Editorial Support Technician

ARC; Sydney; Presencial; AUD 65.000 - 90.000; Jornada completa

Descripción de la vacante

ARC is a storytelling company with studios in Sydney and Melbourne. The role sits in ARC's in‑house technology team and supports both theCommercial and Film editorial departments.

You’ll own the edit suites, keep them client-ready, and improve the offline workflow at our Sydney studio in Alexandria. We’re seeking an assistant editor who upgrades workflows, automates tedious tasks, and stays calm under pressure, while collaborating with editors, producers, and the tech team.

Formación

• Hands-on Avid Media Composer experience; non-negotiable for this role.
• Strong drive to understand how Avid works end-to-end and keep learning.
• Working knowledge of Premiere Pro and Final Cut Pro required.
• Solid understanding of video file formats, codecs, and media workflows.
• Attention to detail: small issues cost hours elsewhere; naming/version control matters.

Responsabilidades

• Editorial support across Avid, Premiere Pro, and Final Cut Pro; set up and maintain projects, bins, profiles, and templates.
• Troubleshoot media relinking, offline media, mixed formats, and transcoding; manage Avid NEXIS workspaces.
• Build scripts/tools to improve offline workflows; create repeatable documented processes.
• Provide daily suite management and general IT support for Mac workstations and storage.
• Support ingest, dailies, and turnovers; ensure workflow aligns with downstream needs.

Conocimientos

Avid Media Composer

Premiere Pro

Final Cut Pro

DaVinci Resolve

NEXIS

Scripting (Python/Bash/PowerShell)

AI tools (Claude/Cursor)

Troubleshooting

Workflow automation

Attention to detail

Advertising/TV familiarity

Networking basics

Herramientas

Avid NEXIS

Watch folders

Transcoding

Descripción del empleo

For an assistant editor or editorial support person ready to move into the technical side of post‑production.

About ARC

ARC is a storytelling company with studios in Sydney and Melbourne. Across ARC Commercials, ARC Film and ARC Story, we edit, colour grade, finish, and develop work for advertising, film, television, and streamer, building strong, lasting relationships with the filmmakers we work with.

This role sits within ARC's in‑house technology team and supports both the Commercial and Film editorial departments. Day to day, you'll work alongside our editors, assistant editors, producers, and the technology team behind them.

About the Role

This is a role for an assistant editor who would rather fix the workflow than work around an issue.

You’ll support our offline environment: Avid Media Composer first and foremost, alongside Premiere Pro and Final Cut Pro. You’ll own the edit suites and keep them running and client‑ready, help editors and assistant editors throughout the day, and spend real time improving the offline workflow.

This is a full‑time, on‑site role at our Sydney studio in Alexandria.

This Might Be You

You don’t need to tick all of these. If two or three sound like you, we want to hear from you.

• You're the one in the building people ask when the media won't relink
• You've built a bin or project template that other people now use
• You've automated something tedious, even in a small way, and enjoyed it more than you expected
• You're passionate about working out why something broke, rather than just working around it
• You've started using Claude, Cursor or similar to build tools for yourself, or you've been meaning to
• You notice when a suite isn't right before anyone says anything
• You like editors, and you stay calm with them when they're under pressure, especially in front of a room full of clients

What You'll Do

• Editorial support

Support editors and assistant editors across Avid Media Composer, Premiere Pro and Final Cut Pro. Set up and maintain Avid projects, bin structures, user profiles and templates. Troubleshoot media: relinking, offline media, mixed formats and frame rates, consolidating and transcoding. Manage Avid NEXIS workspaces and permissions as productions come and go. Support ingest and dailies. Understand how offline connects to colour, online and VFX well enough to help editors through turnovers, and keep offline practices consistent with what those teams need downstream.

• Workflow and tooling

Build scripts and small tools that improve offline, such as watch folders, automated transcodes, project scaffolding, naming checks and reporting. Use AI tools to build and iterate quickly. Document workflows so they're repeatable. Spec new job workflows before they start, not under deadline. Find the recurring manual tasks and remove them.

• Suite management

The edit suites are yours to own. Run daily checks across workstations, storage, displays, audio, comms and peripherals, including basic audio checks on levels and loudness. Notice the small things before anyone reports them: a cable in the wrong port, a missing remote, a room that isn't quite ready. Keep suites tidy, properly cabled and client‑ready, which matters as much as anything else here. Set rooms up for sessions and attended client work.

• General IT

Pitch in with the wider Technology team on Mac workstation setup and maintenance, user accounts and permissions, Microsoft 365, Active Directory and day‑to‑day support.

What We’re Looking For

• Hands‑on Avid Media Composer experience. This is non‑negotiable. Assistant editing, media management or editorial technical support all count
• A drive to understand Avid in depth rather than just operate it, and to keep learning it over time
• Working knowledge of Premiere Pro and/or Final Cut Pro
• A solid understanding of video files, formats, codecs and media workflows
• Real attention to detail. If a cable is in the wrong port or a remote has gone missing, you spot it before anyone tells you. Naming, versions, structure and consistency matter just as much, because small errors cost other people hours
• Experience with AI tools such as Claude or Cursor, or a strong enthusiasm to learn to use them properly
• Methodical problem‑solving under time pressure, and calm with people who are mid‑session
• High standards for how rooms and systems are presented
• Scripting ability or clear aptitude: Python, Bash, PowerShell or similar
• Shared storage experience, particularly Avid NEXIS
• Exposure to DaVinci Resolve
• A basic grasp of networking: IP addresses, switches, and how machines talk to storage
• Experience building tools or automations for a post‑production facility
• A background in advertising, television, film or long‑form

You don't need all of it. Avid experience, attention to detail, technical curiosity and a good head under pressure matter more than a complete checklist. If you're an assistant editor wondering whether you're technical enough for this, you probably are.

What You’ll Get

Real ownership of the offline environment, and room to build. Time and support to learn Avid in depth, with the aim of becoming one of the people the team relies on for it. A team that treats AI as a serious part of how we work. Mentorship from experienced media technology staff, exposure across the full post‑production pipeline, and a clear path forward: this role is the first step towards becoming a Post‑Production Engineer.

The Reality

Deadlines here are real. When a suite goes down with a client in the room, it gets solved now, and calmly.

Tooling work is a core part of the job, not a perk, and it sits alongside daily support and suite management. Some days you'll build something good. Others you'll spend the whole day keeping things running. Both matter.

Occasional out‑of‑hours work comes with upgrades, maintenance and urgent deadlines. You'll need to be comfortable getting physically hands‑on with workstations, cabling and equipment moves.

Know someone

If this isn't for you but you can think of an assistant editor who'd be good at it, please pass it on.