Video, motion and creative media
A film has a job: hold attention, explain an offer, or make a brand feel finished. Slanfor edits long-form and short-form video, builds motion and animation when cameras are the wrong tool, and finishes the work so it can be published. Captions, audio cleanup, colour, thumbnails, and resized cuts are part of the same delivery. You do not get a timeline export and a list of things still to do.
Send an enquiry
A few lines on what you need is enough. We will come back with questions, not a generic pitch.
Video Editing
Editing is the difference between footage and a film people will finish.
We cut to the length and the place the piece will be watched, which is not the same decision for a website as it is for a feed.
Pacing, reaction, and the moments that should land are treated as craft, not as a trim of the longest take.
Colour, captions, and sound are considered with the cut, so you are not handed a timeline that still needs three other people.
The delivery is a film you can publish.
Short-Form Video Editing
Short-form is not a long film with the middle deleted.
We cut for the pace of a feed: a first second that earns the second, a structure that does not wander, an ending that is a decision rather than a fade.
On-screen type, jump cuts, and B-roll are used because they serve the hook, not because they are fashionable.
Each piece is made to the aspect ratio and length the platform rewards.
You get a clip that feels native to the feed, not a widescreen advert squeezed into a phone.
Reels, TikTok & YouTube Shorts Editing
Reels, TikTok, and Shorts each have habits a viewer can feel even if they cannot name them.
We edit for those habits: framing, captions, pacing, and the safe areas those apps cover with buttons.
Hooks are tested in the cut rather than promised in a comment.
Series and repeating formats are available when you need the channel to feel like one place.
The files you receive are ready to post, with the right size for each app, not a single export you have to crop yourself.
YouTube Video Editing
A YouTube film has to hold someone who could leave at any second.
We build a structure with an opening that states the stake, a middle that earns its length, and a close that points somewhere.
Pattern interrupts, B-roll, and on-screen type are used to keep the cut alive without turning it into noise.
End screens, chapters, and a thumbnail that matches the film are part of the same job.
The result should feel like a channel, not like a one-off upload.
Corporate Video Editing
A company film is often watched by people who did not choose to be there: staff, a conference room, a procurement panel.
We cut for clarity first.
Talking heads are paced, branded, and supported with the shots and graphics that make the point land.
Jargon is trimmed where the picture can carry the meaning.
Versions can be made for a website, an event screen, and an internal audience without starting from nothing each time.
You get a film that represents the company without sounding like a brochure being read aloud.
Podcast Video Editing
A recorded conversation is not automatically watchable.
We cut podcast video so the episode has a rhythm: clean edits, multicam switches when they help, lower-thirds, and a hold on the moments that deserve one.
Filler is removed without making the guests sound unlike themselves.
Audio is brought into line with the picture, because a podcast that looks fine and sounds thin still fails.
You leave with an episode that can live on YouTube as well as in a feed.
Promotional Videos
A promotional film has to present an offer, a company, or a launch without becoming a list of adjectives.
We write or work from a brief, shoot or assemble from what you have, and cut a piece with a beginning, a proof, and an ask.
Motion and type support the story rather than decorating it.
Length is decided by the place it will run: a homepage, an ad, an event.
The finished film should make a stranger understand what you do and why it might matter this month.
Product Videos
People buy more confidently when they have seen the thing work.
A product film shows what it is, how it is used, and why that is better than the alternative, without a three-minute prologue.
We plan shots around the details a listing photograph cannot carry: scale, motion, texture, the awkward bit that usually gets skipped.
Voice, type, or both can carry the explanation.
You get a piece that can sit on a product page, in an ad, or in a sales conversation.
Social Media Video Ads
A video ad in a feed is competing with a friend’s holiday and a dog.
The first second has to earn the rest.
We cut short ads for paid social with a hook, a proof, and a button-worthy end, in the sizes those placements demand.
Captions are on because most people will not unmute.
Variations can be made for audiences and offers without inventing a new film each time.
The point is a click or a conversion, not a festival cut.
Explainer Videos
An explainer exists because the idea is easier to follow in motion than in a paragraph.
We script the walkthrough, design the pictures or animation that carry it, and cut to a length a first-time viewer will finish.
Jargon is translated into steps a stranger can repeat.
The brand’s type and colour are used so the film still looks like the company.
You can put the result on a homepage, in a sales sequence, or in an onboarding email and it will still make the same argument.
Motion Graphics
Some ideas should never have been filmed.
Motion graphics are for diagrams, numbers, processes, and brand moments that need to move.
We design the frames so they still look like the identity at rest, then animate them with a pace that matches the film or the post.
Lower-thirds, stings, and full sequences are all in scope when the brief needs them.
Delivery includes the sizes you named.
You should not have to commission a second designer to make the graphics match the logo.
2D Animation
Drawn animation can explain, sell, or tell a short story when live action would be expensive or the wrong tone.
We develop the look with you, then animate to a script rather than decorating a voiceover after the fact.
Characters, icons, or purely graphic worlds are all possible; the constraint is whether the style will still look like the brand in a year.
Timing and sound are treated as part of the animation, not as extras.
The finished piece can stand alone or sit inside a longer film.
Logo Animation
A still mark on a freeze-frame looks unfinished once everything around it is moving.
We animate the logo for intros, outros, and stings, using motion that fits the identity rather than a stock swirl.
Versions can be made for a website, a reel, and a YouTube end card from the same idea.
Timing is short on purpose; a logo animation should announce, not delay.
You receive files that drop onto an edit without another round of interpretation.
Intro & Outro Animation
A channel feels like a channel when the opening and the close are the same every time.
We design an intro and outro that carry the name, the mark, and a beat of motion, then deliver them at the lengths you actually cut to.
The pair should still look like the brand if someone skips the first second.
Lower-thirds and a simple sting can sit in the same pack so the editor is not inventing chrome.
Once these exist, every later film looks more expensive than it did the week before.
Animated Social Media Posts
A still post disappears in a feed that moves.
We animate short pieces, such as type, a product, or a simple scene, at the size and length each network expects.
The motion is designed to loop or to end on the offer, not to wander.
Brand colour and type stay intact, so the post still looks like you when it pauses.
These are not full films.
They are posts that earn a second look without asking someone to sit through a pre-roll.
Kinetic Typography
Sometimes the line is the picture.
Kinetic type sets words in motion so the rhythm of the sentence is visible.
We design the type to match the brand, then animate it to a voiceover, a piece of music, or a silent feed.
Hierarchy still matters: the viewer should know which words to take with them.
The result can be a whole short film or a sequence inside a longer edit.
It should remain readable, which is the part most kinetic type forgets.
Video Captions & Subtitles
Most video is watched without sound.
Captions are therefore not a courtesy; they are how the film is understood.
We time and style captions so they can be read at a glance and do not cover the faces or the product.
Subtitles for another language are handled as a separate, careful pass, not as a machine dump left unchecked.
The look follows the brand rather than the platform default.
You get files that sit on the film, and versions the platforms will accept.
Audio Cleanup and Enhancement
Viewers will forgive a slightly rough picture.
They will not stay with thin, noisy, or echoing speech.
We clean dialogue, reduce the room, and balance the mix so the film is comfortable to hear on a laptop and on a phone.
Music, if it is used, is held under the words rather than competing with them.
The aim is not a cinema mix.
The aim is a film people can finish without turning it down.
Delivery matches the picture, not a separate experiment.
Thumbnail Design
On YouTube, the thumbnail is the advert for the film.
It has to read at the size of a stamp, with a face or an object and a few words at most.
We design thumbnails that match the episode rather than promising a different one.
Type, crop, and colour are tested at small size, because that is how they are chosen.
A set of thumbnails should look like one channel.
You receive files ready to upload, not a layered file that still needs a production pass.
Video Resizing and Repurposing
One master file cannot serve a website, a Reel, a Short, and a LinkedIn ad.
We recut and resize the film for the places it actually has to run, reframing the action so nothing important sits under an interface.
Captions and type are rebuilt for the new aspect ratio rather than squashed.
Where a shorter hook is needed, we cut one from the same material.
You get a set of usable versions, not a folder of stretched exports.
Color Correction & Color Grading
Cameras disagree with each other, and rooms disagree with cameras.
Colour correction brings shots into the same world so a cut does not flicker between them.
Grading then gives the film a consistent look that matches the brand or the mood the story needs.
Skin, product, and skies are treated with more care than a preset can manage.
The grade should survive compression on the platforms you publish to.
You receive a film that looks intended, not like a collection of clips.