Fluidscapes Careers

Sr. Video Editor

Mumbai

Position

4-9

Experience

Fluidscapes Consultants is an IT & management servicing company that is engaged in providing a plethora of solutions using the ever-expanding gamut of digital technology. Incorporated in 2017, Fluidscapes has achieved remarkable milestones, emerging as a leader in its field with a dedicated team of over 300 employees and a portfolio of prestigious customers. We have Identified the following areas for our focused attention to climb further on the growth scale:

Technology enabling: Efficiency optimization of organizations via technology
Web-development / UI/UX: Mobile and Web App development
Digital marketing: End-to-end digital campaign handling
Online Reputation Management
On-Ground campaign outreach
Inventory Management Services
Financial Management Services

Going with our commitment to providing innovative solutions to our customers in a time-bound manner, our HR practices offer the best employee experiences and ensure picking deserving candidates for employment based on skill, creativity, agility and integrity.

We are not stereotyped in our recruitment process but are open to people with experiences in other fields or even with no experience. Anyone with talent and an appetite to learn will have ample growth opportunities at fluidscapes.

Job Description:

The one-line version: the film is made twice. Once on the shoot, and once by you — and the second one is the one people see.

What this is

You're not a pair of hands on a timeline. You're the last person who gets to have an opinion about the work before it goes out, and often the only one still looking at it with fresh eyes.

Some of what you cut will be craft: brand films, TVCs, long-form, things that get three weeks and deserve them. Some of it will be volume: reels, cutdowns, fourteen aspect ratios of the same thirty seconds. Both are the job. If you only want one, tell us which in your first email and we'll be honest about the ratio here, it's roughly [40]% craft, [60]% volume.

The assembly

The part nobody puts in a showreel and everybody who's good is obsessive about.

Ingest, organise, name things properly. Your project files will be opened by someone else at 11pm and they should be able to find everything
Watch all the rushes. All of them. The take everyone dismissed on set is frequently the one if you still don't find what you are looking for, source it from stock or generate in AI.
Build selects that let a director see options, not just your preferred answer

The cut

Find the rhythm. Know when a beat needs two extra frames and be able to say why
Choose performance over polish. A slightly soft take with a real reaction beats a perfect one that's dead
Kill the shot everyone loves if it's slowing the video down. Then be prepared to defend that in the room
Cut for the platform honestly, the first 1.5 seconds of a reel and the first 8 seconds of a YouTube pre-roll are different problems and you know both
Work with sound from the first assembly, not as a finishing step. Most bad cuts are sound problems

The finish

Sound design and mix at least to a good rough. Music selection with actual taste you'll be pulling from libraries and making them not sound like libraries
Titles, supers, basic motion. After Effects fluency expected
Grade at least to a decent look; handle the handoff cleanly when it goes to a colourist
Subtitles and captions, done properly, because most of the audience is watching on mute

The delivery

The tax on every job. It's real and it's yours.

Versions, ratios, durations, platform specs, legal supers, regional cuts
File management that survives a client coming back in four months asking for a change
Get it out on time without the last hour undoing the previous three weeks

Job Requirement:

What we need to see

A reel, and then the pieces whole. The reel gets you the meeting. We'll watch full films to see whether you can hold a structure
One thing where the edit is clearly the reason it works. Not the casting, not the location. The cut
Range: something funny, something quiet. Comedy timing and restraint are both editing skills and most people only have one
Volume work too. Show us a social cutdown you're not embarrassed by
Tell us about a fight you lost. A note you disagreed with, made anyway, and what you think now

Tools: Premiere or Resolve fluent, After Effects working. Resolve grading and Audition/Pro Tools are advantages, not requirements.

What you won't get here

An assistant editor. You're logging your own rushes
A finished brief. You'll sometimes get rushes and a vague idea and be expected to find the video in there
Distance from the client. You'll be in the room, and you'll be asked to make changes you disagree with. Sometimes you'll win that argument

What you will get

A machine that doesn't make you wait for it, and storage that works.
Involvement before the shoot you'll see boards and get to say "that won't cut" while it's still cheap to fix

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