01
The master
Graded, mixed and captioned, exported to your channel's spec and named the way your upload workflow already expects.
Video editor · Gaming & retention
Cuts that hold the graph.
I edit long-form gaming for creators who care where the graph drops — then cut the best moments down for Shorts.
Premiere Pro
After Effects
DaVinci Resolve
The approach
What I actually edit for.
Most edits lose people in the first ninety seconds and never get them back. I cut structure first — hook, pacing, and the exact place the graph gives up — before anything gets polished.
Selected work
The work.
Long-form gaming edits and the Shorts cut from them. Every thumbnail links to the real upload — no showreel, no mockups.
What lands in your inbox
Not just a file.
02
Shorts, cut from it
The moments that carry on their own, reframed to 9:16 with the hook already inside the first second.
03
Thumbnail frames
Clean stills pulled at the peak moments, ready for whoever designs your thumbnails — or for you.
04
The project file
Organised, labelled, and yours. If we ever stop working together, nothing stays locked inside my machine.
How it works
Four steps, no surprises.
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Brief & footage drop
You send the raw files and the goal for the video. I confirm scope and turnaround before touching a timeline — so nothing about the price moves later.
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Story pass
I cut for structure first: hook, pacing, and exactly where the graph drops. You see this pass before any polish exists — changing the shape is cheap here and expensive later.
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Polish
Sound design, colour, motion and captions — the layer that makes it feel expensive. It only goes on top of a structure you already signed off.
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Revisions & delivery
Two rounds included, delivered in your format and naming convention. On schedule — and if something slips on my end, you hear it from me first.
Before you ask
The honest answers.
[Fill in: e.g. "A 20-minute long-form edit is 4 to 6 days from footage drop. Shorts are next-day."] Whatever it is, you get it in writing before I start, and I tell you the moment anything threatens it.
It's usually an advantage. You finish recording, I work while you sleep, and the cut is waiting when you wake up. I answer within one business day, and I overlap with US hours in the evening.
Google Drive, Dropbox, Frame.io — whatever you already use. If you have nothing set up, I send you a folder link and you drag the files in. Proxies and transcoding are my problem, not yours.
That's exactly what the story pass is for. You see the structure before a single transition exists, which is when changing it is cheap. Two rounds of revisions come after that — and in practice the second one is rarely used.
[Fill in: e.g. "Wise or PayPal."] First project is 50% up front and 50% on delivery. After that we settle into whatever rhythm suits your upload schedule.
Next step
Send me the footage.
Tell me the channel and the goal for the video. I reply within a day with turnaround and a quote — no call required unless you want one.
bruno@brunoross.com