Vidpros sells you a dedicated editor's hours every workday. We sell a finished content operation with a volume ceiling on top. Here is the honest split, with both sets of published numbers.
Everything below about Vidpros comes from their own public pages, read on 24 September 2026. Check it yourself
When somebody asks me whether they should go with a dedicated editor subscription like Vidpros or with us, right, the honest answer is that we are not really selling the same thing, and I think that is worth getting straight before anybody compares the two prices, because Vidpros is selling a certain number of an editor's hours every workday and we are selling a content operation with a volume ceiling attached to it, and those two things behave very differently once you are three or four months in.
So what I want to do here is put both side by side using what Vidpros publishes on their own pricing page, which I read on 24 September 2026, and what we publish about ourselves, and then say plainly where each one wins, because if you are putting out four videos a month then paying us would be silly, and I would rather say that on this page than waste your time on a call.
The catch here is that most founders do not really know which side of that line they sit on until they try to scale, and that is usually the exact moment the whole setup breaks, so let me walk through the parts that actually decide it.
Their column is what Vidpros publishes, ours is what we publish. Where they do not state something, the row says so instead of guessing.
| Pixel Samy Studio | Vidpros | |
|---|---|---|
| Published starting price | $2,000 a month | $1,000 a month for Vidpros Part Time |
| What the starting plan buys | Up to 200 short-form videos and 30 long-form videos a month, with thumbnails included | 2 hours per workday from one dedicated editor |
| Next tier published | Strategy-led engagements priced above the $2,000 entry point | $4,000 a month for a full-time editor at 8 hours a day |
| Turnaround | Built around your publishing calendar, and our podcast line publishes a 24 hour turnaround | Overnight turnaround, noted as based on project complexity |
| Where the editors sit | Close to 50 in-house editors in Dubai | Editors work Tuesday to Saturday, 8am to 5pm Philippine Time |
| Motion graphics | Custom caption and graphic systems built for your channel | No custom animation or motion graphics, templates for intros and end cards permitted |
| Strategy and distribution | Part of the engagement, not a separate purchase | Not stated on the pricing page |
The cleanest way to think about it is that Vidpros sells time and we sell output, right, and that one difference explains almost every other difference on this page.
With Vidpros you are buying 2 hours of a dedicated editor's workday at $1,000 a month, or a full 8 hours at $4,000, and what gets made inside those hours depends entirely on what you hand over and how complex it is, which is completely fair, and for a lot of people that is exactly the arrangement they want, because they have a clear idea of what they want and they just need a reliable pair of hands.
With us you are buying a ceiling of finished assets instead, up to 200 short-form videos and 30 long-form videos a month with thumbnails included, starting at $2,000, and the number of hours that takes on our side is our problem rather than yours, which is a very different conversation once your calendar gets busy.
The catch here is that hours and output only look the same when volume is low. At four videos a week, two hours a day is plenty and you would be mad to buy a 200 video ceiling. At forty pieces a week, the hours model quietly becomes a queue, and the thing that breaks first is not quality, it is your publishing schedule, because everything now waits behind one person's day.
Let me do the arithmetic honestly, because this is where comparison pages usually start lying and I would rather not.
Our $2,000 covers up to 200 short-form videos and 30 long-form videos, so if you genuinely use that capacity you are paying somewhere around eight or nine dollars per finished asset, which sounds unbelievable until you remember it is a ceiling and not a promise that you personally will publish 230 pieces every month. If you only use a quarter of it, your real cost per asset is four times higher, and at that point somebody selling you hours may well be cheaper, which is the honest version of this comparison.
Vidpros publish $1,000 a month for 2 hours per workday, which across roughly 22 working days is about 44 editing hours, and what that converts into depends completely on the kind of edit, because a talking head short with captions is not the same work as a multi-cam long-form video with graphics. Their full-time plan at $4,000 buys 8 hours a day, so about 176 hours.
So the fair way to compare is not headline price at all, it is to take the number of pieces you actually publish in a month, divide each price by it, and look at the two numbers next to each other. For a founder shipping ten pieces a month, Vidpros will almost certainly come out cheaper. For a founder shipping a hundred and fifty, it will not be close, and that is the line where people usually come to us.
Vidpros are clear on their own pricing page that editors work Tuesday to Saturday, 8am to 5pm Philippine Time, and I actually think publishing that is a good thing, because it lets you plan, and for a founder in New York it means work is happening overnight and lands in the morning, which is a real advantage.
Ours is a different setup. Close to 50 editors sit in-house in Dubai, in one building, on our own payroll, and the reason I keep saying that on every page is that it decides what happens on a bad day. When a client reshoots something at ten at night, or a launch moves, or a clip has to be recut three times before it goes out, the question is whether the people doing the work are in a room together with a producer who can shuffle the queue, or whether the work has been passed out to freelancers who are also serving four other clients.
There is a timezone truth here too. Dubai sits in the middle of the working day for Europe, India and the Gulf, and still overlaps a US morning, which is why our clients in London and Bangalore get same-day back and forth and our US clients get work waiting when they wake up.
The catch here is that neither arrangement is automatically better, it depends entirely on where you are and how much back and forth your content needs, and anybody telling you otherwise is selling.
This is the part that does not show up in a price comparison, and in my experience it is the part that actually decides whether the content works.
Vidpros publish what is included in the edit, stock video and music, simple thumbnails, AI generated captions, three months of storage, and they are explicit that custom animation and motion graphics are not part of it, templates for intros and end cards aside. What they do not state anywhere on the pricing page is strategy, packaging or distribution, and I am not going to pretend I know whether they offer it, because they do not say.
On our side that is the engagement. Deciding what gets shot, what each piece is for, how the title and the thumbnail are written, which platform each cut belongs on, and what actually gets posted where, is the work, and the editing is downstream of it. Our sister studio ClickTheory does the packaging layer, thumbnails and titles together, because a good video with a weak thumbnail is just an expensive file.
The reason I can say that with a straight face is that we run seven YouTube channels of our own, each one past a hundred thousand subscribers, so the packaging opinions we bring are ones we have paid for with our own channels rather than read in a blog post.
Let me be very honest about the number, because a ceiling of 200 short-form videos and 30 long-form videos sounds like marketing until you see how it is produced.
It does not come from 200 separate shoots, obviously. It comes from a small number of recording days that are planned properly, a long-form piece that is built to be cut, and then a clipping and packaging line that runs every week, which is the same muscle that lets the studio move more than 400 podcast episodes a month through the building. The plan is what makes the volume possible, not heroics at the edit stage.
The honest limit is on your side rather than ours. If you can only give us one hour of raw material a month then 200 finished pieces is not going to happen and I will tell you that on the first call, because clipping the same forty minutes into two hundred pieces produces the kind of feed people scroll past, and I would rather deliver 80 good ones than 200 thin ones.
And the reason to care about a ceiling at all, right, is that your cost per asset falls as you use it, which is the opposite of how per-video pricing works, where every extra video costs you the same as the last one. That is the whole economic argument for a studio rather than a per-video service, and it only applies if you actually publish at volume.
If I were sitting on your side of this decision, I would not try to settle it by reading comparison pages, including this one, I would run a small test with both and look at four things.
First, count what you actually published last month, not what you meant to publish, because that number decides which pricing model wins before anything else matters. Second, send both of us the same raw footage and the same brief, and see what comes back and how many rounds it takes. Third, ask each side who decides the title and the thumbnail, because that is the answer that tells you whether you are buying editing or buying outcomes. Fourth, ask what happens on your worst week, when a launch moves and everything has to be recut in two days.
Vidpros make this easy to try with a discounted $100 trial week, which is a genuinely low-risk way to see their workflow, and I would take them up on it if the hours model looks right for you.
On our side, the way in is a conversation rather than a checkout, because the plan is the thing we are actually selling, so we look at what you publish now, what you want to publish, and whether the $2,000 entry point is the right shape for it, and if it is not, I will say so.
The useful version of this page, because a comparison where the other studio never wins is a comparison nobody believes.
Go with Vidpros if your volume is modest and predictable, say a handful of videos a week, and you already have someone deciding what gets made, because at that point you are buying hands and their $1,000 entry price is lower than ours and there is no sense paying for capacity you will not touch.
It also fits if your whole need is one person on your timeline every day, you like the idea of a single named editor, and you can work inside Tuesday to Saturday hours on Philippine time, which for a US founder is genuinely useful because work lands while you sleep.
Come to us when the bottleneck has stopped being the editing and has become everything around it, the strategy, the volume, the packaging, the distribution, and the fact that one editor with two hours a day simply cannot cut 200 short-form videos a month no matter how good they are.
It also makes sense when you want the people doing the work to be accountable and in one building, which for us means close to 50 editors in-house in Dubai, and when you want the content flywheel to be somebody else's job to run rather than yours to chase every week.
Tasty Edits publish a clear price for every single video. We publish a monthly ceiling. The maths flips somewhere around fifteen pieces a month, and here is exactly where.
KIMP sell unlimited video requests with two active at a time. We sell a published ceiling of 200 short-form and 30 long-form videos for $2,000. The difference is not the word unlimited, it is the throughput underneath it.
Vidchops publish $495 and $995 a month in credits, where one credit is one long-form video or four short-form videos. We publish $2,000 for up to 200 short-form and 30 long-form. Here is how those actually compare.
Video Husky publish the clearest spec sheet in this category, from $849 to $2,749 a month with weekly editor hours stated. We publish $2,000 for up to 200 short-form and 30 long-form videos. The split is cleaner than usual.
If you are weighing the two, send me what you published last month and what you wish you were publishing, and I will tell you honestly which of these two models fits, even when the answer is the other one. So yeah. That's my way of saying it.