Selects and assembly from your rushes
They watch every minute, log the usable takes, and build a structure that survives the first thirty seconds. You approve a rough cut before anyone spends a day on polish.
Fractional Teammates · Creative & Content
A fractional video editor inside your marketing team
One shoot becomes the website film, the vertical cuts, the ad variants and the internal version. A senior editor from the OlDevs studio spends a set slice of each week on your footage, and the archive stays in your storage.
A senior specialist, not a junior placement You own the work and the accounts Reply within one business day
Post-production
Brand film · cut 06
16:9 · 24 fps
00:00:14:08
V2Titles
V1Video
A2Music
A1Dialogue
OpeningEnd card
InterviewCutawayB-roll
Score bedOutro
VO take 3Room tonePickups
4K
Master format
6
Deliverable cuts
48h
Turnaround
What a video editor is
OlDevs runs a fractional video editor as an ongoing seat rather than a job per project: a senior editor from our Vancouver studio spends an agreed slice of each week inside your organisation.They take footage and finish it, from selects and assembly through colour matching, dialogue levelling, titles and corrected captions to exports built for each platform's specification. One shoot becomes a website film, vertical cuts, an ads variant and an internal clip. They also build the thing most teams lack: a named, searchable archive of rushes, project files and approved masters, held in your storage. When the editor is away, the studio still answers.
Key facts
- 01Role group
- Creative & Content
- 02Engagement
- Ongoing days each week, not fixed scope
- 03Typical stack
- Premiere Pro, DaVinci Resolve, After Effects
- 04Languages
- English and French
- 05Typical commitment
- 1 day a week
- 06Judged on
- Cuts delivered per shoot · Turnaround time · Archive completeness
Creative & Content
What the editor handles
What this teammate takes off your plate
Colour and sound finishing
Cameras matched and graded so a two-camera interview reads as one piece, dialogue levelled, room noise pulled down, music ducked, and loudness set to the platform's target before export.
Captions and subtitles that are actually correct
Auto-transcripts corrected by a person and timed to the speech, delivered burned-in or as sidecar files, with French subtitles where you need them and caption contrast checked to WCAG 2.2 AA.
Every version the media plan needs
The 16:9 site cut, 9:16 and 1:1 for feeds, short ad lengths, an end card swapped per location or offer, and a sound-off version that still makes sense on mute.
An archive somebody can search in two years
Media renamed to one convention, proxies generated, backups verified, and every clip tagged with shoot date, subject, consent status and licence terms so nothing turns out to be unusable.
Telling the camera what the edit needs
Before a shoot: coverage notes, B-roll requests, room tone, interview framing that survives a vertical crop, and a reminder about release forms. Thin footage is the expensive problem to fix afterwards.
Benefits
Where an embedded editor changes your video
01
Shooting stops outrunning the cutting
The gap between a shoot day and a published cut becomes a number you can plan against. Filming stops being a way of accumulating footage that sits on a drive because nobody has time to open it.
02
Cuts stop announcing who made them
Pacing, lower thirds, typography, loudness and colour hold steady across everything you publish, because one editor holds them. Work handed to whoever was free arrives in as many house styles as there were people cutting.
03
Approvals converge instead of circling
Notes come back against timecode and get versioned properly, so a cut moves towards approval instead of circling it. Nobody is guessing which file is current, and the editor says what a late change will take before it is made.
04
Music, stock and releases stay accounted for
Every published cut has a traceable line back to the licence behind its music, the source of its stock and the release covering the face on screen. Nobody publishes assuming somebody else checked.
05
Someone knows when a cut is finished
An editor at this level has years of finished work behind them and will defend a structure or drop a favourite sequence. Most organisations do not shoot enough to fill that person's week, so the work usually falls to a generalist.
06
Nothing walks out with the editor
Project files, bins, presets, graphics templates, colour settings and the media and stock accounts sit in your storage under your names. When the seat changes hands, the next editor opens the same timeline and carries on.
How it works
How the editor gets to work
Send us a shoot and a finished cut
Before proposing anything we watch a recent set of rushes and something you have published. That tells us more about the real problem than a call about content strategy.
A written proposal naming the editor
You get the person, the days each week, what they own, how cuts are reviewed and how the engagement ends. Quote-based, and nothing starts before you approve it.
Setup week is plumbing, not cutting
Naming convention agreed, storage and proxies sorted, export presets built per channel, existing media audited, and the archive stood up before the first timeline is opened.
A cut in progress, every week
Fixed days, in your standups. You see selects, then a rough cut, then picture lock, so notes land while changes are still easy rather than after the grade is finished.
The studio behind the timeline
When a piece needs motion graphics, a French subtitler or a developer to embed the player, the editor pulls them in from OlDevs. If they are away, the studio still answers.
Who it's for
Where a fractional editor fits
Fractional editing fits organisations that shoot regularly and publish the same material in several places. It is a poor answer for a single launch film with an end date.
Teams that shoot more than they cut
Cards come back from every event and sit on a drive while the team argues about who edits them. A steady slice of an editor's week clears the backlog and then keeps it clear.
Conference and event-heavy organisations
Sessions, panels and keynotes recorded in bulk, then needed as highlight reels, speaker clips, captioned full sessions, and a record that outlives the staff who ran the event.
E-commerce and product teams with a catalogue
One product day has to produce listing video, ad cutdowns, a how-to and a fit clip for every line, over and over, to the same export specification each time.
Government bodies and member associations
Announcements, annual meetings and member updates that must ship with corrected captions and a French version, and stay findable years later when somebody asks for the record.
12+
Years of studio experience since 2014
1
Typical commitment — 1 day a week
EN/FR
Languages this engagement can be delivered in
Other fractional roles
Often paired with
01
Motion Graphics Designer
An animated identity, explainers, data and kinetic type, plus templates your editor can re-version without booking anyone.
Explore02Content Producer
Pillars, a calendar sized to real capacity, batch capture days, briefs the makers can work from, and a review chain with named owners.
Explore03Social Media Manager
Content pillars, the calendar, publishing and community management, run to a rhythm your team can see.
ExploreFAQ
What clients ask before the first shoot lands
No. This role is post-production: edit, colour, sound, captions, versioning and archive. We do not staff camera crews for a fractional seat. Most clients keep their own shooter or hire locally, and the editor writes the shot list and coverage notes so what comes back actually cuts together. If a piece needs animation or a designed title sequence, that comes from a motion graphics designer alongside the editor.
Review is staged and timeboxed. You see selects, then a rough cut, then picture lock, then masters and versions. Notes go on a timecoded link, from one named approver, in one pass per stage. Restructuring after picture lock is treated as a new round, and we tell you what it displaces that week. Late restructuring is the most common reason video work stalls.
In your storage, from the first ingest. Rushes, proxies, project files, graphics templates and approved masters sit in accounts you control, catalogued to a convention agreed in setup week. Where a studio software seat is used, you get flattened masters plus an editable project in a documented interchange format, so a future editor can reopen the work without our help.
That depends on the slice you book and what is already queued, so we agree the order each week rather than promising a turnaround on everything. What is fixed is the rhythm: your work has booked days, you see progress every week, and if a deadline is at risk you hear it at the demo rather than on the day. We will not commit to a delivery date we cannot hold.
A production company is the right call for a shoot with a crew, a location and a fixed brief. It fits badly for the steady stream afterwards, because every small cutdown needs a new brief and a new quote. A fractional editor already knows your footage, your brand and your export specs, so a version request is a message rather than a project.
When you shoot daily and need somebody at the edit bay every afternoon, hire. When you need a person on set at short notice, that is a different role entirely. When you have one launch film and nothing after it, buy the project. And if nobody on your side can approve a cut, the slice gets spent chasing feedback instead of editing.
Let’s connect
Let’s talk about the video editor gap.
Tell us what is not getting done and roughly how much of a week it needs. We’ll reply within one business day with who would cover it and a tailored quote — no obligation.