Video Editor

Video Editor
Short-form and long-form editing for IGTMS. Turn everything we record into a ridiculous volume of content that gets views, followers, conversations, and clients. Remote, global. Full-time. Base plus a large results bonus.
You should not apply for this job if
· You have never edited for a high-ticket coach or consultant. This is a different craft than editing for brands or entertainment. The clip has to make a founder stop, follow, and book a call.
· You cannot name a client, a number, and what the number turned into. Views are the start. We want to know what the views produced: followers, leads, clients.
· You do not have references we can call. We will call them.
· You edit one version and move on. We cut the same clip many ways and let the data pick.
· You need a brief for every cut. You will get raw footage and a direction. The hooks, the structure, the captions, the b-roll, and the variations are yours.
· You think a good week is eight clips. The teams we benchmark against turn one recording into dozens of assets and ship every day. That is the pace.
· You have never worked inside a content machine. A team where clips are shipped daily, scored, and cut again based on the score. If your experience is one-off projects, this is not the seat.
· You are not watching what is trending on every platform, every day. Part of this seat is bringing us ideas before we ask.
· You tried AI once and have opinions about it. We want the person who rebuilt their editing pipeline around it.
· You think uploading is someone else's job. You cut it, you caption it, you title it, you post it natively, and you read the numbers the next morning. This seat owns the file from raw footage to published.
Still here? Good. Keep reading.
Why this seat exists
IGTMS installs revenue engines inside growing companies. We do not hand founders a strategy deck and walk away. We work inside the business across The Core Four, Messaging, Lead Generation, Sales Execution, and RevTech, and we leave a system that keeps producing after we go.
Our founder is on podcasts, on client calls, on stages, and on camera every week. That footage is the cheapest source of pipeline we own, and most of it sits unused. The bottleneck is not capture.
Every view that turns into a follower lowers what it costs us to acquire the next client. That is why this seat pays on results.
Why this seat matters
Our goal is 100 Cubed by 2035: help 100,000 founders grow, build $100 million in annual revenue, and do it with 100 people or fewer, all by 2035. A company that small only reaches a number that big if the founder's voice reaches far more people than he can talk to. Your cuts are how that happens.
What this person actually does
· Produce volume. From one podcast appearance, ten or more distinct cuts at minimum: different hooks, different lengths, different first three seconds, different captions. Dozens of finished pieces a week across LinkedIn, X, Instagram, YouTube, and TikTok, and a plan to get that number higher without the quality dropping.
· Edit the long form too. Full podcast episodes, speaking engagements, and long-form YouTube: cut for pace, clean the audio, remove the dead air, add chapters, and build the thumbnail. The long form is the source material for everything else, so it ships first and it ships clean.
· Test, do not guess. Every clip is an experiment. Cut it several ways, post the variations, read the numbers, and tell us which version earned paid media behind it. Winners get budget. Losers get killed fast.
· Cut platform native. What works on LinkedIn dies on TikTok. You know the difference in pacing, framing, captions, and length, and you cut for each one instead of resizing one export five times.
· Caption and dress every clip. Captions to our brand guidelines on every short, hook text that carries the clip with the sound off, and high-quality b-roll, stock, and graphics layered in where they earn attention and left out where they do not.
· Publish, do not hand off. Upload natively to YouTube, Instagram, TikTok, LinkedIn, and X with the title, description, cover, and hashtags done right for each platform. Nothing waits in a folder for someone else to post.
· Bring ideas. Every week, formats, hooks, and trends that are working right now for other coaches and consultants, and how we would use them. We want to hear about it before we ask.
· Work in a tight loop with our social media lead. They capture the footage with our founder and run the calendar. You feed it. Daily contact, fast turnarounds, no backlog.
· Protect the voice. Our founder is direct, calm, and does not hype. Your cuts make that sharper. No fake urgency, no cringe captions, no motivational filler. Our audience is founders and CEOs, not people scrolling for entertainment.
· Own the scoreboard. Views, watch time, followers, saves, shares, comments, profile clicks, and calls booked, by clip and by variation. Reported weekly, with what you are changing because of it.
The kind of editor we want
The bar is simple. If Alex Hormozi's content team or Cole Gordon's content team would hire you, apply. If they would not, do not.
That means you have worked inside a content machine, not next to one. You have cut for a coach, closer, or consultant with a real audience, where one recording became dozens of assets, every asset had its own hook, and the clips were judged on what they produced for the business. You think like a media buyer with a timeline in front of you: hypothesis, variation, read, scale or kill. You are not waiting to be discovered. You are looking for the operator who will put real footage and real budget behind what you already know how to do.
What you bring
· Deep experience editing for high-ticket coaches or consultants. Not one project. A body of work where your clips produced followers, leads, and clients, and you can attribute the results to the cuts. Editing for someone with an audience in the hundreds of thousands or more is the profile we expect.
· References. At least three people you edited for who will tell us what your work did for their business.
· Short-form and long-form, both. Shorts for Instagram, TikTok, YouTube, LinkedIn, and X, and full podcast and speaking-engagement edits. You have shipped both at volume and you know the two are different jobs.
· The tools, at speed. Adobe Premiere Pro is the baseline. Descript for transcript-based cutting. CapCut or equivalent for native short-form. Photoshop for thumbnails, covers, and on-screen graphics. You have a system for producing a lot without the quality slipping, and you are not learning any of these on our footage.
· Hook instinct. You know what makes a founder stop in the first three seconds and you can prove it with your own numbers.
· On-screen copy sense. Captions, hook text,and titles that carry the clip when the sound is off, styled to brand guidelines without being asked twice.
· An eye for detail. Clean cuts, clean audio, captions that match the words, b-roll that matches the point, and nothing that ships with a typo or a jump cut you hoped nobody would notice.

Work arrangement
No