there is, and where it's going. That's enough to get a real quote within 24 hours instead of a back-and-forth just to establish the basics.