Senior Video Editor (Performance Creative)

The Short Version You own the edit layer of Viktor's paid creative factory. Concepts come from the Head of Creative, the Creative Strategist and paid media. You turn them into the cuts that run against real budget: many hooks, many formats, fast. Then you turn what wins into templates, so volume goes up and quality does not come down. This is the first video hire. There is no video team above you and no playbook to inherit.   What's Actually Going On Here Viktor is an AI teammate that lives in Slack, connects to 3,200+ tools, and does real work. 25,000+ workspaces have hired him. We raised a $75M Series A led by Accel in May 2026, and we are nineteen people. Paid is scaling on Meta, LinkedIn and Google, and the creative pipeline has to scale with it. Raw material is piling up faster than anyone can cut it: product demos, screen recordings, founder footage, a Creator Program running across five platforms, podcasts and webinars. Your first week is not a ramp, it is a queue.   What You'll Actually Do Short-form performance video at volume. Multiple hooks per concept, built for testing, shipped to paid media the day they are briefed. Turn raw into retention-first cuts. UGC, founder footage, Viktor demos, screen recordings. Finding the story in unstructured material is the core craft here. Build the template system. Project templates, caption and motion presets, hook libraries, export settings. You will know it worked when someone else produces an on-brand cut without asking you a question. Repurpose long-form and Creator Program footage. One hour of raw should yield ten assets, and the creator submissions are the biggest untapped volume in the company. Edit from data. Read what is winning, cut toward it, template it. Own sound, captions and media hygiene. There is no audio person, and nothing gets lost. We would rather you be an editor than a one-person agency. Heavy motion, 3D and animation go to a freelance bench you brief. Static design goes to the design seat. Media buying belongs to paid. Your job is the cut.   The Bar Show us work that ran, with numbers attached. "It ran on Meta" is not enough. "This one won, and here is why I think it won" is the bar. We will ask for links, dates and project files rather than a reel, because a reel cannot tell us what you personally cut.   How You'll Know It's Working Week 1. Your cuts are running in active campaigns, not sitting in review. Day 30. A brief becomes 3 to 5 hook variations the same day, routinely rather than heroically. Day 90. The factory runs on your system. Turnaround in hours, every concept ships in multiple cuts, and Creator Program footage is paid-media inventory instead of a dead folder.

You have shipped short-form performance video against real spend, and you know what happened to hook rate, thumb-stop or CPA. You take one concept and produce 3 to 5 distinct hooks, and you know which one scaled. You cut screens. Software UI, legible at mobile size with the sound off. It is a different skill from cutting people and it is most of what we make. You have built a template or preset system that made a team faster. You run your own pipeline, and AI is already in it. Descript, ElevenLabs, Runway, Veo, Topaz, whichever ones earn their place. You can name one thing you shipped that you could not have shipped without them.   Even Better If You have After Effects depth beyond captions and template upkeep. You can pick up a camera the handful of times a quarter we need it. You have cut for a software or AI product before.   Probably Not a Fit If Your reel is six beautiful pieces from four years. You want to animate everything, or art-direct rather than cut. You ask who the producer is before asking what the product does. You have played with AI a bit and would rather not use it.   Why This Role Is Different You are the first. You build the content engine a much larger team inherits. The work is measured, not admired. Every cut has a hook rate and a CPA