Complete practical guide
The short-form editing book about the batch that got muted
37 chapters and 68 worksheets on editing vertical clips - why twenty clips took thirty-four hours, why fourteen of them were muted after posting, and why a month of captions shipped half-covered without anybody noticing.
Look inside — read the first chapter freeOne payment, USD. Yours permanently — no subscription.
What this guide is
Remi quoted twenty clips a month. The price came from a sample: one three-minute segment with a good moment already in it, cut in twenty-five minutes. Twenty times twenty-five minutes felt like a manageable month. The first real month took thirty-four hours. The source was not a three-minute segment - it was six hours of long-form with no timestamps and no notes, so finding twenty moments meant watching all six hours before a single cut. Then captions checked word by word, because the client's product name was rendered three different wrong ways by the automatic pass. Then three platform versions, which turned out to mean three different safe zones and two different duration limits. Then five rounds of notes, arriving on the batch rather than on individual clips - 'the captions feel too big across all of them', which is twenty corrections after everything had already been exported three ways. Then, at month four, a batch built around a sound that was everywhere that week. The client's account was a business account. The sound was not cleared for commercial use. Fourteen of the twenty clips were muted after posting - playing in silence, with captions over them, on a brand's account, while their marketing manager explained it internally. At month seven a platform moved an interface element and every clip in that month's batch shipped with the bottom line of every caption half-covered, unnoticed for three weeks because Remi checked exports in an editing window and the client watched on a phone.
What you get out of it
Specifics, not promises.
- Why 'a fair bit of footage' is not a number, and what to ask instead
- The source band that makes twenty clips quotable at all
- Clips per production hour - the number this trade turns on, and nobody keeps
- The reference clip that turns a twenty-clip rework into a one-clip conversation
- Why a sound that is fine on a personal account mutes a batch on a business one
- The safe-zone grid your editing window cannot show you
- Why twenty clips is sixty exports, and only one of those numbers is visible to the client
- Four kinds of hook that exist in real footage - and why you cannot write a fifth
- Why last year's caption style dates you rather than demonstrating experience
- 148 AI prompts - and a large share exist to stop a wrong value becoming a template value
Ideal for
People editing vertical short-form video for brands, marketing teams, agencies, creators, local businesses and professionals as a side hustle - retained clip packages, batch campaign work, ad creative variants, template and system builds, repurposing long-form into short, and agency subcontracting. Particularly three groups: somebody whose batches take three or four times what they quoted; somebody who has never asked how many hours of source will arrive; and anybody who has had a batch muted after posting and did not know why.
- Anybody editing vertical clips for brands, agencies, creators or local businesses
- Somebody whose batches take three or four times what they quoted
- Somebody who has never asked how many hours of source will arrive
- Anybody who has had a batch muted after posting and did not know why
What's inside
Format
- Digital download, delivered instantly after payment
- Formatted for letter paper — read on screen or print it
- Yours permanently, re-downloadable from your library any time
- Licensed for use in your own business
By the end you can
A reader finishes with a customer type and platform set chosen on recurrence, templating, source form, variant count and account type rather than on subject; a source total measured by them before any price exists, from a sample watched from the middle rather than the start; a marking arrangement agreed - the client marks, a transcript is supplied, or the hunt is priced as a source band; three example clips extracted into a written style record covering caption style, pace, overlay use, sound treatment, clip length and finish; a four-component quote containing a batch fee, a per-clip rate at a stated source band, a stated variant count with the resulting export count written alongside the clip count, and a revision policy of one consolidated batch round with clip numbers; a template system carrying the caption style, a safe-zone grid built from a real device preview and dated per platform, recurring graphics, the end frame, sound levels, export presets and automatic naming - with the platform-dependent layer separated from the account-dependent one so a specification change is one edit; one complete reference clip built and approved before the batch, converting a twenty-clip rework into a one-clip conversation; a sound and asset licence register filled at the moment of placement with the account type it was cleared for; a pre-delivery batch check of eleven items run on a phone, on the batch rather than on clips; a quarterly specification and safe-zone re-check on a real device; and clips per production hour and batch approval rate counted from the first batch, which cost a note in a log and are the only measures of this work that are actually the editor's.
A complete working system for editing vertical short-form video - built on four rules covering the fact that a clip lives in its first second and that second is a moment somebody already said, so it can be found but never manufactured and finding it in unmarked source is the largest block of hours nobody prices; the fact that the unit is twenty clips rather than one, so every decision is made twenty times, every saving is multiplied twenty times and every mistake repeats twenty times before anybody sees it; the fact that aspect ratios, safe zones, duration limits, caption placement, sound availability by account type and platform preference are all borrowed, all change without announcement and all apply retroactively to every clip already built; and the fact that nothing delivered accumulates any value, so the only thing that compounds is the system and a price set against a piece is a price set against something with a shelf life of days - with revenue per production hour as the economic unit, clips per production hour as the leading indicator, batch approval rate as the risk indicator, and four gates the trade cannot be run profitably without: the source volume and form measured by the editor before any price exists, three example clips obtained and extracted into a written style record, one complete reference clip approved before the batch is built, and a pre-delivery batch check run on a phone in the actual applications.
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