Video Editor

Integrated Go-To-Market Solutions; United States; Remote; USD 70,000 - 110,000; Full time

Benefits offered by this job

Remote work

Performance bonus

Job summary

Integrated Go-To-Market Solutions (IGTMS) seeks a rapid, high-volume video editor to transform one recording into dozens of assets for coaching content across LinkedIn, X, YouTube, TikTok, and more.

You will edit short-form and long-form content with speed and precision, maintain brand voice, and measure impact on views, followers, and leads. Remote, global, full-time with performance bonuses.

Qualifications

• Must have a body of work showing edits for high-ticket coaches/consultants.
• Ability to attribute results (views, leads, clients) to cuts.
• Experience editing both short-form and long-form content at volume.

Responsibilities

• Produce high-volume clips with multiple hooks and lengths across platforms.
• Edit long-form podcasts, speaking engagements, and YouTube content.
• Test variations, track performance, and optimize with data.
• Cut platform-native content tailored to each network.
• Caption, thumbnail, and on-screen copy per brand guidelines.
• Publish directly to all platforms with complete metadata.
• Bring ongoing content format ideas and trends.
• Coordinate with social media lead to align calendars and feedback.
• Maintain the founder's voice: direct, calm, and non-hype.

Skills

Deep editing for high-ticket coaches

References

Volume editing

Tool proficiency

Hook instinct

On-screen copy

Attention to detail

Data literacy

AI-assisted workflow

B2B founder audience

English fluency

Education

Relevant editing experience

Tools

Adobe Premiere Pro

Descript

CapCut

Photoshop

Job description

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.
• You cannot name a client, a number, and what the number turned into.
• You do not have references we can call.
• You edit one version and move on.
• You need a brief for every cut.
• You think a good week is eight clips.
• You have never worked inside a content machine.
• You are not watching what is trending on every platform, every day.
• You tried AI once and have opinions about it.
• You think uploading is someone else's job.

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.
• Data literacy. You live in the native analytics on every platform and you read them the same way a media buyer reads an ad account.
• An AI-multiplied workflow. Opus Clip, Descript, Claude, or whatever you have built. You should be able to walk us through how you turn one hour of footage into a week of content in ten minutes and have us learn something.
• Taste calibrated to a B2B founder audience. You can tell the difference between a clip that gets views and a clip that gets the right views.
• English fluency. Written and spoken. You will be on calls with our team and reading our founder's voice closely enough to cut it well.

How we work

• Remote, global. Full-time. We do not care where you live. We care what you ship. This is your primary work, not something you fit around other clients.
• United States Eastern overlap, including a 9:30 AM ET daily huddle.
• Small team, high leverage, powered by AI and systems. Every seat carries weight.
• Build, measure, learn. Small bets, fast reads, kill your own experiment when the data says stop.
• Radical candor. If a clip is weak, say so, including when our founder is the one on camera. Direct is a form of respect here.

What success looks like at 90 days

• The volume is real. A weekly output number you set with us in week one and hit every week after, without anyone chasing it.
• Nothing sits. Every long-form recording is published clean and cut at least ten ways within a few days of landing in your folder.
• We know what works. Which hooks, formats, and lengths perform, by platform, with numbers, and the calendar reflects it.
• The numbers moved. Views and followers are up in a direction you can defend, and at least one clip has paid media behind it because its organic performance earned it.
• Content is traceable to pipeline. Calls booked from social can be tied to specific clips.

Compensation

The bonus is where this seat gets interesting. It is paid on results, not effort: view milestones per clip, follower growth, and qualified calls booked from content you cut. Exceptional results make this the highest-paid editing seat you have held. Average results do not.