In short
- An on-site edit is shown during the event. Next-morning delivery is finished after it.
- On-site editing needs workspace, power, a quick approver and a playback slot.
- Next-morning delivery gives the editor calmer conditions and gives you a calmer review.
- Choose by what the audience needs on the night, not by which sounds more impressive.
Choose an on-site same-day edit when the audience in the room needs to see the film before they leave. Choose next-morning delivery when the film is mainly for people who will watch it afterwards, or when the venue, the programme or the approval cannot support a rush.
How does the work differ?
With an on-site edit, the editor works at or near the venue while filming continues. Footage moves to them during the event, they cut the film, someone approves it, and the audio-visual (AV) team plays it.
With next-morning delivery, our team films the whole event, then the footage is edited after it ends. The film reaches you the following day for review and sharing. The editor is not racing a screening slot, and the film can usually cover the whole programme.
How do the two compare?
| Question | On-site same-day edit | Next-morning delivery |
|---|---|---|
| When is the film seen? | During the event | After the event |
| What does it cover? | Moments up to a footage cutoff | Usually the full programme |
| Where does the editor work? | At or near the venue | Away from the venue |
| Who must be available on the day? | Approver and AV contact | Nobody, until review |
| What does the venue provide? | Workspace, power, file transfer, playback | Normal access for filming |
| Main risk | Programme overruns or late approval | Audience does not see it on the night |
| Best for | Closing films, award nights, reception screenings | Reports, social posts, internal sharing |
What changes about approval?
On-site, approval has to happen within minutes, during the event, by someone who knows the audience and the sensitivities. That person cannot be busy hosting. Read who approves a same-day video before you choose.
With next-morning delivery, review happens at a normal pace, with the people who should have a say. You can gather comments together and send them in one round, which is calmer and often leads to a better film.
What must the venue provide for an on-site edit?
An on-site editor needs a quiet table or room, reliable power, a way to receive footage and access to the AV desk. Some venues cannot offer this, or only offer it with notice. Our guide on what an on-site editor needs from the venue lists the questions to ask.
If the answers are uncertain, next-morning delivery is the safer choice. You can still show a short fallback on the night. See a fallback video plan if the programme overruns.
How do we decide?
Ask three questions:
- Does the audience need to see the film before leaving? If not, next-morning delivery is usually enough.
- Can the programme support a cutoff? If the run sheet is unpredictable, the on-site film may cover less than you hope.
- Is there a quick approver and a playback slot? Without both, an on-site edit is hard to run.
For example, an awards night with a fixed running order and a closing screen suits an on-site edit. A weekend family gathering with no screen may only need the film the next day. Some events use both: a short film on the night and a fuller edit later.
If you are still unsure, ask your approver and the AV team two things: how long before the screening the last footage can be handed over, and whether the venue can play a file that arrives that evening.
The same-day edit deadline planner helps you test the timings. For the full picture of how an on-site edit runs, read how a same-day event edit is planned. Our same-day event edits service covers both routes.
If you are unsure which option suits your event, tell us the programme, the venue and who needs to see the film first. We will explain what each route involves and confirm what is possible for your date.
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