Story-first YouTube post-production
For entrepreneurs, founders and experts who sell what they know — courses, communities, consulting. Not more effects, more text, more noise. The right cuts, so the video lands the way you meant it to.
The actual problem
Same zooms. Same stock B-roll. Same three sound effects. Editors reach for volume because volume is easy to show and easy to charge for — and somewhere in all of it, the thing that made you worth watching gets buried.
Your content already has a feeling in it. The pause before the point. The line you got right on the third take. The place where you stopped performing and just said the thing. Most editing flattens that. It fills the gaps instead of using them.
I work the other way. I find what your content already is and I cut everything that stands in front of it. What people walk away with isn’t the edit — it’s how you made them feel. That’s the part that has to survive.
Rule no. 1If a cut doesn’t move the idea or the feeling forward, it doesn’t survive.
Selected work
Each one is a full edit you can watch end to end. Under each, the two or three decisions that actually shaped it — because the cuts that do the most work are the ones you were never meant to notice.
[ One line on what the video had to do — the audience, the idea, what a win looked like. ]
[ What the original was, and what you set out to prove with the re-cut. ]
Concept re-edit of publicly available material. Unpaid, unaffiliated, and not commissioned by the creator.
[ … ]
[ … ]
Shorts, cut from the same sessions
Authority shorts come out of the long-form edit, not a separate production. Same voice, same standard — because a short that sounds like a different channel costs you more than it earns.
What I do
Primary
Story structure, pacing, sound and restraint. The main event — essays, interviews, lessons, launches. This is what the whole operation is built around.
Derived
Cut from the long-form master, not filmed separately. They carry the same voice because they come from the same session and the same decisions.
On the house
When I watch your footage every week, I see things. How you open, where the light falls off, the minute people start drifting. I’ll tell you, and suggest what to change before the next recording. It isn’t a line on the invoice. It’s what happens when someone pays close attention to your work.
Turnaround
5–7 days
First cut on a long-form edit, from the moment usable footage lands.
48 hours
Shorts, once the long-form master exists.
Same working day
Reply to any message, every day I’m working.
These are retainer times. One-off projects run a day or two longer: see how engagements are priced.
How it works
Six steps. Each one exists to remove a specific risk for you, not to look thorough.
You send ten minutes of real footage. I cut it properly and you pay for the time. You see exactly how I think before either of us commits to anything longer.
A questionnaire about your audience, your references, what you want a viewer to feel, and what you can’t stand. It takes you twenty minutes and it prevents most of the revision rounds that would otherwise happen.
I go through your back catalogue, your comments and the channels you admire. Not to copy them — to find where your work already differs and make that deliberate.
A written document: pacing, typography, colour, sound, how cold opens start, what never gets used. Plus visual references. It’s yours to keep, and it’s what we both edit against.
One call on the style sheet before any retainer starts. You push back, I adjust, we agree the direction in writing. Then the agreement and scope get signed.
You record, I cut, you leave timestamped notes. Every note goes back into the style sheet, so the same correction never happens twice. By month two you’re reviewing, not directing.
Working together
Priced per finished minute, scoped after I’ve seen your footage and understood what the video has to do. Effort doesn’t track runtime — a tight eight-minute cut can be harder than a loose forty — so I quote the project, not the clock.
Retainer clients are scheduled first, so one-off projects take a little longer: +2 days on long-form (7–9 days to a first cut) and +1 day on shorts (72 hours).
Most people end up here. A fixed slot in my month covering long-form plus the shorts that come out of it, matched to how often you publish. I keep a small number of clients at a time, so capacity is genuinely limited.
Send me the channel and ten minutes of footage and you’ll have a number within a couple of days — along with what I’d actually do with it.
Who you’re actually working with
One editor. Not an agency, not a queue, not a different person every month. You get the same eyes on your work every week, and those eyes get better at your work the longer we go.
[ Your full bio goes here — send it and I’ll write this properly. What matters: how long you’ve been editing, and anything that explains why you think about content the way you do rather than just cutting it. ]
Before Peakline I spent [ X ] years as the edit partner to 100+ American business owners — people running their own practices, publishing every week, with their own name on everything that went out. Deadline after deadline, for years. That’s where I learned that consistency is the whole job, and that an owner’s reputation is the thing you’re actually handling.
[ Based in Tehran, working with clients across the US and Europe. Overlap hours and how I run the week go here. ]
Before you ask
Next step
Tell me the channel, what you publish and what you want a viewer to walk away feeling. I’ll come back with what I’d do with it — specifically, not in general terms — and what it would cost. If it’s not a fit I’ll say so; I keep a small number of clients, so taking the wrong one costs me more than it costs you.
Or book twenty minutes: [ scheduling link ]
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