Vertical video editing
A vertical version is built as a second edit of the same material, in its own sequence.
The short version
What you get. A 9:16 edit composed for its destination, with a text-free master for further adaptations.
Is this for you? For material that needs a vertical version. We check whether the capture supports the framing and detail the new format needs. If a centred crop of the wide cut is enough, you do not need a second edit.
What leaves your plate. The vertical rebuilt clip by clip, a clean text-free master leaving first so everything else descends from it, and the framing following whatever is being used rather than the middle of the frame.
Start with the Free Audit.
Why the vertical version gets its own sequence
The vertical is rebuilt, clip by clip
We check each shot inside a dedicated 9:16 sequence, keeping a simple crop where it works and adjusting scale, position or shot choice where it does not. The cut is reviewed again in the tall frame.
A clean master leaves first
Before a single word goes on, the vertical exports text-free. That version is where the blog stills are lifted from, with a colour preset applied to each frame on the way out, and it is what any later change of wording has to start from. Words burned into the only master are a decision that can never be taken back cheaply.
Shots that survive a wide frame do not always survive a tall one
On one channel, side-angle clips carrying a blown highlight off a white worktop are barred from the short vertical formats outright. In a wide frame the eye has somewhere else to be. At 9:16 the same clip fills a phone and the blowout becomes the loudest thing in it, so the rule is not to grade it harder. The rule is not to use it.
Framing follows whatever is being used
Hands, the bowl, the pan, the board: the active object sits centred and the crop travels with it. Where an angle was designed for a wide format, its moves get rebuilt for the tall one, and the dead space that opens up at the top is softened out instead of being handed a fifth of the screen.
Inside the tall frame
Copy, rescale, reframe, reposition
The clips move across into a vertical sequence, then scaled and re-composed inside the taller frame, the landscape image repositioned so the subject sits where a 9:16 crop can hold it. Nothing is rotated: turning a landscape shot on its side would lay the people and the horizon over, so what changes is the framing around the subject. Distances get set a second time, because a cut that read as a clear change of size in the wide version can read as no change at all once both shots have been cropped to the centre.
Safe areas are a hard layout constraint
We check the destination’s current interface and preview crops before delivery. Text and essential detail stay clear of overlays and within the space that will be shown.
One master, several destinations
A full-length vertical, the short cut taken out of it, and the stills lifted from the clean version. All three come off one sequence, so a change to the grade or the framing reaches every format instead of whichever one somebody remembered. Selecting and pacing that short cut, under each brand's own length law, is the Shorts and Reels service; here the job is the master all three formats are taken from.
At the bench
The work, demonstrated
Try a decision from the craft: drag, tap or toggle, then read the trade-off.
These are illustrative models; no partner’s results are shown.
More demonstrations at the bench →A vertical sequence lets us judge the framing and transitions one shot at a time.
What changes for you
A vertical version with its own framing and pacing, plus a clean master that keeps later adaptations possible.
Related: Shorts and Reels · Subtitles and captions · Colour grading · Delivery and export
Send recent videos. We will review the edits and reply with the changes we would prioritise.
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What you will get
What is working, what could improve and whether we can help.
Two or three priorities, with the reason for each.
A recommended next step, even if that step is not us.
There is no obligation to continue. We only arrange a call if you ask for one.
The work, written up
The case studies keep their dates, sources and limits visible.
See the casework →