Verified Job
Video Editor
Food Videographer & Video Editor-Story From The Kitchen
Video Editor
#787472
Remote / WFH
Story From The Kitchen
Job Description
Qualifications
No fast cuts, no whip pans, no reaction shots
The confidence has to read in the hands
If the sizzle is thin or the room hums, the video has failed and no amount of grading fixes it
Camera coverage is three positions: a locked overhead for prep and hands, a locked 45-degree for the stovetop, and a moving low angle for plating, the pour, and the reveal
Responsibilities
I’m building the video side of the business and I need one person to shoot it and cut it
The biweekly production schedule is the core of this job
Everything else is secondary to it running on time, every time, at the same standard
This is cooking, filmed quietly and well
Directional, aimed at the food rather than the room, mounted on something that doesn’t transmit vibration from the counter or the burner
Hard light and glare kill it
Hands and pace do the acting
Unhurried, deliberate movement
The framing is hands, food, and pan for the entire runtime
This makes audio the most important technical skill in the role, ahead of camera work
Three dishes cooked and filmed back to back, each becoming its own video
Roughly eight hours, on your feet, in a working kitchen, while I cook around you
3 long-form videos, four to eight minutes each, one dish per video
5 to 7 vertical cuts, 10 to 60 seconds, for Shorts, Reels, and TikTok
3 photographed hero stills, one per dish, shot within 30 to 60 seconds of plating, fo
Job description
About the work
Story From The Kitchen is a private chef practice in Northeast Tarrant County. I cook multi-course dinners in clients’ homes: anniversaries, proposals, milestone birthdays, corporate evenings.
I’m building the video side of the business and I need one person to shoot it and cut it. The biweekly production schedule is the core of this job. Everything else is secondary to it running on time, every time, at the same standard.
What good looks like in this format The reference points are the silent hands-only cooking channels: Peaceful Cuisine, Nino’s Home, HidaMari Cooking, Cooking Tree, Emojoie. Not the eating-ASMR genre (SAS-ASMR, Zach Choi and similar). Those are mukbang with a microphone. This is cooking, filmed quietly and well. If you don’t know the difference, watch one of each before applying.
What those channels have in common, and what I’m asking you to deliver:
Sound and picture are locked to each other. When the viewer hears the sizzle they see the oil moving. When they hear the knife they see the blade at close range. Every sound has a visible source in the same frame. A cut that plays a sound over the wrong image is the fastest way to break the effect.
The mic lives three to eight inches from the source, just out of frame. Directional, aimed at the food rather than the room, mounted on something that doesn’t transmit vibration from the counter or the burner. Stereo where it earns its place, since chopping and stirring have spatial character worth keeping.
Sound design in post is real work. A gentle low-end roll-off to kill room rumble, a lift in the high-mids where the crunch and the crackle live, and compression that evens the loudness without flattening the dynamics. This is the difference between footage of cooking and a video someone watches twice.
Silence has to be usable. The near-silent moments carry as much as the loud ones, which means the noise floor has to be genuinely clean rather than merely quiet.
Texture over spectacle. The sounds that work are the ones with a distinct signature: the sear, the crackle of skin, bread tearing, a knife through crust, liquid reducing. Pick the beats with sound in mind, not just picture.
Soft, raking light. Texture is the whole point. The gleam on an oiled board, steam off a pan, fat rendering. Hard light and glare kill it. So does flat, even light.
No preamble. No intro sequence, no branding animation, no logo sting. The first frame is already the cooking. These channels earn attention by starting immediately and never asking for anything.
Hands and pace do the acting. Unhurried, deliberate movement. No fast cuts, no whip pans, no reaction shots. The confidence has to read in the hands.
The format
Every video is silent ASMR, hands only. No voiceover, no music, no face, no presenter. The framing is hands, food, and pan for the entire runtime. I am never on camera.
The sound of the cooking is the whole soundtrack: the knife on the board, the sear when the protein hits the pan, the crackle of skin, the pour of the sauce, the plate set down. All of it captured live in the room. Nothing foleyed, nothing pulled from a sound library, no music laid underneath.
Recipe, measurements, and full instructions live in the video description, written by me. The video’s only job is to be watched.
This makes audio the most important technical skill in the role, ahead of camera work. If the sizzle is thin or the room hums, the video has failed and no amount of grading fixes it. I can silence the kitchen, appliances off and phones away, but you need to arrive knowing exactly what you want to mic and how.
The production day
One day every two weeks, in my kitchen in Colleyville. Three dishes cooked and filmed back to back, each becoming its own video. Roughly eight hours, on your feet, in a working kitchen, while I cook around you.
Camera coverage is three positions: a locked overhead for prep and hands, a locked 45-degree for the stovetop, and a moving low angle for plating, the pour, and the reveal. One operator, three positions. Two of them don’t move once they’re set.
Because it’s my own kitchen, the setup is semi-permanent. Mounts, marks, and lighting positions stay in place between shoots, so setup gets faster every session rather than starting from zero each time.
Delivered from each production day:
• 3 long-form videos, four to eight minutes each, one dish per video
• 5 to 7 vertical cuts, 10 to 60 seconds, for Shorts, Reels, and TikTok
• 3 photographed hero stills, one per dish, shot within 30 to 60 seconds of plating, fo
No fast cuts, no whip pans, no reaction shots
The confidence has to read in the hands
If the sizzle is thin or the room hums, the video has failed and no amount of grading fixes it
Camera coverage is three positions: a locked overhead for prep and hands, a locked 45-degree for the stovetop, and a moving low angle for plating, the pour, and the reveal
Responsibilities
I’m building the video side of the business and I need one person to shoot it and cut it
The biweekly production schedule is the core of this job
Everything else is secondary to it running on time, every time, at the same standard
This is cooking, filmed quietly and well
Directional, aimed at the food rather than the room, mounted on something that doesn’t transmit vibration from the counter or the burner
Hard light and glare kill it
Hands and pace do the acting
Unhurried, deliberate movement
The framing is hands, food, and pan for the entire runtime
This makes audio the most important technical skill in the role, ahead of camera work
Three dishes cooked and filmed back to back, each becoming its own video
Roughly eight hours, on your feet, in a working kitchen, while I cook around you
3 long-form videos, four to eight minutes each, one dish per video
5 to 7 vertical cuts, 10 to 60 seconds, for Shorts, Reels, and TikTok
3 photographed hero stills, one per dish, shot within 30 to 60 seconds of plating, fo
Job description
About the work
Story From The Kitchen is a private chef practice in Northeast Tarrant County. I cook multi-course dinners in clients’ homes: anniversaries, proposals, milestone birthdays, corporate evenings.
I’m building the video side of the business and I need one person to shoot it and cut it. The biweekly production schedule is the core of this job. Everything else is secondary to it running on time, every time, at the same standard.
What good looks like in this format The reference points are the silent hands-only cooking channels: Peaceful Cuisine, Nino’s Home, HidaMari Cooking, Cooking Tree, Emojoie. Not the eating-ASMR genre (SAS-ASMR, Zach Choi and similar). Those are mukbang with a microphone. This is cooking, filmed quietly and well. If you don’t know the difference, watch one of each before applying.
What those channels have in common, and what I’m asking you to deliver:
Sound and picture are locked to each other. When the viewer hears the sizzle they see the oil moving. When they hear the knife they see the blade at close range. Every sound has a visible source in the same frame. A cut that plays a sound over the wrong image is the fastest way to break the effect.
The mic lives three to eight inches from the source, just out of frame. Directional, aimed at the food rather than the room, mounted on something that doesn’t transmit vibration from the counter or the burner. Stereo where it earns its place, since chopping and stirring have spatial character worth keeping.
Sound design in post is real work. A gentle low-end roll-off to kill room rumble, a lift in the high-mids where the crunch and the crackle live, and compression that evens the loudness without flattening the dynamics. This is the difference between footage of cooking and a video someone watches twice.
Silence has to be usable. The near-silent moments carry as much as the loud ones, which means the noise floor has to be genuinely clean rather than merely quiet.
Texture over spectacle. The sounds that work are the ones with a distinct signature: the sear, the crackle of skin, bread tearing, a knife through crust, liquid reducing. Pick the beats with sound in mind, not just picture.
Soft, raking light. Texture is the whole point. The gleam on an oiled board, steam off a pan, fat rendering. Hard light and glare kill it. So does flat, even light.
No preamble. No intro sequence, no branding animation, no logo sting. The first frame is already the cooking. These channels earn attention by starting immediately and never asking for anything.
Hands and pace do the acting. Unhurried, deliberate movement. No fast cuts, no whip pans, no reaction shots. The confidence has to read in the hands.
The format
Every video is silent ASMR, hands only. No voiceover, no music, no face, no presenter. The framing is hands, food, and pan for the entire runtime. I am never on camera.
The sound of the cooking is the whole soundtrack: the knife on the board, the sear when the protein hits the pan, the crackle of skin, the pour of the sauce, the plate set down. All of it captured live in the room. Nothing foleyed, nothing pulled from a sound library, no music laid underneath.
Recipe, measurements, and full instructions live in the video description, written by me. The video’s only job is to be watched.
This makes audio the most important technical skill in the role, ahead of camera work. If the sizzle is thin or the room hums, the video has failed and no amount of grading fixes it. I can silence the kitchen, appliances off and phones away, but you need to arrive knowing exactly what you want to mic and how.
The production day
One day every two weeks, in my kitchen in Colleyville. Three dishes cooked and filmed back to back, each becoming its own video. Roughly eight hours, on your feet, in a working kitchen, while I cook around you.
Camera coverage is three positions: a locked overhead for prep and hands, a locked 45-degree for the stovetop, and a moving low angle for plating, the pour, and the reveal. One operator, three positions. Two of them don’t move once they’re set.
Because it’s my own kitchen, the setup is semi-permanent. Mounts, marks, and lighting positions stay in place between shoots, so setup gets faster every session rather than starting from zero each time.
Delivered from each production day:
• 3 long-form videos, four to eight minutes each, one dish per video
• 5 to 7 vertical cuts, 10 to 60 seconds, for Shorts, Reels, and TikTok
• 3 photographed hero stills, one per dish, shot within 30 to 60 seconds of plating, fo
