Performance Creative Editor (Contract)

We sell mushroom coffee direct to consumers. Paid ads on Meta and Google are how we grow, and the creative is the variable that decides whether it works. We test continuously and we measure what wins, so the feedback you get here is specific rather than taste-based.

Our creative strategists write the scripts and own the angle. You own the execution and, specifically, the first five seconds. You will ship 15 to 25 finished ads a month, deliberately fewer than most performance shops expect, because we would rather you spend the hours deciding what to change than cutting another variant nobody learns from.

What you will do

• Cut paid ads for Meta and Google from scripts and angles handed to you by a strategist. Vertical, sound-on, short, fast-paced.
• Own the hook. The script arrives written; the first five seconds are your call. We have firm views, built from our own account data, about which openers work for this product and which quietly kill a good ad. You will learn them in week one, apply them without being asked, and argue when one is wrong.
• Iterate winners, not only originate. Most of your month is making something that already works work harder, which in our testing beats originating from scratch by a wide margin.
• Build variants that change one thing on purpose. We have burned whole quarters on same-day copies that duplicated instead of testing. A variant that teaches us nothing is worse than no variant.
• Read your own numbers. You get access to our creative analytics and attribution tools, and your output is measured. You bring reads to the weekly creative review rather than waiting to be told what lost.

Requirements

What we are looking for

Three or more years cutting ads that ran on a paid account. We care about what you have shipped, not your title.

Required

• Paid ads as the spine of your work. You can name a brand that spent money distributing something you cut.
• A performance number you personally moved on a specific piece of creative, before and after.
• You know which metrics decide and which mislead. An ad is judged on spend and acquisition cost over its first week, not on thumbstop or hold rate. Plenty of good editors optimise for retention and engagement because those are the numbers they are shown. We will ask you which metrics you have actually been held to and what you think they do and do not predict. There is a right answer and it is not the obvious one.
• AI creation, fluently and invisibly. Generative tooling is how you hit variant volume at this cadence: image and video generation, voice, upscaling, automated captioning and reframing. The bar is output nobody can tell was generated. We are not buying AI-looking content, we are buying your speed.
• Premiere or DaVinci to a professional standard, plus After Effects or CapCut. You finish your own sound.
• English good enough to argue with a media buyer about why a hook is wrong.
• Your own machine, reliable internet, a quiet place to take a call.

Strongly preferred

• Supplements, wellness, beverage, beauty or DTC subscription. Our claims language is regulated.
• Range across the formats direct response actually runs on: offer-led creative, objection and confession openers, and one person talking to camera. Tell us which you are strongest in.
• Creative analytics tooling such as Motion, Triple Whale or Northbeam.
• Cutting from creator and UGC footage, including the unglamorous work of making mediocre raw material perform.

Not required: a degree, a cinematic showreel, agency names on your resume, or managing anyone.

Before you apply

We decline a lot of genuinely skilled editors who have never cut a direct-response ad. That wastes everyone's time, so, plainly:

Not a fit if your portfolio is mainly corporate or internal communications, brand films, weddings and events, news or broadcast, documentary, event recaps and sizzle reels, music videos, real estate, podcast production, long-form YouTube, or B2B training. Those are real crafts and close to the opposite problem: a beautiful 90-second brand film and an ad that holds a stranger for three seconds and sells coffee are not the same skill.

The test: can you name a brand that paid to distribute something you cut, and the metric you were judged on? If the honest answer is that you have made great videos but nobody bought media against them, this seat will not work, and we would rather say so now than after two interviews.

One more thing. A cover letter that repeats this posting back to us reads exactly as it sounds. Tell us about your work instead.

Benefits

Engagement

Independent contractor, ongoing, invoiced monthly. Not employment.

Location

Remote, anywhere in Mexico, Brazil, Argentina, Colombia, Chile, or Uruguay. You are responsible for your own taxes and any local registration.

Hours

Async by default. We ask for 2-3 hours of daily overlap with Austin, Texas (Central Time) for the creative review and buyer conversations. You choose which hours.

Commitment

Full-time equivalent effort. We are not looking for someone fitting this between three other clients.

Equipment

Yours. We provide software seats (Adobe CC, Motion, Frame.io) and all footage, product and creator assets.

Start

As soon as the right person is found.