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Creative and design · Entry level · UK and US conventions noted

Video editor: resume example, explained

This fictional example shows a video editor one year into a junior post at a fictional production company, with paid freelance and student work, applying for an editor role in a fictional retailer's in-house content team: turnaround times, formats, versions per piece, colour and audio basics and asset management are stated as facts rather than enthusiasm. Each decision is explained, three weak bullets are rewritten from the evidence behind them, and the editable download lets you replace every detail with your own. Nothing here describes a real person, production company or client.

Illustrative example. An illustrative, invented junior video editor, one year into a first job at a fictional corporate video production company, applying for an entry-level editor post in a fictional retailer's in-house content team. Every employer, client, project and figure is fictional.

Editable version of this example (.docx)

The example document

Kofi Lindqvist-Amara

Video Editor (junior) · Short-form, corporate and social edits

Glasgow, UK · 07700 900 362 · kofi.lindqvist-amara@example.com · Showreel: example.com/kofi-lindqvist-amara

Profile

Junior video editor with one year at a corporate video production company, cutting around 6 short pieces a week from a producer's brief: interview-led case studies, event highlights and social cuts in 16:9, 9:16 and 1:1. Delivers a first cut within two working days, manages each project's media and versions, and handles basic colour correction, audio clean-up and captions. Seeking an in-house editor role with more ownership from brief to delivery.

Experience

Junior Video Editor — Fictional Clearwater Films (corporate video production)

September 2025 – present · Team of two editors and three producers; around 20 client projects a month across the company.

  • Edit around 6 short pieces a week (60 seconds to 4 minutes) from a producer's brief and paper edit, delivering a first cut within two working days and typically three to five versions per piece before sign-off.
  • Cut each piece for 16:9, 9:16 and 1:1 delivery where the brief asks, reframing shots rather than cropping blindly, and export to the client's delivery spec for codec, bit rate and loudness.
  • Apply basic colour correction (exposure and white-balance matching across two-camera interviews) and audio clean-up (noise reduction, level matching, loudness normalisation to the delivery spec), flagging anything beyond that to the senior editor.
  • Ingest and back up card footage the same day, organise bins by scene and camera, create proxies for the shared edit machines and archive each finished project under a consistent naming convention; no footage lost on around 60 projects.
  • Write and check closed captions on every social and web delivery, timed to speech and checked against the script.

Freelance Video Editor (part time) — Self-employed; fictional clients including a community sports club and two local musicians

January 2024 – August 2025 · Alongside final-year study.

  • Edited 14 paid pieces for small clients, from match highlights to music videos, agreeing the brief, deadline and number of revision rounds in writing before starting.
  • Delivered each piece within the agreed turnaround, usually five working days, with revisions capped at two rounds.

Education

  • BA (Hons) Media Production, Fictional Caledonian College, 2025 (final project: a 12-minute documentary cut from 11 hours of rushes)
  • Course: Colour correction and grading fundamentals, 2026

Showreel

  • example.com/kofi-lindqvist-amara: a 90-second reel plus six full pieces, each labelled with the brief, my role (editor, or assistant to a senior editor) and the turnaround

Skills

Non-linear editing (industry-standard editing software); multicam and proxy workflows · Colour correction basics: exposure, white balance, shot matching · Audio clean-up: noise reduction, level matching, loudness normalisation · Formats and delivery: 16:9, 9:16, 1:1; codec and export presets to spec · Media management: ingest, backup, bins, proxies, naming conventions, archive · Working from a producer's brief and paper edit; versioning and feedback rounds

Bullet rewrites, and the evidence behind them

Each rewrite was produced by asking an evidence question and using only the (fictional) answer. No number appears in a rewrite that is not in its evidence.

  1. Before

    Edited videos for clients to a high standard.

    Evidence question

    How many pieces, how long, who briefed you, how fast was the first cut and how many versions did each take?

    Evidence (fictional)

    Around 6 short pieces a week of 60 seconds to 4 minutes; a producer's brief and paper edit; first cut within two working days; typically three to five versions before sign-off.

    After

    Edit around 6 short pieces a week (60 seconds to 4 minutes) from a producer's brief and paper edit, delivering a first cut within two working days and typically three to five versions per piece before sign-off.

  2. Before

    Experienced in colour grading and sound design.

    Evidence question

    What colour and audio work do you actually do unsupervised, and where does it stop?

    Evidence (fictional)

    Exposure and white-balance matching across two-camera interviews; noise reduction, level matching and loudness normalisation to the delivery spec; anything beyond that is flagged to the senior editor.

    After

    Apply basic colour correction (exposure and white-balance matching across two-camera interviews) and audio clean-up (noise reduction, level matching, loudness normalisation to the delivery spec), flagging anything beyond that to the senior editor.

  3. Before

    Responsible for organising footage.

    Evidence question

    What is the routine, step by step, and is there a record of it working?

    Evidence (fictional)

    Same-day ingest and backup of card footage; bins organised by scene and camera; proxies created for the shared edit machines; finished projects archived under a consistent naming convention; no footage lost on around 60 projects so far.

    After

    Ingest and back up card footage the same day, organise bins by scene and camera, create proxies for the shared edit machines and archive each finished project under a consistent naming convention; no footage lost on around 60 projects.

Try it on your own bullets with the bullet workbench, which asks the same questions and never adds a figure you did not supply.

Transferable skills in this example

  • Working to a brief and a deadline through revision rounds

    Evidence: Around 6 pieces a week with a first cut in two working days and agreed revision rounds.

    Where it helps: Any production, design, marketing or client-service role that turns requests into deliverables on a schedule.

  • Organising and protecting files

    Evidence: Same-day ingest and backup, structured bins, proxies and archive on around 60 projects with nothing lost.

    Where it helps: Digital asset management, records, IT support, photography and archive roles.

  • Attention to detail under time pressure

    Evidence: Timed, script-checked captions and export checks against a delivery spec on every piece.

    Where it helps: Quality assurance, subtitling, publishing, proofreading and compliance roles.

  • Translating feedback into changes

    Evidence: Three to five versions per piece, each from producer or client notes, through to sign-off.

    Where it helps: Any job that works through review cycles, including design, software, copywriting and events.

Occupation notes

Hard requirements

  • A showreel or links to full pieces is the de facto hard requirement, and employers commonly set a short edit test as well. Put the link in the header, label each piece with your role and the brief, and never present a piece you only assisted on as your own cut.
  • Video editing is not a licensed or registered occupation; the hard requirements come from the advert: the named editing software (say plainly if you use it daily), delivery formats and sometimes a camera or motion-graphics skill. Where the advert names a tool, name it in the skills line and show it in the work.
  • Right to work in the country of hire is checked through the verified employer process at the stage required in that country and is not resume content; answer any sponsorship question on the application form.

Vocabulary that belongs on the page

  • Brief, paper edit, rushes (raw footage), selects
  • Rough cut, fine cut, picture lock, sign-off, revision round
  • Turnaround, versions, delivery spec, export preset, codec and bit rate
  • Aspect ratios: 16:9, 9:16, 1:1; reframing for social
  • Colour correction versus grading: exposure, white balance, shot matching, LUT
  • Audio clean-up: noise reduction, level matching, loudness (LUFS)
  • Media management: ingest, backup, bins, proxies, naming convention, archive

Pitfalls specific to this occupation

  • A resume laid out like a title card: full-bleed colour blocks, two columns, icons for contact details and the showreel link embedded in an image. Applicant tracking systems read columns out of order and cannot read text in images, so the link that matters most can vanish; check the plain-text reading with /tools/parser-preview and keep the design for the reel.
  • Calling basic correction 'colour grading' or clean-up 'sound design'. Senior editors test these claims in minutes; state the level honestly and say where you hand over.
  • Listing software versions and plug-ins as the main content. Name the editing software once; spend the space on throughput, formats and reliability.
  • Leaving out student and freelance work because it 'does not count'. At entry level, a 12-minute documentary cut from 11 hours of rushes and 14 paid freelance pieces are the evidence; label them and give the brief, turnaround and your role on each.

UK and US differences

  • UK: Many UK editing jobs are short fixed-term or freelance contracts; list them under one 'Freelance video editor' heading with dates and the number of pieces, so the resume does not read as job-hopping.
  • US: US postings say 'demo reel' or 'portfolio' and 'resume'; use US spelling (color, organize) and state frame rates and delivery formats in the terms the posting uses.

Common questions

How do I write a video editor resume with only a year of experience?

Measure the work you have done: pieces per week, turnaround, versions per piece, formats delivered and the media-management routine you follow. Add labelled student and freelance pieces, state colour and audio skills at the honest level and link a short reel with your role on every piece.

Should a video editor resume list every piece of editing software?

Name the software the advert names and the one you use daily; list the rest once, briefly. Producers hire for throughput, reliability and judgement with footage, and the reel shows the rest.

Keep going

Published 6 November 2026 · Every person, employer and figure in this example is fictional. Drafted with AI assistance and checked against Luceria’s editorial standards.