Ad editing is priced differently from content editing because the output is different. You rarely need one ad; you need a concept turned into versions you can test. That changes how editors quote and how you should budget. Any figures below are typical market ranges, not Kredos prices.
What you're paying for
- Concept edit: building the main ad from raw footage, with the strongest structure.
- Hook variations: new openings on the same body.
- Cutdowns: shorter versions for different placements.
- Ratios: 9:16, 4:5, 1:1 and 16:9 versions with safe zones respected.
- Captions and text: styled, accurate, readable on mute.
- Motion graphics: product callouts, offer cards, animated text.
- Sound: music licensing, sound effects and a mix that works on phones.
What drives the price
Footage type
UGC and talking-head footage is usually quicker to edit than multi-shot productions. Ads built mostly from motion graphics take longer.
Number of variations
The concept edit takes the most time. Each extra hook or ratio costs less than the first version, but it adds up.
Creative input
Editors who also suggest angles, write hooks or analyse performance data cost more than editors who execute a fixed brief. That input is often where the value is.
Turnaround and volume
Fast turnaround costs more. Ongoing volume usually lowers the per-ad price.
Typical market ranges
These are broad, typical ranges you'll see across the market, depending on complexity and who's editing:
- Gig sites and entry-level freelancers: typically tens of dollars per simple ad.
- Experienced ad editors: typically somewhere from around $75 to a few hundred dollars per concept, with variations priced lower.
- Agencies and creative studios: often monthly retainers covering a set number of concepts and variations, ranging from a few thousand dollars a month upward depending on volume and strategy.
Production (filming, creators, actors) is a separate cost from editing.
Budgeting for ongoing testing
Ads fatigue. Audiences see the same creative repeatedly and performance drops. So creative is a recurring cost, not a one-off. A sensible way to budget:
- Decide how many new concepts you want to test per month.
- Decide how many variations per concept (hooks, lengths).
- Multiply out to see total deliverables, including ratios.
- Ask providers to quote that exact scope.
Your media budget matters too. Testing lots of variations with a tiny ad spend won't give you clear results. Match creative volume to what your budget can actually test.
Pricing models
Per ad
Good for testing an editor or one-off campaigns.
Per concept with variations
A package price for one concept plus a set number of hooks and ratios. Easy to compare.
Monthly retainer
A set volume each month. Usually best for brands and agencies testing continuously.
Where to spend and where to save
Spend on hooks and clarity. They drive most of the difference in results. Save on heavy motion graphics unless your product needs them to be understood. A clean, well-structured UGC ad often beats a beautiful one that takes too long to get to the point.
Red flags
- No mention of safe zones or ratios.
- Music from personal libraries with no commercial licence.
- Guaranteed ROAS or CPA promises. No editor can guarantee ad results.
- Every ad looking the same regardless of the product.
Questions to ask before hiring
- How many variations are included per concept?
- Which ratios are standard?
- Who licenses the music, and does it cover paid ads?
- Do you review performance data and suggest new angles?
- What's the usual turnaround for a batch?
A worked way to compare quotes
Write one scope and send it to everyone: for example, a set number of concepts per month, a few hooks per concept, two lengths, and three ratios, from UGC footage you supply, with captions and licensed music. Ask each provider for a total price, turnaround and revision policy for exactly that. Now you're comparing like with like, and you'll quickly see who includes creative input and who just executes.
Think in cost per learning
The real value of ad creative is what it teaches you about your audience. A provider who delivers fewer, more distinct concepts and helps you read the results can be better value than one delivering lots of near-identical versions. When you review spend after a few months, ask what you learned, not just how many files you got.
When to bring editing in-house
Brands with very high, steady ad volume sometimes hire an in-house ad editor. It can work well alongside an outside team that handles overflow and fresh perspectives. If you're spending heavily and testing constantly, it's worth modelling both options.
Related guides
Part of our ad creative editing series. Read how many ad variations to test, UGC ad editing and VSL editing costs. Or see our work and ask for a quote.