Video Editing Agency for Canadian Brands, Cut by an In-House Team in Pune
Your footage — shot by your own crew, a freelance operator, or pulled from stock — arrives at our Pune editors and comes back cut, graded, and subtitled before your Toronto morning starts.
What you actually get
Footage Ingest, Assembly and Story Editing
You send over what's already been captured — footage from your own team, a drone or camera operator you hired locally in Canada, licensed stock, or an existing archive — and our editors take it from there. We sync audio, organize bins by scene or interview subject, and build an assembly cut against the written brief you provide. Revisions move through a shared, timestamped review link so notes never get lost in an email thread.
Colour Grading and Technical Finishing
Footage arriving from different cameras, drones, and shooting conditions rarely matches on its own, so our colourists balance exposure, white balance, and tone across every clip before grading toward a consistent look. We work from Log, flat, or standard footage and finish masters to the codec and resolution each platform or broadcaster requires. The result is a single, unified visual style even when the source material came from three different operators.
Motion Graphics, Titles and Lower-Thirds
Once the cut is locked, our motion designers build titles, lower-thirds, animated call-outs, and closing cards using the fonts, colours, and logo files you already have. We apply your existing brand guidelines rather than creating new ones, since this is a finishing step, not a rebrand. Simple kinetic-type sequences and end cards are built to match whatever visual identity your Canadian marketing team already runs.
Bilingual English/French Subtitling and Multi-Platform Exports
For audiences across Canada, we add English and French subtitles that are typed and timed by an editor reviewing the actual dialogue — not machine-translated or voiced by AI. Captions are burned in or delivered as separate SRT/VTT files depending on where the video runs, from LinkedIn and Instagram to a corporate intranet or French-language broadcast slot. Every project also ships with the aspect-ratio and duration cutdowns each platform needs, so one edit session covers a full-length version and its social variants.
How this actually works
Editing Across a Ten-to-Thirteen-Hour Gap, Without a Single Call
Pune sits roughly ten to thirteen and a half hours ahead of Canada, depending on whether your team is in Toronto or Vancouver, so we've never pretended a live call is the natural way to run this. Instead, every project starts with a written brief — reference cuts, shot list notes, music direction, and any brand rules — attached to the footage transfer. Our editors read it as a document, not a call transcript, which turns out to produce fewer misunderstandings than a rushed video meeting squeezed into an early morning or late night for one side of the table.
That time gap works in your favour once the first cut is out. Send footage and notes before you log off in the evening, and our editing team in Pimple Saudagar, Pune, is picking it up right as their working day begins; by the time you're back at your desk, there's a revised version waiting instead of an unread request sitting in someone's queue. Comments go directly onto the review link, timestamped to the frame, so a note like 'trim 0:42–0:47' gets addressed exactly where you left it rather than paraphrased secondhand.
Since 2019 is when Webcomp Digitex started producing and editing video in-house out of Pimple Saudagar, and the studio has grown since then into a fifteen-person crew working under one roof, now formally registered as a Private Limited company and recognised by DPIIT as a startup as of 2024. Years of that run have gone into building bilingual EN/FR delivery into the standard workflow rather than treating French as an add-on requested after the fact — a habit that started with early Canadian clients and stuck. Invoices go out in CAD, and because the crew sits in one studio instead of a network of freelancers scattered across time zones, there's a single point of contact for a project from first assembly through the final subtitled export.
Editing Capabilities
- Colour Grading
- EN/FR Subtitling
- Motion Graphics & Titles
- Multi-Platform Cutdowns
- CAD Invoicing
Learn
Understanding the edit
What is video editing, exactly?
The footage exists before we're ever involved — video editing picks up from there, shaping whatever's already been captured into a finished sequence: deciding which take runs, where a cut lands, how long a shot holds before the next one arrives. Colour grading brings every clip to one consistent look even if it was shot across different cameras or lighting conditions, titles and motion graphics carry information the footage alone can't, and the sound mix balances dialogue, music and effects so nothing competes for attention. None of this requires a camera or a crew on our end — the footage arrives already shot, whether from a client's own team, a freelancer hired locally, a drone operator, stock libraries, or an old file pulled off a hard drive.
For a Canadian audience specifically, that editing work often carries a language layer most edits elsewhere don't need to think about — a cut built for a bilingual market has to time subtitles so English and French both read comfortably without crowding the frame, and pace itself so the story still holds up when someone's watching with the sound off on a commute. That's a structural decision made during the edit, not something bolted on afterward.
What is a reel edit?
Fifteen to thirty seconds, vertical, built for a feed a viewer is flicking through rather than a video they sat down to watch — that's the brief behind a reel edit, and it changes the opening shot before it changes anything else. A long-form corporate or event video can spend its first few seconds establishing where you are; a reel doesn't get that runway, so the strongest single moment in the footage has to lead. For a bilingual Canadian project, that opening choice usually gets made once, off the English structure, and then carried across to the French cut — the shot that stops a scroll doesn't change based on which language the captions are in, even though almost everything downstream of that opening frame does.
It isn't a trimmed-down version of the long-form edit — it's cut on its own logic, then subtitled separately in each language once the pacing is locked. It's included in the same video editing service as everything else on this page, so footage supplied for a longer English/French deliverable can also come back as one or more reel-length cuts, each carrying its own EN and FR caption pass, instead of needing a second project brief.
Recent work in this space
Video Editing
Client-footage recut
Raw footage sent in by a client, cut, graded and delivered without a shoot on our side.
Video Editing
Drone footage edit
Aerial footage from a client's own drone operator, edited into a finished piece.
Video Editing
Archive footage remaster
Older footage re-cut and colour graded for a new campaign, no reshoot required.
FAQ
Questions before you get started.
Just the edit. This service covers post-production only — you send footage you already own the rights to, whether it's from your own camera, a drone or camera operator you hired in Canada, stock libraries, or an existing archive, and our editors cut, grade, and finish it. If you also need a physical shoot in the Pune region, that's handled under our separate video production service, not this one.
Yes — this is one of the more common ways clients reach us. You handle the shoot end with whichever Canadian camera or drone operator you've already got a relationship with, and we take the raw files from there for editing, colour grading, and titling. We don't need to have been involved in the shoot to deliver a polished final cut.
Yes. Subtitles and captions in both English and French are typed and timed by an editor working from the actual dialogue, not generated by machine translation or AI voiceover. We can deliver them burned into the video or as separate SRT/VTT files, whichever your distribution platform needs.
Most straightforward edits return a first cut within a few business days, and because Pune's working hours fall overnight relative to Canada, revisions submitted before you finish your day are often ready by the time you're back at your desk. Invoicing in CAD is available on request, and every review round runs through a timestamped comment link rather than back-and-forth email.
Most edits go through two structured rounds — a first cut for you to react to, then a polish pass once you've flagged what needs to change. That covers the normal back-and-forth: tightening a section, adjusting a transition, swapping a music cue. If a request after that amounts to a different edit altogether — a new structure, a different length, footage that wasn't part of the original brief — we'll quote it separately rather than quietly stretching the two rounds to absorb it. That keeps the process honest on both sides: you know what's included up front, and we're not guessing at scope halfway through.
Ready to book a date?
See the fuller service breakdown on our video editing page.