Video Editor and Motion Designer
Summary
Remote Video Editor and Motion Designer creating educational animations and explainer videos for Contour Education. Day-to-day involves animating concepts in After Effects, cutting narrative and explainer edits in Premiere Pro, managing audio, and building reusable MOGRT templates within a cloud-based production pipeline.
This is a remote position.
Video Editor and Motion Designer, India Remote (India) | Full-Time Also searched as: Video Editor, Motion Designer, Motion Graphics Designer, After Effects Editor
Can you take a rough brief, build the educational animation it needs, and cut the video so exactly the right thing is on screen at the right moment?
On a typical day you might animate a tricky concept in After Effects in the morning, refine an explainer edit and fix its audio after lunch, and post a review cut to Frame.io with a note on what is still open before the end of day.
About Contour
We started in 2020 with a handful of students and a belief that great education should not be out of reach. Today we operate across three brands with 8,000+ students and 425+ team members: roughly 100 in India and 325 onshore in Australia. This role sits in creative production, making the video and motion that carry the Contour brand.Your videos are the first point of contact for thousands of students and often what makes a difficult concept finally click.
About This Role
You are the editor and animator behind Contour's educational videos: the person who takes a brief and turns it into motion, visual aids, and a finished cut that looks considered and sounds clean.
You report to our Content Producer, who owns creative direction, briefs, brand calls, review, and sign-off. You have full ownership of how the brief is interpreted, and of the animation, editorial, design, and audio choices.
You are one half of a two-person production team. Your counterpart leads on short-form social; your patch is the educational video and the motion, the longer explainers and the animation that makes a hard idea land. The split marks where each of you sits by default, not a wall: you pick up short-form when the work calls for it.
The bar here is different in two specific ways. You have an eye for design: where an element sits, how it is spaced, what actually reads clearly on screen, beyond simply being able to animate. And you have an ear: you notice when audio sounds wrong and fix it properly, finding and correcting the technical issue rather than leaning on a single automated noise-reduction pass.
Contour makes a lot of video, and its quality is what a lot of students see first. The gap between a concept that lands and one that does not is often the edit and the animation. By the end of your first few weeks, you will be cutting narrative and explainer pieces to brand without supervision, have extended the MOGRT library and put it to use, and be turning urgent requests around same-day without being chased. Visible progress in Notion, clean audio, and on-brand finishes are the norm from the start, not something anyone has to ask for. The MOGRTs and templates you build get reused long after any single piece ships.
Where the work lives
This role runs inside Contour's cloud-based editing and review pipeline. Confidence across these is essential, and each one comes with an expectation, not just a login:
- Adobe Premiere Pro: your primary edit environment, including Premiere Productions for collaborative, multi-editor projects. You work inside the shared structure without breaking it.
- Adobe After Effects: where the motion graphics and animation get made.
- Motion Graphics Templates (MOGRTs): you build, adapt, and apply templated graphics so the team can reuse them consistently.
- LucidLink: all media lives here, so disciplined file handling and naming inside the shared structure is expected.
- Frame.io: review, versioning, and feedback. You upload cuts and respond to timecoded comments as part of the normal loop.
- Notion: where projects, briefs, tasks, and deadlines are tracked. Keeping your task status current here is how the team sees progress without having to ask.
What You Will Do
- Animate and build motion graphics. Create animation and motion in After Effects to brief and to brand. Build, adapt, and apply MOGRTs so graphics stay consistent and reusable. Make the placement, spacing, and timing calls so an element reads clearly and looks considered. A better idea on graphics or motion, well flagged, is welcome.
- Edit and finish to a high standard. Cut narrative, educational, and short-form content in Premiere with real attention to detail. Apply Contour's brand accurately: fonts, colours, style, layout. Keep the finish clean: framing, spacing, timing, captions, transitions.
- Cut so the right content lands. Choose the takes and the sequence that put the right thing on screen at the right moment, so the teaching is clear and nothing important gets buried.
- Get the audio right. Listen critically to how a piece actually sounds, balance levels, and fix problems properly rather than leaning on one noise-reduction pass. Source appropriate, licensed music that fits the tone and pacing.
- Stay visible, not silent. On a remote async team, the difference between a contributor who works and one who does not is whether the rest of the team can see what is happening. Keep progress current in Notion, tell the team where a piece is up to and when it will be ready, and respond to Frame.io feedback confirming what is actioned and what is still open.
- Flag early. Raise blockers, risks, and genuine questions while there is still time to act on them. Ask the right clarifying question rather than guessing in silence.
- Take a rough brief and run with it. Make sensible creative calls from a partial brief, come back with something close, then refine. Handle quick-turnaround and urgent requests calmly, and say so early if a deadline is genuinely at risk.
If a better tool or approach would make the work sharper or faster, make the case and we will back it.
Requirements
What You Need
- Proven, hands-on delivery in Premiere Pro and After Effects, with a portfolio of completed work you can show.
- The ability to build and adapt MOGRTs and work inside shared Premiere Productions structures without breaking them.
- A strong grasp of composition, spacing, and visual hierarchy.
- Real audio ability: critical listening, leveling, and manual restoration rather than a single automated pass.
- Editorial judgement: you cut for clarity, pacing, and narrative impact.
- Clear, proactive async communication: you document status and close out feedback without being chased.
- Reliability under deadline pressure: you manage urgent requests and flag risk early.
Nice to Have
- Experience making educational or explainer content, where clarity of the idea matters as much as the look.
- A back catalogue of motion graphics or MOGRT systems you have built and reused.
- Prior work in a live cloud production workflow with review and versioning tools.
The Kind of People Who Thrive Here
The people who do well here see a gap and close it, take a half-formed brief and come back with something strong, and keep the team in the loop without being asked. They give direct feedback and expect it back. They move fast without getting sloppy, and they own a piece from brief to finish rather than waiting to be handed the next step. The people who show range here get handed the pieces that matter more.
What good looks like
- Visible, not silent: the team always knows the project status because you told them.
- Clean and considered: graphics sit where they should, audio sounds intentional, and problems are actually fixed rather than masked.
- Self-directed: you move from a rough brief to a strong first version without hand-holding.
- Reliable under time pressure: you hit deadlines, handle urgent work, and flag risk early rather than late.
- On brand, every time: brand guidelines applied accurately without needing to be re-explained.
Benefits
This is a full-time role, initially a six-month engagement, fully remote from anywhere in India, working across the time difference with the creative production team. Compensation is competitive and bench marked to the role, the band, and your experience. We discuss it openly early in the process.
Apply with a showreel or two or three pieces you cut, and one paragraph on a shot or sequence where you made a design or audio call the brief did not ask for.