Remote Video Editor jobs – Full‑Time Senior Multimedia Editor (Post‑Production) – Adobe Premiere Pro & After Effects Specialist – $70‑95k – Join our Poway, California Creative Squad
TITLE Remote Video Editor jobs – Full‑Time Senior Multimedia Editor (Post‑Production) – Adobe Premiere Pro & After Effects Specialist – $70‑95k – Join our Poway, California Creative Squad --- Who we are At LensCraft Studios we’ve spent the last six years turning raw footage into stories that actually get watched. Our indie‑film‑meets‑brand‑content studio is headquartered in Poway, California, but the talent that powers our edits lives everywhere. We’ve built a small, tight‑knit post‑production team of 15 people who push 2‑minute social videos, 30‑minute documentary cuts, and occasional 90‑second TV spots through the same disciplined pipeline. The work we do lands on feeds, OTT platforms, and festival screens, and the numbers speak for themselves our 2023 Q4 release slate earned a 28 % increase in average watch‑time and netted $1.2 M in client revenue. Why this role exists now We just secured a multi‑year partnership with a national nonprofit focused on environmental storytelling. The contract will deliver 24 – 30 video pieces per quarter, each needing a fast turnaround while maintaining a cinematic feel. To keep up, we need a senior video editor who can not only cut and polish but also mentor junior editors, optimize our workflow, and keep the creative bar high across all formats. If you enjoy juggling tight deadlines with artistic freedom, you’ll feel right at home. What the day looks like (Remote, but rooted in Poway, California) - Morning sync (via Slack & Zoom) – 15‑minute stand‑up with the content lead, the motion‑graphics artist, and the project manager (all based in Poway, California). We review the day’s priorities, flag any asset bottlenecks in Frame.io, and set the edit‑review schedule. - Rough cut assembly – Import raw 4K footage into Adobe Premiere Pro, sync multi‑camera sequences, and create a working timeline that follows the narrative outline. We aim for a first‑pass rough cut within 24 hours of receiving the dailies. - Feedback loops – Upload the cut to Frame.io, where the director, copywriter, and client can comment directly on the timeline. We use Asana to track each comment and turn them into actionable tasks. - Fine‑tuning & color – Move the sequence into DaVinci Resolve for primary color grading, then back to Premiere for final trimming. For motion‑graphics overlays we spin up After Effects comps, pulling in library assets from our shared Google Drive. - Export & delivery – Render final assets in ProRes 422 HQ for broadcast, H.264 for web, and create a low‑resolution version for internal review. Upload to Vimeo Pro, generate Wistia embed codes, and send delivery notes through our client portal. The team you’ll join - Creative Director (Poway, California) – Sets the visual tone, reviews every final edit. - Content Producer (Remote) – Sources story ideas, coordinates shoots, writes scripts. - Motion‑Graphics Designer (Poway, California) – Builds kinetic titles, lower thirds, and animated explainers. - Junior Editors (2, Remote) – Handle ingestion, rough cuts, and versioning under your guidance. - Project Manager (Poway, California) – Keeps budgets, timelines, and SLA compliance on track. Our “remote‑first” policy means we meet in a virtual co‑working room three days a week, but we also host quarterly in‑person retreats in Poway, California where the whole crew gathers at our downtown loft for a day of editing marathons and pizza. What you’ll own 1. Full‑cycle post‑production – From ingest to final export, you’re the gatekeeper of quality. 2. Mentorship – Conduct weekly “cut‑review” sessions for junior editors, share shortcuts, and build a shared library of effects and presets. 3. Process improvement – Audit the current workflow, propose automation scripts (e.g., Premiere Pro’s Project Manager presets) and update our SOPs in Confluence. 4. Creative input – Pitch pacing ideas, suggest visual storytelling techniques, and collaborate with the motion‑graphics designer on integrated animation. 5. Client‑facing communication – Serve as the main point of contact for video‑related questions, ensuring expectations are clear and revisions stay within the agreed‑upon scope. Tools of the trade (you’ll be fluent in at least 8 of these) - Adobe Premiere Pro – Primary editing platform, including Team Projects for collaborative editing. - Adobe After Effects – Motion graphics, compositing, and VFX work. - DaVinci Resolve – Primary color grading and delivery encoding. - Final Cut Pro X – Occasionally used for Mac‑centric client projects. - Avid Media Composer – Legacy assets still require occasional edits. - Frame.io – Review & approval workflow, comment threading, version control. - Asana – Task management, milestone tracking, and SLA monitoring. - Slack – Daily communication, quick file sharing, and channel‑based discussions. - Google Drive / Shared Drives – Asset storage, backup, and