Best Editing Companies in London (2026)

Introduction

London’s commercial edit houses sit mostly within a few streets of Soho and Fitzrovia, while the larger long-form offline facilities have grown up further east around Old Street and Shoreditch. The 12 companies below were chosen for recent work, 2025 and 2026 recognition, and the strength of their editor rosters.

The last year brought both prizes and pressure. At the British Arrows in March 2026, Trim Editing was named a Craft Company of the Year and Final Cut cut the Commercial of the Year, Channel 4’s “School’s Back”. The Quarry edited the Film Lions Grand Prix winner at Cannes. In April, Marshall Street Editors announced it would close after 27 years, citing rising costs and a 40% rent increase, a reminder that Soho overheads weigh on even well-regarded shops.

Every company here has an active London office in 2026. The list mixes commercial edit houses with facilities built for television and film, and it runs in no fixed order of merit, since the right choice depends on the editor you want, the length of the job and your budget.

The best editing companies in London

1. Final Cut

Independent · Fitzrovia · finalcut-edit.com

Final Cut is a long-established commercial edit house working from Margaret Street, with sister offices in New York and Santa Monica. Its editors cut “Educating Yorkshire, School’s Back” for Channel 4, directed by Dougal Wilson through Blink for 4creative, which was named Commercial of the Year at the British Arrows in March 2026.

The London roster includes Joe Guest, Struan Clay, Kit Wells and Spencer Campbell, and recent work covers TWIX “Double Act”, Actimove for Essity through Publicis, and a BBC film with Romesh Ranganathan. Since 2019 the company has also run The Lofts, a seven-suite Avid offline floor for high-end television and other long-form projects.

2. Trim Editing

Independent · Whitechapel · trimediting.com

Trim is an East London edit house with a roster of around 30 editors across the UK and US. The British Arrows board named it a Craft Company of the Year in March 2026, jointly with Untold Studios and 750mph, as a recognition of editing alongside VFX and audio.

Editors include Tom Lindsay, Paul Hardcastle, Joseph Taylor and Mikkel E.G. Nielsen, and the company works often with Somesuch, Smuggler and MJZ and with agencies such as Wieden+Kennedy and Mother. Clients on its reel include Nike, Burberry, adidas and Spotify. In August 2026 LBB covered its cuts for Specsavers “The Testlist” and a Royal Marines film directed by Martin Stirling for Partizan.

3. The Quarry

Independent · Fitzrovia · the-quarry.co.uk

The Quarry is an edit house in the Heal’s Building on Alfred Mews, and it also hosts and produces for Cut+Run’s London office (Cut+Run started in Soho in 1997 and now has offices in five cities). Editor and partner Scot Crane cut Mother’s “A Time And A Place” for Claude, directed by Jeff Low through Biscuit Filmworks UK, which won the Film Lions Grand Prix at Cannes in 2026.

Ben Campbell’s Andrex spot “First School Poo”, directed by Andreas Nilsson, won the Comedy category at the 2026 AICP Post Awards after earlier recognition at the British Arrows. In June 2026 the company signed Lucas Moesch for UK and European representation.

4. Whitehouse Post

Independent · Fitzrovia · whitehousepost.com

Whitehouse Post has offices in London, New York, Chicago and Los Angeles. The London team works from the Heal’s Building on Alfred Mews, alongside The Post Arm, its finishing, VFX and colour division. Ella Sedgwick became executive producer in January 2026 and Tommy Hill was promoted to editor in April.

Recent London work includes a film marking 50 years of Brompton bikes and LNER’s campaign with its mascot Eleanor. Having offline, finishing and colour at one address makes it a practical choice when a single company is to carry a job through to delivery.

5. Work Editorial

Independent · London · workeditorial.tv

Work was founded in London in 2006 by executive producer Jane Dilworth with editors Bill Smedley, Neil Smith and Rich Orrick, and has since opened offices in New York and Los Angeles. It has added steadily to its London roster: Sam Allen joined in May 2025, and Ben Cowan, James A. Demetriou and Rami D’Aguiar followed in 2026.

Allen’s credits include Guinness “Holding Out For A Zero”, a British Arrows Silver winner, and Dove “Bench” for Ogilvy. Work also trains its own editors; Miles Watson, one of its 2024 new-wave group, was promoted to editor in March 2026.

6. Stitch

Independent · Soho · stitchediting.tv

Stitch was founded in Soho in 2010 by Leo King and Tim Hardy. In 2020 it took in Speade, Sam Sneade’s editing house of 25 years, bringing Sneade (Guinness “Surfer”, Levi’s “Odyssey”) and his editors across.

The company runs Homespun for music videos and shorts and Yarns, a short film competition for new talent. LBB coverage from summer 2026 credits Stitch on work for Honda, Barclays and Monzo.

7. tenthree

Independent · Soho · tenthree.co.uk

tenthree is a boutique Soho edit house just off Lower James Street. At the 2025 British Arrows its editors Ellie Johnson, Elena De Palma and Liam Bachler won for Bodyform “Never Just A Period”, the Commercial of the Year, and the board named tenthree a Craft Company of the Year with Untold Studios and 750mph.

The roster also includes Dan Sherwen, Eve Ashwell, Sam Bould and Billy Mead, working with directors such as Daniel Wolfe, Jess Kohl and Aoife McArdle. Clients include YETI, Waitrose, McDonald’s, Ford and the BBC, and 2026 credits on LBB run to Monzo, HSBC, Barbour and Currys.

8. Cabin

Independent · Fitzrovia · cabinedit.com

Cabin has offices in Santa Monica, New York and London, where it works from Newman Street. Its roster of around 30 editors is shared across regions.

Recent work includes Apple x Rosé cut by Alvaro del Val, a Gap campaign directed by Tanu Muiño and cut by Carlos Font Clos, Maison Margiela with Tom Hohle, and Reese’s for Saatchi & Saatchi. Because the roster is global, ask which editors are based in London if you need someone in the room.

9. Nomad

Independent · London · nomadedit.com

Nomad’s London operation combines an offline editorial team with colour, audio, sound design and finishing. LBB describes it as independently owned and led by managing director Liv Lawton. In 2026 it signed Nick Lofting, whose credits include Guinness “Surfer” with Jonathan Glazer, and announced a major expansion of its colour department.

The wider Nomad group works across the US, UK and Japan. The London set-up suits jobs where cutting, grading and sound in one building will save handovers.

10. Shift

Independent · London · shiftpost.tv

Shift is a London edit house and A-P-A member whose roster includes Adam Buckmaster, Chris Coupland, Joanna Lewandowska, Paul O’Reilly and Rachael Spann. It also runs a music department.

Recent clients include Renault, Honda, Channel 4, Krispy Kreme, LFC x adidas and George at Asda, which makes it a good fit for UK broadcast and retail campaigns.

11. Splice

Independent · Shoreditch · splicepost.com

Splice is an independent post house founded in 2003 by Duncan Western and Damian Dolniak, with buildings in Shoreditch and around Old Street. Offline editing is the core of the business: when it opened its Nile Street site in 2022 it ran around 95 cutting rooms across three buildings, plus 60 remote suites.

It works on documentary, drama, comedy and entertainment for Netflix, Amazon, National Geographic and Sky, with recent credits including Meet The Owens. Online, grading and sound are available in-house, and Lauren Andrew has joined as head of scripted post.

12. Creative Remote

Independent · Old Street · creativeremote.tv

Creative Remote began during the pandemic as remote and hybrid offline infrastructure and now runs more than 200 edit seats, with Avid and Premiere Pro rooms that editors reach from home, on location or in an office. In late summer 2026 it is opening 41, a 35-suite offline hub at 41-47 Old Street.

Credits include Netflix’s Drive to Survive and Simon Cowell: The Next Act. The company’s head office is in Leatherhead, so the Old Street building is the place to visit for London productions that want a neutral base for their own editors.

What to look for in a London editing company

Start with the editor. London edit houses represent individual editors, and clients usually book a person whose reel they know. Look at that editor’s recent cuts in your category and ask who will assist them. Several rosters here are shared with New York and Los Angeles, so confirm the editor is in London if you want to sit in the suite.

Decide how much you want under one roof. Some houses do offline only and hand over to a separate grade, sound and finishing company. Others, such as Whitehouse Post with The Post Arm or Nomad, keep finishing in the same building. A single supplier saves handovers; separate specialists give you a wider choice of colourists and mixers.

For long-form work, the questions change. Ask about the number of suites, how long they can be held, security standards for broadcaster and streamer material, and whether editors can work remotely on the same project. Facilities such as Splice, Creative Remote and Final Cut’s Lofts are set up for runs of weeks or months rather than days.

Finally, ask how rushes, proxies and cuts will move between the edit, the production company and the client. A clear plan for where media lives, how review links are shared and who signs off each version saves time on every job, and it matters more as budgets tighten and schedules shorten.

How Fabric helps editing teams

Fabric gives editors and producers one workspace for rushes, cuts, paperwork and notes, with AI search across all of it. The Fabric setup for video editors is built around the way an edit house runs several jobs at once, with a space per project for footage, scripts, treatments and call notes.

Media sits in Fabric’s cloud drive, which streams files on demand so they take no local disk space. Heavy files open without a full download, and shared team folders always show the latest versions. There is more on this in how to edit video without filling your SSD and the guide to proxy workflows.

Finding a shot is often the slow part of an edit. Audio and video transcription makes interviews and rushes searchable, with clickable timestamps, and search works by meaning across documents, images and transcripts, jumping to the right moment in a clip. The blog post where is that B-roll? covers the approach.

For review, any cut or folder can be published as a web page and shared with password protection. Link analytics shows when each named recipient opened a link and for how long. Agency and production contacts can leave threaded comments through a shared link without creating an account. Timestamped comments and drawing on video are listed as coming soon in annotations.

Password protection and link analytics are included on Pro and Team plans. See plans for teams.

Frequently asked questions

What is the best editing company in London?

There is no single answer, since most clients book an editor rather than a company. On 2026 recognition, Trim Editing was a British Arrows Craft Company of the Year, Final Cut cut the British Arrows Commercial of the Year, and The Quarry edited the Film Lions Grand Prix winner at Cannes.

Did Marshall Street Editors close?

Yes. Marshall Street Editors announced in April 2026 that it would close after 27 years, citing a changing post-production market, rising costs and a 40% rent increase.

What is the difference between an edit house and a post-production house?

An edit house focuses on the offline edit, where the story is cut, and often hands over to other companies for grading, sound and finishing. A post-production house covers more of those stages itself. For full-service options, see the best post-production companies in London.

Which London companies handle long-form editing?

Splice and Creative Remote are built around offline suites for television, documentary and film, and Final Cut runs a separate long-form floor, The Lofts. Many commercial editors also cut drama and documentary between advertising jobs.

Who won Craft Company of the Year at the British Arrows?

In 2026 the award went jointly to Trim Editing, Untold Studios and 750mph. In 2025 it went to tenthree, Untold Studios and 750mph, with tenthree’s editors also winning for Bodyform “Never Just A Period”.

Related lists

Editing companies in other cities: New York · Los Angeles · Chicago · Toronto · Sydney

More in London: Creative agencies · Post-production · Colour grading · Sound design · VFX · Video production

Run your edit house on Fabric: Fabric for video editors · Best cloud storage for video editors · Fabric for commercials production