Creators / Influencers / Personal Brands
You film; Esteban cuts the vertical posts, burns in the captions, and turns one filming block into a stack of separate uploads with a running order. Send the original files and a line about where each post is going, and you get back finished exports in the formats the platforms need.
Vertical exports at 1080x1920 with captions inside the safe band, a horizontal version where the same idea is worth a long-form upload, and thumbnails or cover frames pulled from the footage rather than invented.
Tell Esteban which clips are paid partnerships so the disclosure lands in the cut rather than in a caption nobody expands.
A vertical video is 1080x1920, but the app draws the username, caption, audio strip and the whole column of action buttons on top of it. Captions and on-screen text that land in those bands get covered on a phone while looking perfect in the editor. Keeping type in the middle of the frame is the difference between a legible post and one nobody could read.
When a creator is paid, gifted product, or otherwise has a material connection to a brand, the FTC expects that disclosed clearly and conspicuously where the audience actually sees it. A line buried under a More tag or dropped into a comment is not where people look. The disclosure belongs in the video itself, and it is the creator who is responsible for making it.
A posting rhythm fails on supply, not on ambition. One filming session that stays in one outfit, one location and one lighting setup yields a stack of separate posts rather than a single edit, as long as each take is a self-contained idea with its own opening line. Batching the filming is what makes a calendar survive a busy week.
By writing the list before picking up the camera. A block that produces a stack of publishable posts starts as a list of distinct ideas, each with its own first sentence, because every post is somebody's first contact with the account and cannot depend on the one before it.
From there it is a matter of resetting something visible between ideas. A different jacket, a second wall, a change from sitting to standing: small changes that stop five posts from reading as five slices of one clip. Keeping the lighting setup fixed across the whole block is the opposite choice, and a deliberate one, because consistent light is what lets the clips be cut in any order later. The last thing worth doing on the day is a few seconds of silent room footage and a couple of neutral cutaways, which are what rescue a take with a stumble in the middle.
The handoff is small: original files, one line per clip, the destination platform and handle, and any reference or sound you already have in mind. Naming the platform matters because the safe area differs between a feed post and a full-screen vertical one, and text placed for the wrong one gets covered by the interface.
Disclosure is the part worth getting right the first time. When there is a material connection to a brand — payment, free product, an affiliate arrangement, a family tie — the FTC expects it stated clearly and conspicuously where the audience will actually notice it, which means on screen and in the spoken words rather than only in a caption that has to be expanded. Telling the editor which clips are paid partnerships at handoff is what keeps the disclosure in the cut instead of being added as an afterthought.
Before you send footage
The original camera or phone files rather than anything re-downloaded from an app, since a platform export is already compressed and sharpening it back is not possible. With them, send a line per clip saying what the post is for, the handle and platform each one is going to, any brand or paid partnership involved, and the music or reference you have in mind. That is usually enough to avoid a round of questions.
By keeping them in the safe middle band of the frame, in a weight heavy enough to survive compression, with enough contrast against whatever is moving behind them. Burned-in captions matter because a large share of feeds plays muted by default, so a video whose point lives only in the audio reaches a fraction of the people who saw it. Platform auto-captions are a fallback, not the plan.
It can when the session is planned as a list of separate ideas instead of one long take. Each idea needs its own opening sentence, because a viewer arriving on the fourth post has not seen the first three. Changing a jacket or moving to a second wall between blocks keeps the posts from looking like slices of the same clip, which is the usual reason a batch gets spotted as a batch.
The footage is the creator's, and it is worth keeping an original copy somewhere other than the handoff folder, because a repurposed cut later needs the full-quality source rather than the published version. What gets returned from an edit are the finished exports in the formats the platforms need. Anything beyond that, such as open project files, is worth agreeing before the work starts rather than after.
Ask for a quote
Start with the service, goal, assets, deadline, and where the work will be published. That gives Esteban enough context to answer with a useful next step instead of a long back-and-forth.
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Hi Esteban, I need help with video editing for a content creator. Goal: keep a posting rhythm on Reels, TikTok and Shorts. I have original camera files, the platforms and handles, and any paid partnerships. Can you quote this?
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