Assistant Editor

The Revival Agency; Bentonville (AR); On-site; USD 21,000 - 34,000; Part time

Job summary

The Revival Agency in Bentonville, AR is seeking a part-time Assistant Editor to manage media before editors start cutting. You will offload media, verify backups, organize project structure, and prepare selects for review.

You\'ll also perform rough cuts, assemble sequences, manage music and licensing docs, and support basic motion graphics. Proficiency in DaVinci Resolve (and some Premiere Pro) and strong organizational discipline are required; travel and on-set work are possible.

Qualifications

• Proficiency with DaVinci Resolve and comfort with Premiere Pro on day one.
• Strong organizational discipline and attention to file naming.
• Reliable with deadlines and on-set duties.

Responsibilities

• Protect the footage with multiple backups and strict offload procedures.
• Organize project structure, bins, naming, and timeline versioning.
• Pull selects, assemble rough cuts, and manage music/SFX/licensing.
• Support basic motion graphics and on-set tasks when needed.

Skills

Editorial instinct

Organizational discipline

Reliability

On-set experience

Curiosity

Tools

DaVinci Resolve

Premiere Pro

Frame.io

Job description

Hours: Part-Time, Up to 20 hrs/week with room to flex up

Role Overview

Every project Revival makes - brand films, commercials, documentary work, campaigns - passes through post-production. The Assistant Editor is the person who makes that passage possible.

You are the custodian of the footage. From the moment cards come off set to the moment a finished project is archived, you own the integrity and organization of the media. That means clean offloads, verified backups, a project structure that makes sense to someone who didn't build it, and footage that's ready to cut the second an editor sits down.

You'll also cut. Selects, assemblies, rough passes, internal versions. This is a craft role with an obvious next step in it, and we're hiring with that step in mind.

You'll work directly with Revival's Director/Producer, who will be your point of contact, your reviewer, and your mentor. This is a close working relationship, not a task queue.

We're not expecting you to arrive knowing our pipeline. We're expecting you to be organized, hungry, and impossible to rattle.

Protect the Footage

This is the part of the job nobody notices until it goes wrong. It will not go wrong on your watch.

• Offload and verify camera media using checksum-based tools. Two confirmed copies before any card gets cleared. No exceptions, no shortcuts, no "I'm pretty sure it copied."
• Maintain redundancy and drive logistics on set and in the office.
• Own project wrap, archive, and restore requests.

Organize Everything

• Build and maintain project structure: bins, naming conventions, timeline versioning.
• Sync multicam and dual-system audio.
• Generate and manage proxies and optimized media.
• Apply show LUTs and initial looks to dailies for director, producer, and client review.
• Keep everyone else honest about the standards, too. This is a governance job as much as a tidiness one.

Start the Edit

• Pull selects and build selects reels. You'll watch the footage and find the moments that matter.
• Assemble rough cuts and stringouts.
• Manage music, SFX, and stock assets along with their licensing documentation.
• Support basic motion graphics: titles, lower thirds, simple animation.

What We're Looking For

• Proficiency in DaVinci Resolve (and occasionally Premier Pro) This is our pipeline. You don't need to be an expert, but you need to be comfortable in it on day one.
• Editorial instinct. We can teach you our workflow. We can't teach you how to tell when a take is alive.
• Genuine organizational discipline. Not "I'm pretty organized." We mean the kind of person who is bothered by a badly named file.
• Reliability. Timelines are real, clients are real, and cards need to be offloaded whether or not it's 11pm.
• Comfortable on set: long days, physical work, occasional travel, valid driver's license, able to move equipment cases (approx. 50 lbs).
• Curiosity. You should want to know why we did it that way, and you should say so when you think there's a better way.

Helpful, Not Required

• RED and ARRI workflow experience.
• After Effects or Fusion.
• Frame.io or similar review platforms.
• Documentary, commercial, or agency experience.

The Honest Version of What This Is

This is a part-time contract role at up to 20 hours a week (with room to flex up based on demand) as an independent contractor. You'll invoice us, and you're responsible for your own taxes. We'd rather say that plainly than bury it.

Here's what you do get:

• Real access. Professional sets, RED and ARRI cinema cameras, brand and documentary work for clients people in this region actually recognize.
• Real mentorship. You'll work directly alongside Brandon and our editors. You'll get feedback on your cuts, not just tasks handed down.
• A real path. The strongest people in this seat grow into Editor work. We'll invest in that if you do, and we'll tell you honestly where you stand along the way.
• Flexible scheduling around production days, and room to keep your own freelance work going.
• A creative, collaborative, entrepreneurial culture with people who care a lot about the work.