Assistant Editor

About the role

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.

Location: On-site, Bentonville, AR. Department: Video Production. Classification: Independent contractor (1099). Reports to: Director/Producer.

Responsibilities

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

Requirements

• Proficiency in DaVinci Resolve (and occasionally Premier Pro) – comfortable in it on day one.
• Editorial instinct – ability to tell when a take is alive.
• Genuine organizational discipline – bothered by a badly named file.
• Reliability – timelines are real, clients are real, 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 – want to know why we did it that way and speak up when you think there's a better way.

Qualifications

• Helpful, not required: RED and ARRI workflow experience.
• Helpful, not required: After Effects or Fusion.
• Helpful, not required: Frame.io or similar review platforms.
• Helpful, not required: Color grading fundamentals.
• Helpful, not required: Documentary, commercial, or agency experience.

Benefits

• Real access: professional sets, RED and ARRI cinema cameras, brand and documentary work for clients people in this region actually recognize.
• Real mentorship: work directly alongside Director/Producer and editors; get feedback on cuts.
• Real path: strongest people grow into Editor work; investment if you do, honest feedback on progress.
• Flexible scheduling around production days, and room to keep your own freelance work going.
• Creative, collaborative, entrepreneurial culture with people who care a lot about the work.

Schedule

Part-Time, up to 20 hrs/week with room to flex up.