Responsibilities

• Client work leads, always. Video production for our clients comes first. Everything else here exists to make that work better and faster, and none of it comes at the expense of what's due.
• Edit, at real volume. Roughly 60 to 70 short-form videos a month across six accounts in automotive, healthcare, and entertainment. We're telling you the number upfront because we'd rather be straight with you than surprise you later. It's very doable, and it's doable because of everything below.
• Shape the work before you cut it. You and the content manager talk through concept and intent — what the piece needs to do, who it's for. From there the creative is yours: how the story opens, what we cut to, where the humor lands, when to break the rule on purpose. On brand for the client, and your call how to get there.
• Own the library. Shade is our AI-powered media asset management tool, and we need help building the workflow that makes any asset identifiable in under a minute. You wouldn't start from scratch — Shade's new workflow automations handle much of the structural build, our ops manager works the technical side alongside you, and we'll bring in outside setup or training help if that gets you fluent faster. What we need from you is the judgment underneath it: how a working editor actually needs to find things in order to build quality content more efficiently.
• Build the templates, and keep them creative. Templates get a bad reputation because someone who doesn't understand the creative process usually hands them over rigidly. Ours work the other way. You set each client's brand parameters — type, pacing, caption treatment, color, lower thirds — so the baseline is always on brand, and the creative decisions sit on top of it. A good template doesn’t make the edit for you. It clears the twenty setup decisions you've already made a hundred times so your attention goes to the twenty that matter.
• Close the loop. You and the content manager look at how a piece actually performed and let it shape the next one. Deadlines live in Monday.com, rush requests get handled inside about 36 hours, and you review your own work before it goes out — everything that leaves here has our name on it, and we are building that name on the foundation of excellence.

Requirements

• 3+ years editing short-form video professionally, in an agency, brand, or high-volume production environment
• Fluent in Adobe Premiere Pro or DaVinci
• A real eye for storytelling. You can look at a rough cut and say why it isn't working, not just that it isn't
• Curiosity about the marketing behind the work: why a piece exists, who it's for, and what it needs to accomplish
• Efficiency at volume. This is a high-output role and the work still has to look considered
• An organized brain. Naming conventions, file structure, knowing where everything lives. This role owns the system, so that instinct matters as much as the eye
• Remote-proven, self-managing, and an over-communicator about it. On a small remote team, silence is what creates problems
• Comfortable on client calls
• A portfolio that shows how you think. A degree is nice, but it isn't what we're looking at

Preferred

• Motion graphics, sound design, color work, or graphic design for thumbnails and social
• Automotive, healthcare, or entertainment content experience
• Hands-on experience using AI tools in a creative workflow
• A real read on what performs where, and why, platform by platform

Benefits

• A competitive benefits package is included; health, dental, and vision specifics are outlined in the formal offer letter, along with paid time off and company-recognized holidays. New business referral bonuses are available for new clients signed. Compensation is reviewed annually.