Direct Response Video Editor for Meta Ads for Medical Clinics (Batch Editing)

Read this whole post before applying. The instructions at the bottom are part
of the test.

WHO WE ARE

Novaris Global. We run paid advertising for private medical clinics, mostly
plastic surgery and aesthetics. Our clients are in Singapore and we are
expanding. Our ads run on Meta. When they work, the clinic books consultations.
When they don't, we lose money. That is the entire scoreboard.

THE MAIN THING YOU WOULD BE DOING

Once or twice a month a doctor sits down and records for 30 to 60 minutes
straight. He works through a stack of scripts, flubs lines, restarts, goes off
on tangents, repeats himself, and says something better on the third take than
he did on the first.

Nobody slates the takes. Nobody marks where one ad ends. It is one long messy
file.

Out of that single file we need 30 to 60 finished Meta video ads.

Not 30 exports of the same cut. Thirty to sixty ads that each open differently,
run differently, and feel like they came from different creatives. That is how
Meta finds a winner, and it is the actual skill we are hiring for.

That means you:

• Watch the whole file and map what is really in there
• D ---------- where one ad ends and the next one starts
• Pick the strongest take of every line, not the first one
• Cut the sentences that add nothing. Warm ups, throat clearing, repeated

ideas, and the line that is technically true but kills the pace

• Reorder freely. If the best hook is something he said at minute 34, that line

goes to second zero

• Recombine. The same three sentences in a different order, with a different

opening line and a different first ten seconds, is a different ad

• Build each one properly. On screen text in the first two seconds, burned in

captions throughout, a lower third with his name and clinic, b-roll, sound
design, graphics, end card

THE OTHER TWO KINDS OF WORK

Not everything arrives as a batch. Some weeks you get a single clip and a brief
and we need one sharp ad out of it by tomorrow.

And some weeks you get a video sales letter. Long form, five to twenty minutes,
a doctor walking through an argument end to end. Completely different edit. The
hook still has to land in the first few seconds, but now you are holding
attention for fifteen minutes instead of thirty seconds, which means pacing,
chapter beats, visual variety, and knowing exactly where a viewer gets bored
and what to put there. If you have never cut long form, say so honestly. If you
have, lead with it.

EVERY AD HAS TO FEEL DIFFERENT

This is the part almost every editor fails.

When you cut 40 ads from one recording, the lazy version is one template with
40 different hooks dropped in. Meta sees through it, the audience sees through
it, and the account stalls.

We want visible variety across the set. Different caption styles. Different
graphic treatments. One ad that leans on text animation, one that is almost
bare and lets him talk, one built around a simple diagram, one with heavier
b-roll, one that opens on a graphic before he appears. Different rhythms.
Different energy.

Someone scrolling should never think they have already seen this ad. Play
around. Have opinions. Show us range.

THE LINE YOU CANNOT CROSS WHILE DOING IT

This is a surgeon, not a dropshipper. Every one of those 40 ads still has to
look expensive, clean, and calm. Variety in style, never variety in standards.

No meme zooms. No shake. No cartoon sound effects. No AI voice. No stock
footage of a family smiling at sunset. If an edit would look at home selling a
phone case, it is wrong for us.

The hard version of this job is doing both at once. Retention editing that
actually holds attention, inside a look a private surgeon would put his name
on. Most editors can do one or the other.

Medical advertising in Singapore is also regulated, and moves that are normal
everywhere else are illegal there. No before and after footage. No testimonials.
No "best" or "guaranteed." No countdowns or scarcity. We give you the full rule
sheet on day one, but you have to be someone who follows a rule sheet exactly,
every time, without being reminded.

WHAT YOU NEED TO ALREADY KNOW

• Hook rate and hold rate, and what actually moves them. If your answer to a

weak hook is "add a zoom," this role is not for you

• The first two seconds carry on screen text, because most of Meta watches on

mute

• A retention beat every few seconds. A cut, a caption change, a graphic, a

b-roll insert. Something has to change or they are gone

• Captions readable at arm's length on a phone, inside Meta's safe zones, not

sitting under the interface

• Sound design that supports the point instead of decorating it. A whoosh on

every cut is amateur work

• 9:16 at 1080x1920, correct loudness, correct export settings, and a first

frame that is not a blink

• Written English strong enough to judge a sentence. You are d ---------- which of

a surgeon's sentences survive. That takes real comprehension, not just an ear
for rhythm

NICE TO HAVE, NOT REQUIRED

If you can write, say so. If you can watch a raw recording and tell us "he
never said the thing that would make this ad work, here is what he should say
next time," that is worth more to us than another year of Premiere experience,
and it changes what we pay you.

THE SETUP

• Full time, 40 hours a week
• Your own machine that handles 4K without taking an hour to export
• Reliable internet, because you are moving large files
• Premiere, After Effects, DaVinci, CapCut, whatever you like. We care about

the output, not your toolkit

• You work directly with me. Small team, no layers, fast decisions

HOW THIS STARTS

A paid trial. Real footage, a real brief, real money for your time.

We are not going to pretend a reel tells us anything. Plenty of great reels
were cut by somebody else. The trial tells us what you actually do when a messy
file lands in your lap.

If the work comes back genuinely excellent, and we mean excellent and not
acceptable, we move straight to a full time offer. If it does not, you keep the
money and we part on good terms.

BEFORE YOU D ---------- THIS IS TOO MUCH WORK

Yes, this application asks more of you than the other posts on this site. That
is deliberate. So here is the honest math on what you are applying to.

We are hiring one person, once. Whoever we pick stops applying for jobs.

You are not applying to a task. You are applying to a department that does not
exist yet, with your name on it. Right now every video for every client we have
runs through one folder and one to do list. The person we hire builds what
replaces that. You set the standard. You make the templates every editor after
you works from. You hire those editors and review their work instead of doing
it. Head of Video, across every account, fully in house. Not a freelancer we
message when something comes up. On the team, in the meetings, in the decisions.

You will also see the money side, which almost no editor anywhere gets to see.
Hook rate on your cuts. Cost per lead. Which clinic booked how many
consultations off which edit. That feedback loop is the entire difference
between an editor who is good at software and an editor who is worth whatever
they ask for, for the rest of their career. We will hand it to you.

And here is why we can pay for that. Our clients do not pay us a flat fee. We
take a share of the revenue we generate for them. When your ad wins, we do not
save money, we make more of it. So we would far rather pay one exceptional
editor well beyond what this platform normally pays than hire five cheap ones
and manage them. Your ceiling here is not an hourly rate. It grows with the
accounts you are cutting for.

A few hours today. If we are right about each other, you will look back on this
as the best few hours you ever spent on an application.

If none of that moves you, please do not apply. We would rather read ten
serious applications than a hundred lazy ones.

HOW TO APPLY

Do all four. Applications missing any of them get deleted unread.

Two of these are what we actually judge: the ads you have already cut, and what
you cut for us. The other two take a minute each. Spend your time on the first
two.

1. Make THUMBSTOP the first word of your message.

2. Send three to five direct response video ads you personally cut.

What counts: ads that actually ran as paid media on Meta, TikTok, or
YouTube. Something built to make a stranger take an action.

What does not count and will get your application closed: showreels,
montages, wedding films, YouTube intros, vlogs, corporate brand videos,
event recaps, anything cut to music with no message.

Do not send a reel. Send the ads themselves, full length, exactly as they
ran. We watch from the first frame, because the first frame is the job.

For each one, one line covering:

• Who it was for and what it was selling
• Whether it ran as paid media, and roughly what it spent if you know
• Any numbers you have. Hook rate, hold rate, CTR, cost per result. If you

have none, say none. We would rather hear that than a guess

• What you personally did on it, honestly. If you cut it start to finish,

say so. If you did captions and graphics on somebody else's assembly, say
that instead. We will find out either way, and the honest answer has never
cost anyone the job

If your strongest work is under an NDA, send what you can and tell us what
we are missing.

3. Cut something from this file:

----------

THE MINIMUM is five seconds. Just the hook. The opening that would stop
someone scrolling, with whatever on screen text, sound, graphics, and
cutting you think earns those five seconds. Start from any moment in the
file you want. A genuinely strong five seconds is enough to get you
shortlisted.

THE FULL AD IS BETTER. If you send a finished ad cut from this file, hook
through to end card with captions all the way, we will watch every second of
it and you go to the top of the pile. It is not required. It is an
opportunity, and the people who take it are usually the people we hire.

Either way,