CONTENT EDITOR - SHORT-FORM VIDEO

CONTENT EDITOR, SHORT-FORM VIDEO (PART-TIME, REMOTE)


ABOUT THE ROLE

NexSpeed is a Wisconsin-based marketing agency working with home
service businesses — windows, painting, landscaping, concrete, and
junk removal. The team films real crews on real job sites. The editor
turns that footage into paid Meta ads and organic social posts.

This role reports directly to the agency owner. There is no account
manager layer and no committee approval process. Questions get
answered the same day.


WHAT THE ROLE OFFERS

Most freelance editing work is inconsistent and disorganized. This
position is built differently:

- Consistent monthly volume rather than feast-or-famine project work
- Scripts written and approved before editing begins, so there is no
guessing at intent
- Footage arrives organized, because organizing it is part of the
role and is paid separately
- A single decision-maker who responds quickly
- Growing volume. As the agency adds clients, this workload is
expected to roughly double within the year.


GROWTH PATH

This is a starting position, not a ceiling. As the agency expands,
several paths open up for an editor who proves reliable:

- Owning a client's full content pipeline end to end
- Reviewing and quality-checking other editors' work
- Training and onboarding additional editors
- Coordinating production schedules across multiple clients

None of this is promised at hire. It is earned, and it comes with
compensation to match. But whoever fills this role is the first
person considered when those positions open.


DEFINITIONS

Batch. A group of three to five ads of a single type, produced
together. A batch never mixes formats — a static batch contains only
static ads, a voiceover batch contains only voiceover videos. Video
batches are typically built from several different openers sharing
one common ending, so each ad is distinct without being cut from
scratch.

Static ad. A single still image built for the Meta feed, not a video.
It combines a background image with layered text: a location callout,
a headline naming the homeowner's problem, an offer block,
before-and-after proof photos, and a call to action. The layout stays
consistent across a batch while copy and imagery change. These are
assembled manually in a photo editor, or by feeding the individual
pieces back through an image generator — either approach is fine, as
long as the result is deliberately composed rather than one prompt in
and one image out. Every individual source file is kept organized and
accessible afterward.

Talking-head post. A video built around a person speaking on camera,
with b-roll layered over sections, captions burned in, and music
underneath.

B-roll post. A short organic post with no speaking. Sequenced
footage, music, and occasional on-screen text.


RESPONSIBILITIES

- Sorting, naming, and organizing every footage dump to the agency's
system (2-4 dumps per month, 50-125 files each)
- Editing paid ad batches
- Building static ad batches
- Editing organic posts — 6-12 per month. Roughly 3 are talking-head
style; the rest are b-roll sequences with music and captions.
- Writing burned-in captions and on-screen text


CREATIVE LATITUDE

The editor has real latitude over execution. Pacing, clip selection,
sequencing, music, how a cut feels, where a caption lands — those are
the editor's calls, and personal taste is wanted there.

What is fixed: the script, the message, the claims, and the offer.

On voiceover ads in particular, the standard is professional and
undistracting. Nothing flashy that pulls attention away from the
message. The point should land cleanly and the ending should be built
so the viewer responds. Work that distracts is wrong, regardless of
how good it looks on its own.


REQUIREMENTS

1. File sorting. The agency's naming and folder system is followed
exactly, every time.

2. Independent file assembly. Dumps arrive unsequenced, and the
editor should be able to work out how the clips fit together into
a base timeline without step-by-step direction.

3. Video editing to spec. Vertical short-form, burned-in captions,
clean audio, correct export settings.

4. Static ad design. Building layered still ads in a photo editor or
through an image generator. This is not optional and not a bonus
skill.

5. Videography fundamentals. The following should be second nature,
with no need to look them up:

Macro — extreme close detail. A texture, a tool mid-use, a seam.
Close-up — tight on a face or a single object.
Medium — roughly waist-up. Standard talking-head framing.
Wide — the full scene, showing where the work is happening.
Panning — camera pivots horizontally from a fixed point.

These choices come up constantly when cutting from 100+ clips.
This is tested during hiring.

6. Fluent English, written and spoken. Captions and on-screen copy
are read by homeowners.

7. Originality across repetition. Much of this work is similar month
to month. Twelve posts built from the same four clips reshuffled
is a failure. Every post must look like its own video.

8. A workable approach to revisions. See below.


EDITING SOFTWARE

DaVinci Resolve is preferred and is what the agency uses internally.

Adobe is fully acceptable, provided there is access to the full suite
rather than Premiere alone — After Effects and an image editing tool
included.

Static ads can be built in any photo editor. The specific software
does not matter. The ability to compose layers deliberately does.


ALSO REQUIRED

- A genuine short-form vertical portfolio — Reels, TikTok, or Shorts
- A machine capable of handling 4K footage, and internet capable of
moving large files
- Google Drive and Google Docs
- The discipline to follow a written SOP without improvising


PREFERRED

- Motion graphics or After Effects
- Experience with contractors, home services, or local lead
generation


ON AI USE

AI tools are welcome and used internally — research, first-pass
ideas, rough cuts, image generation. There is no requirement to build
anything by hand, and no penalty for leaning on AI heavily. Static
ads generated start to finish are completely fine.

What matters is how the tool is used. A static ad gets built in
deliberate pieces: the background image generated to a specific
prompt, then the headline, the problem line, the offer, and the call
to action generated as their own elements, with reference images
supplied throughout. The finished ad should look articulated and
intentional.

One prompt in and one image out is not the standard and will not
pass.

WORKING WITH IMPERFECT FOOTAGE

Filming happens on live job sites, so not every clip is clean. The
expectation is to work with it — watch the full clip, find the
section that is steady and usable, or stabilize it in the editor.
Flexibility here is part of the job, and camera movement alone is not
a reason to set a clip aside.

If an entire dump is unusable with no steady footage to work from,
that gets flagged before editing begins, not after.


REVISIONS

Every deliverable includes two rounds. Notes are delivered in a
single batch with timecodes, not spread over several days. A revision
means correcting what is off: timing, captions, music, a swapped
clip. If the script or concept changes after delivery, that is
treated as a new deliverable and paid as one.

Being straightforward to work with through revisions matters more
here than raw speed.


WHAT THIS ROLE IS NOT

- Not a media buying role. No access to ad accounts, budgets, or
targeting.
- Not client-facing. No calls, emails, or messages with clients.
- Not a filming role. Footage is shot in-house.
- Not a scriptwriting or strategy role. Scripts and concepts are
provided.


HOURS AND COMPENSATION

- Approximately 60-80 hours per month, varying week to week
depending on how batches fall
- Set hours are not required. During the editor's working day, a
response within 4 hours is expected.
- Some overlap with US Central time
- First 30 days: paid per deliverable while actual workload is
established.
- Thereafter: a flat monthly rate, set from actual volume and
reviewed as the agency grows.


HOW TO APPLY

Begin the message with the word MARATHON to confirm this posting was
read in full.

Then include the following:

1. Two or three short-form vertical videos personally edited by the
applicant, with one sentence on each describing the specific work
done.

2. A link to something repetitive by nature — a series, a batch, or
multiple versions of one concept — along with an explanation of
how they were kept from looking identical.

3. One static ad or layered design piece, if available.

4. Which shot type would open a 15-second ad — macro, close-up,
medium, or wide — and the reasoning behind it.

5. Optional: anything not asked for above that the applicant thinks
is worth including.

Applications missing items 1 through 4 will not be reviewed.