Podcast Editing Packages, Priced Per Episode With No Hidden Extras

Starter is $199 per episode and Studio is $299 per episode. That is the whole menu. There is no third mystery tier that appears once you get on a call.

Starter covers a single camera show at 1080p with one revision round. It is built for the solo host or the two people sharing one frame: cleaned audio, dead space removed, the ums and false starts taken out, a tidy top and tail. If your setup is one camera pointed at a desk, Starter is the honest answer.

Studio is $299 per episode and covers 2 to 4 cameras at 4K with unlimited revision rounds. That is where multi-cam editing lives, with real angle choices on reactions and interruptions rather than a cut every eight seconds because the timer said so.

Both prices assume an episode up to 60 minutes. Shows up to 30 minutes cost less, shows up to 90 minutes cost more, and I quote that before you send a single file. If you want the numbers side by side with what agencies charge, I wrote it all out in how much podcast editing costs.

A 4-episode pack saves 15%, and going monthly saves 25%. Nothing else changes. Same editors, same 48-hour first cut, same file ownership.

So a monthly Studio show at four episodes a month lands well under the $299 sticker per episode, and a Starter show drops under $150. The discount exists because a repeat show is cheaper for me to cut. I learn your intro, your host's tics, your sponsor slots, and your loudness target once and reuse them forever.

Add-ons are flat and per unit. Vertical clips are $25 each. Show notes and chapters are $35. Rush 24-hour delivery is $75.

The mistake I see most is buying twenty clips a month because a growth thread said to. Ten good ones outperform twenty rushed ones, and you can see how I pick them in my podcast repurposing strategy. Start at eight clips a month, look at what actually travels, then scale the number. If you want the whole price list in one place, it is on the pricing section.

Pick Studio if you have more than one camera, full stop. Everything else is a smaller question.

Here is the honest tradeoff. Starter's single revision round is enough for about eight shows in ten. Most notes I get are small: trim the cold open, drop that tangent, fix the sponsor read. One round covers it. If your show has a co-host and a producer who both leave notes, or a client who signs off, one round runs out fast and Studio's unlimited rounds save you the arguing.

4K matters less than people think for a talking head, and it matters a lot the moment you want to punch in on a static wide to fake a second angle. That reframe is free headroom at 4K and mush at 1080p.

If you are a one camera show and happy there, stay on Starter and put the saved $100 into clips or a better mic. A better mic is the upgrade that pays, every time. Bad audio kills more episodes than any package tier ever will.

Because silence detection cannot hear meaning. A human editor watches every minute of your episode before a single cut is made.

Automatic silence removal treats a two-second pause as garbage. Sometimes it is. Sometimes it is your guest deciding whether to say the honest version of an answer, and that pause is the best beat in the episode. A machine strips it and hands you a jittery, breathless cut where nobody ever thinks.

The same problem shows up with filler words. Removing every single um makes a host sound like a robot with a stutter. My editors take out the stacked ones and the restarts, then leave the rest so the person still sounds like a person.

There is a cost to this. Watching a 90 minute episode takes 90 minutes, which is why I quote by length and why the first cut takes 48 hours instead of eight. It is a real tradeoff and I will not pretend otherwise. If your show is pure information and rhythm does not matter, an automated tool is genuinely cheaper. If people listen because of how your host talks, pay a human.

You send the files, and 48 hours later the first cut is in your hands. Revisions come back the next working day.

That cadence is the actual product. A weekly show on a Monday record has a review copy Wednesday and a locked cut Thursday, which leaves a clear day before publish instead of a panic. Rush 24-hour delivery is $75 and exists for the weeks when the guest cancels and you record Thursday night anyway.

What I need from you is boring and matters: separate audio tracks per person, every camera card, and a one line note about anything you already know is broken. A shared drive folder is fine. I do not need your passwords or your host account.

One thing that slows shows down more than editing does: the episode is done and nobody has decided on the title or the thumbnail. If you are publishing to YouTube, get ClickTheory started on thumbnails in parallel at 8 for $250, so the packaging is ready when the cut is. Nothing stalls a show like a finished edit with no title on it.

Yes, and the smart version is to bundle them from the same session rather than ordering them later.

Vertical clips are $25 each and they get cut while your episode is still open on the timeline. That is the whole efficiency argument: the editor already knows where the good moment sits at 41 minutes, so pulling it and reframing it to 9:16 is minutes of work instead of a fresh watch. Ordering clips three weeks after delivery costs you the same $25 but buys you a worse selection, because by then the search is cold.

A typical monthly bundle looks like four episodes, eight clips, and show notes on each. That is real money, so be deliberate about it. My write up on Instagram Reels podcast clips covers what actually gets watched to the end, and which formats are worth the $25.

Trailers sit slightly apart. A season trailer or a guest announcement cut is its own edit with its own structure, which I cover in podcast trailer editing. Do not treat a trailer as a longer clip. It has a different job.

You own everything. Footage, project files, and exports are yours, and I keep a copy alongside you rather than instead of you.

This sounds obvious until you try to leave an editor who will not hand over the project. I have picked up shows where the previous editor kept the templates hostage, so the new team had to rebuild the intro and the lower thirds from a screenshot. That costs the host two weeks and buys nobody anything.

So the exit is clean. Cancel the monthly, and you get the project files with the bins labelled, the fonts named, and the graphics as editable assets. Your intro, lower thirds and title cards stay yours to reuse anywhere.

The reason I run it this way is not generosity, it is confidence. If the only thing keeping a client is that leaving is painful, the work is not good enough. I would rather you stay because the 48 hour cut keeps arriving and the show sounds right.

I am Samy. I work from Dubai, remote, with shows on every continent, and you can reach me directly at samy@pixelsamy.com.