Video Editor

Aposto is an independent media company. We publish newsletters, a website, a mobile app, and a print paper, we produce video, and we run events, with around 500,000 subscribers across our verticals. Our editorial philosophy is simple: gürültüden uzaklaş. Stay away from the noise. Everything we make is built on the idea that people want less, chosen better.

We are hiring a full time editor for our productions team.

The role

You cut what we make. That covers three quite different things, and we want someone who is interested in all three rather than tolerant of two.

The first is long form. Documentary style episodes for YouTube, interview series, and branded films that run for real minutes and have to hold attention without tricks. This is where structure matters. A good editor finds the story in the rushes that the shoot plan did not know was there, and cuts twenty minutes of interview into six that feel inevitable.

The second is short form. Vertical, fast, and constant. Social cutdowns, standalone pieces, reactive work that has to be out the same day. The craft here is different but not lower. The first second decides everything.

The third is commercial. Branded content for clients, event films, campaign assets. Same standard, more people with opinions, and a delivery date that does not move.

You work inside the productions team, alongside videographers, motion designers, and our art director, who sets the visual standard the work has to meet. You are not working from a queue of tickets. You are in the planning conversations, and the earlier you raise a problem with the footage, the more of your own time you save.

What you'll own

• The edit, from ingest to delivery: assembly, structure, pacing, and the final cut
• Sound. Dialogue cleanup, mix levels, music selection within our licensing, and the sound design that makes a cut feel finished rather than assembled
• Colour. Consistent grading across an episode and across a series, so our work looks like ours
• Applying our motion and title system to video, working from the templates and guidelines our art director sets, and flagging when a project needs something the system does not cover yet
• Subtitles and captions in Turkish and English, including the timing discipline that most people skip
• Delivery specs across YouTube, Instagram, TikTok, the app, and client platforms. Correct aspect, correct codec, correct loudness, every time
• Media management: ingest, naming, folder structure, backups, and an archive that someone can search two years from now. This is unglamorous and it is part of the job
• Turnaround. Knowing which projects deserve another pass and which ones need to be out in three hours

What we're looking for

• Three or more years cutting professionally, in a production company, an agency, a broadcaster, or in house at a brand or publisher
• A reel or a set of links. We would rather see three finished pieces you are proud of than a montage
• Command of Premiere Pro or DaVinci Resolve. Whichever you use, we want to see that you use it properly, including proxies, multicam, and a project that another person could open
• Working knowledge of After Effects. You do not need to be a motion designer, but you should be able to build a lower third, fix a title, and track something simple without help
• Real story sense. The technical part of this job is learnable. Knowing where the cut goes is not
• Native Turkish and enough English to subtitle accurately and work with international footage and clients
• Reliability under a schedule with several things running at once. Our calendar does not stop for a difficult edit

Nice to have

• Shooting experience. We are not hiring a videographer, but an editor who can pick up a camera when a small shoot needs one more pair of hands is worth more to us
• Colour grading beyond the basics
• Motion design skill
• Documentary or long form interview background
• Podcast or multicam experience
• Your own kit and a view on what we should be buying