What the work actually involves
This is not client editing work with a deadline and a delivery link. You will be handed video data — raw footage, timelines, comps, sometimes model-generated attempts at edits — and asked to label, categorize, or reconstruct what a competent editor would do with it. On a typical task you might annotate cut points and transition types across a sequence, build a short motion-graphics composite in After Effects and document each keyframe decision, or rank two model outputs on whether the compositing is technically correct. The written record matters as much as the render: a beautifully executed lower-third with no explanation of the easing curve or the track matte choice is close to useless as training data.
What the screen is looking for
micro1's screening is AI-led and conversational, and it pushes on specifics. Expect to be asked which effects and panels you actually use, how you'd solve a concrete compositing or keyframing problem, and why one approach beats another. Vague fluency ("I'm proficient in the Adobe suite") collapses quickly under follow-up. The screen also tests annotation judgment: whether you can apply a written spec consistently rather than defaulting to personal taste, and whether you flag ambiguous guidelines instead of quietly guessing. Note the listing's own framing — this track is scoped for entry-level to mid-level editors, and senior professionals are explicitly not the target.
Logistics
- Fully remote, contractor engagement, no fixed office hours.
- Work is largely asynchronous and batch-based; throughput expectations and turnaround windows come from the project coordinator per batch.
- You supply your own licensed Adobe Premiere Pro and After Effects installation and a machine that can render without choking.
- Volume fluctuates with customer demand — treat it as a variable-hours contract, not a salaried post.
- Pay band is stated as observed on the platform for this role type; actual rate depends on the project, your assessed depth, and location.