White Label Podcast Editing You Can Sell Under Your Own Brand

White label podcast editing means I do the edit and you sell it under your brand, with nothing in the file, the folder or the export that points back to me. No watermark. No credit in the show notes. No email to your client from me, ever.

In practice that means three things. First, deliverables are named to your convention, not mine. If your studio uses CLIENTNAME_EP014_MASTER_v1.mp4, that is what lands in the folder. Second, all comms go through you. I do not join your client calls unless you invite me as a member of your team, and if you do, I use your studio name. Third, the project files belong to you and your client, not to me. Footage, Premiere or Resolve projects and exports are yours. If you fire me in month four, you walk away with everything and hand it to the next editor without a fight.

That last point is where most subcontractor arrangements quietly go wrong. Plenty of editors hold projects hostage as a retention tactic. I would rather be kept because the cuts are good.

Most agencies I work with bill their clients $500 to $900 per video episode and pay me $199 to $299, so the gross margin sits somewhere between 50% and 70% before your account management time.

Here is the arithmetic on a real shaped deal. Say your client runs a weekly interview show, two cameras, 4K, about 55 minutes an episode, and wants four vertical clips per week. On Studio at $299 with four clips at $25 each, my cost to you is $399 an episode. On a monthly plan that drops 25%, so about $299. If you bill $750 an episode, you are keeping roughly $450 a week per show on work you did not touch.

The part people forget is the clips. Agencies that price clips separately at $75 to $100 each make more on the short form than on the episode itself. I charge $25 a clip and hand them back captioned and reframed. What you charge on top is your business.

A 4-episode pack saves 15% if you would rather commit per project than per month. If you are still comparing partners, how to choose a podcast editor covers the questions worth asking any of us, including me.

Because automated tools cut on silence, and podcasts are not silent in the places that matter. A host pausing for three seconds before answering a hard question is the best moment in the episode. Silence detection deletes it.

I have watched agencies try the fully automated route and come back within two months, usually for the same reason: the clients noticed. Not consciously. They just said the episodes felt choppy, or that the guest sounded rude, because the tool trimmed the beat before a laugh. A human editor watches the whole episode, start to finish, nothing auto-cut. That is the entire product.

This is not me rubbishing the software. Auto tools are genuinely good at first-pass transcription, rough assembly and finding candidate clip moments in a 90 minute file faster than any person. If your margin only works at $60 an episode, use them and be honest with your client about what they are buying.

But if you are selling a $700 episode, the thing your client is paying for is judgement about which take to keep. That does not come out of a slider. The same logic applies to captions, which is why I burn and time them by hand rather than dumping raw ASR onto the frame. More on that in podcast captions and subtitles.

By keeping the surface area small. You are my client, your client is yours, and the two never meet in an inbox.

The operational rules I follow on every white label job:

• Delivery goes to a folder you own, in your drive, under your naming. I do not create shared links with my branding on them.
• Project files are stripped of my scratch bins, notes and personal presets before handover. What you get looks like it came out of your own suite.
• No metadata surprises. Export software fields get cleared, and any studio field carries your name if you give me one.
• Revision notes come back to you in whatever format you use. If you run Frame.io or a shared doc, I work inside it. I do not require you to adopt my tooling.
• If your client emails me directly because a Slack Connect thread crossed wires, I forward it to you and do not reply.

One honest caveat: I am one person with a small team, not an anonymous factory. If you need a signed NDA before we start, send it and I will sign it same day. Several agencies have. It costs me nothing and it makes your legal team comfortable.

Send four things and the first cut will land close: the raw files, a one page style guide, one reference episode you already like, and the deadline that actually matters.

The style guide does not need to be pretty. A list works. Cold open or no cold open. Do you cut filler words or leave them. B-roll appetite, from none to heavy. Lower third font and colour. Whether the client hates jump cuts on the host. Ten lines is plenty, and it saves both of us a revision round.

The reference episode is the highest leverage item on that list. One link to something you consider correct tells me more than a thousand words of description. If you have nothing yet, pick a show in the same genre and tell me which two things about it you want copied.

For the raw files, what I need is every camera angle, the separate audio tracks if you recorded them, and a note on which recorder holds the clean audio. Multi-track beats a single mixed file every time, and the workflow guide walks through the whole handoff so you can hand it to your client as your own onboarding doc.

First cut comes back in 48 hours from receipt of usable files. Revisions come back the next working day. That is the whole clock, and I hold it whether you have sent me one episode or a batch of eight.

Starter includes one revision round. Studio includes unlimited revisions, which is the tier most agencies pick precisely because their clients are unpredictable. Unlimited is not a trap. In practice the shows I cut settle at one round after the first month, because by then the style guide is real rather than theoretical.

When a client panics on a Friday and needs an episode moved up, rush 24-hour delivery is $75. I would rather quote you a flat number than pretend heroics are free. If you resell that at $200 as an expedite fee, nobody is upset.

One thing worth telling your clients early: platform requirements shift, and video podcasts now live on Apple as well as YouTube and Spotify. If your client is publishing to Apple, Apple Podcasts video editing explains the export specs I deliver against so you do not get a bounce-back a week after launch.

I am a good fit if you sell podcast production and want the edit handled by someone who will not embarrass you. I am a bad fit if you need a partner who also books guests, runs the client relationship, or manages publishing calendars. I edit. That is the job.

I work remote and worldwide from Dubai, so if you are in London or New York, files land in your morning. There are no local offices anywhere, which I mention because agencies sometimes want to tell clients about a studio address. I would not build the pitch on that.

What I do cover: multi-cam editing, single camera shows, vertical clips, show notes and chapters at $35, intros and branding. What I do not cover in house is thumbnail design, because a sister studio does it better. ClickTheory does 8 thumbnails for $250, and you can white label those the same way, see ClickTheory. Agencies bundling both usually charge one packaging fee and keep the spread.

If you are testing me, start with one episode from a show that is already running. No pack, no monthly. If the first cut is not close, you have lost $199 and a week, and you will know quickly rather than after a quarter of hedging.