Assistant Editor

ABOUT CHANGING LIVES PRODUCTIONS:

Changing Lives Productions is the in-house video production company of Dhar Mann Studios, the #1 creator of scripted positive content online. With over 163 million followers and 82+ billion views across YouTube, Facebook, Instagram, and TikTok, our videos receive more than 1 billion views each month.

We produce several hours of original content weekly with messages of compassion, kindness, and altruism that resonate with viewers of all ages. Our stories tackle real-life challenges and deliver powerful life lessons that resonate with global audiences.

Founded by Dhar Mann, named the “Moral Philosopher of YouTube” by The New York Times, a Time Top 100 Creator, and ranked #2 on Forbes’ 2025 Top Creators list—our founding principle is simple but ambitious: We’re not just telling stories. We’re changing lives.

BIG PICTURE:

We’re looking for an Assistant Editor who keeps our post-production pipeline organized and moving. You’ll collate and prep project files for our VFX and color teams, and manage the digital assets behind every episode we produce.

This is a hands-on support role. You’ll make sure editors, VFX artists, and colorists get clean, complete, correctly structured files on time, and that every piece of footage, project file, and finished master is ingested, organized, backed up, and archived.

Why this role matters

We deliver several hours of original content every week. Missing media, broken links, or poorly prepped turnovers cost our VFX and color teams hours they don’t have.

A well-run library, with clear naming, accurate metadata, and reliable archives, means faster turnarounds, easy re-versioning, and no lost work. You’ll be the person who makes handoffs between editorial, VFX, and color seamless.

HOW YOU’LL SPEND YOUR TIME:

Assistant editorial: file collation and handoffs

• Collating all project files, media, graphics, music, and SFX for each episode into a complete, correctly structured package
• Relinking offline media, consolidating projects, and making sure nothing is missing before a handoff
• Organizing project bins, sequences, and timelines so editors can pick up work without delays
• Syncing audio and video, and building stringouts or selects when requested
• Tracking each episode’s status and flagging missing assets or technical issues early

VFX prep

• Preparing VFX turnovers: exporting plates with handles, reference clips, and EDL/XML files to spec
• Naming and numbering VFX shots consistently and logging them in the VFX tracker
• Packaging shot notes, reference frames, and editor instructions with each turnover
• Bringing returned VFX shots back into the timeline and checking them for sync, frame accuracy, and version

Color prep

• Preparing locked cuts for color: simplifying timelines, flattening tracks, and removing unsupported effects
• Exporting XML/AAF/EDL files and reference videos for the colorist
• Confirming all source media is linked and accessible for the grade
• Conforming and patching graded media back into the edit, then QC’ing against the reference

Digital asset management

• Ingesting and verifying camera footage, audio, graphics, and music using checksum-verified offloads
• Maintaining folder structures, file-naming conventions, and version control across raw footage, projects, and deliverables
• Logging and tagging assets with accurate, searchable metadata (series, episode, talent, shoot date, usage rights)
• Uploading all working files and backups to the server in the agreed path, so any editor can pick up a project
• Creating proxies, transcodes, and alternate versions (textless, clean, localized) as needed
• Exporting and QC’ing final masters to spec (resolution, codec, aspect ratio, captions, loudness)
• Archiving completed projects to long-term cloud and offline storage, and retrieving archived media on request
• Monitoring storage capacity and keeping drives and servers clean per retention guidelines
• Keeping asset trackers, delivery logs, and archive records up to date

WHAT YOU HAVE:

• 3–5+ years of experience as an assistant editor, media manager, or in post-production operations
• Strong proficiency in Adobe Premiere Pro, including Project Manager, consolidating and relinking media, and proxy workflows
• Hands-on experience preparing VFX turnovers and color handoffs (EDL, XML, AAF, plates with handles)
• Working knowledge of codecs, formats, frame rates, resolutions, and export settings, and the ability to spot technical issues during QC
• Exceptional organization and attention to detail, with the discipline to keep naming, folder structures, and metadata consistent under tight deadlines
• An understanding of backup and archival best practices (3-2-1 rule, checksum verification with tools like Hedge or ShotPut Pro, cloud and LTO storage)
• Proficiency with Google Sheets, Excel, or Airtable for tracking assets, turnovers, and deliveries
• Clear, proactive communication, especially when flagging missing files or delays

Nice to have

• Familiarity with DaVinci Resolve and After Effects
• Experience with DAM/MAM and review platforms (Frame.io, Iconik, Air, CatDV, or similar) and shared storage (Google Drive, Dropbox, LucidLink)
• Basic understanding of music licensing, clearances, and usage rights
• Experience in a high-volume content studio or episodic workflow

WHO OVERSEES YOU:

The Assistant Editor reports to the Jr. Post Production Manager.

WHO YOU OVERSEE:

No direct reports at this time.

WHERE IT ALL GOES DOWN:

You’ll work remotely from home or a personal office and log hours in Dhar Mann Studios’ time-tracking software.

WHEN THE MAGIC HAPPENS:

The typical schedule is 40 hours per week. Specific hours and shift overlap with the US team will be discussed during interviews

Originally posted on Himalayas