What we need to see

- A reel, and then the pieces whole. The reel gets you the meeting. Well watch full films to see whether you can hold a structure
- One thing where the edit is clearly the reason it works. Not the casting, not the location. The cut

- Range: something funny, something quiet. Comedy timing and restraint are both editing skills and most people only have one
- Volume work too. Show us a social cutdown youre not embarrassed by
- Tell us about a fight you lost. A note you disagreed with, made anyway, and what you think now

Tools: Premiere or Resolve fluent, After Effects working. Resolve grading and Audition/Pro Tools are advantages, not requirements.

What you wont get here

- An assistant editor. Youre logging your own rushes
- A finished brief. Youll sometimes get rushes and a vague idea and be expected to find the video in there
- Distance from the client. Youll be in the room, and youll be asked to make changes you disagree with. Sometimes youll win that argument

What you will get
- A machine that doesnt make you wait for it, and storage that works.
- Involvement before the shoot youll see boards and get to say "that wont cut" while its still cheap to fix

The one-line version: the film is made twice. Once on the shoot, and once by you - and the second one is the one people see.

What this is

Youre not a pair of hands on a timeline. Youre the last person who gets to have an opinion about the work before it goes out, and often the only one still looking at it with fresh eyes.

Some of what you cut will be craft: brand films, TVCs, long-form, things that get three weeks and deserve them. Some of it will be volume: reels, cutdowns, fourteen aspect ratios of the same thirty seconds. Both are the job. If you only want one, tell us which in your first email and well be honest about the ratio here, its roughly [40]% craft, [60]% volume.





The assembly The part nobody puts in a showreel and everybody whos good is obsessive about.

- Ingest, organise, name things properly. Your project files will be opened by someone else at 11pm and they should be able to find everything
- Watch all the rushes. All of them. The take everyone dismissed on set is frequently the one if you still dont find what you are looking for, source it from stock or generate in AI.
- Build selects that let a director see options, not just your preferred answer

The cut
- Find the rhythm. Know when a beat needs two extra frames and be able to say why
- Choose performance over polish. A slightly soft take with a real reaction beats a perfect one thats dead
- Kill the shot everyone loves if its slowing the video down. Then be prepared to defend that in the room
- Cut for the platform honestly, the first 1.5 seconds of a reel and the first 8 seconds of a YouTube pre-roll are different problems and you know both
- Work with sound from the first assembly, not as a finishing step. Most bad cuts are sound problems

The finish
- Sound design and mix at least to a positive rough. Music selection with actual taste youll be pulling from libraries and making them not sound like libraries
- Titles, supers, basic motion. After Effects fluency expected
- Grade at least to a decent look; handle the handoff cleanly when it goes to a colourist
- Subtitles and captions, done properly, because most of the audience is watching on mute

The delivery The tax on every job. Its real and its yours.
- Versions, ratios, durations, platform specs, legal supers, regional cuts
- File management that survives a client coming back in four months asking for a change
- Get it out on time without the last hour undoing the previous three weeks

Disclaimer: This job posting has been aggregated from external source. Role details, content, and availability are subject to change. Applicants are advised to confirm the latest information directly on the company website before applying.

📌 Sr. Video Editor (Mumbai)
🏢 Fluidscapes
📍 Mumbai