Application · Video Shooter & Editor · VaynerMedia Germany
Video shooter and editor, 7 years in post.
I cut for the feed, not for the festival. Seven years of high-end post, the last three spent almost entirely in short-form: hooks that survive a thumb, native vertical builds, and the volume of variants a media team actually needs to find the winner.
Showreel 2026 · sound off by design
- Role fit
- Video shooter/editor · motion design · creative producer
- Platforms
- Instagram · TikTok · Facebook · YouTube
- Based
- Greater Munich, Germany · authorised to work · CET
- Available
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01 · Attention
Three seconds to earn the next thirty.
Every cut below was built vertical from the first frame: the hook sits before the logo, captions carry the message with the sound off, and the pacing is tuned to where people actually drop. Then it gets rebuilt — new hook, new opening frame, shorter cutdown — until the numbers move. Saves and shares come from the same craft as watchtime: give people something worth stopping for, then something worth sending on.
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- Hook firstThe strongest frame opens the edit, even when the script puts it in the middle. Every concept ships with several hook variants.
- Sound offKinetic captions, on-screen text hierarchy and framing that reads at arm's length on a phone in a train.
- Retention shapePattern interrupts where attention sags: a cut, a push-in, a graphic beat. No dead air, no logo parking.
- Shareable beatOne line, one visual gag or one genuinely useful frame built to be screenshotted, saved or sent to a friend.
02 · Native, not cropped
One concept, four aspect ratios, no leftovers.
A 16:9 master squeezed into Reels is a wasted media budget. I build the vertical version as its own edit — reframed, retimed, retyped — and deliver the feed, story and YouTube versions from the same session. Safe areas, caption positions and CTA timing are set per platform, not copy-pasted.
9:16
TikTok, Reels, Shorts. The primary build, not an export preset.
4:5
Feed placements — maximum height without cropping the caption.
1:1
Catalogue and carousel slots where a square still performs.
16:9
YouTube and streaming: longer builds, sound design, real grading.
03 · Shooter, not only editor
I know what I need, because I shot it.
Lighting, framing and sound aren't things I ask someone else to fix in post. I run small sets myself — one subject, two lights, a lav and a plan for coverage — which is exactly the setup most social content actually gets. On set that means I shoot the inserts and cutaways the edit will need, instead of discovering the gap at 11pm.
- Interviews and talking heads: clean audio first, then a look. A bad lav track kills a good cut.
- Product and studio: controlled light on glass, metal and skin — the surfaces that punish sloppy setups.
- Grade and mix in Resolve: music, foley and voice balanced for phone speakers, not for my headphones.
Behind the camera · studio setup
On location · light, frame, sound
04 · End to end · Kinfinity
One promo film, start to finish, by me.
Kinfinity is the project I point at when someone asks whether I can own a piece rather than execute a step. I wrote the concept, cast it, ran the shoot, and did every frame of post — edit, compositing and VFX, grade, sound. No producer between me and the problem, and no handover where the idea gets watered down.
Preparation
Concept, script and shotlist built backwards from the cut I wanted, plus the schedule and locations to make it shootable in the days available.
Casting
Finding faces that carry the tone on camera and hold up in close-up — then directing them on the day, non-actors included.
Shoot
Camera, lighting and sound with a small crew: coverage and inserts shot deliberately, because I knew exactly what the edit would need.
Post
Edit, compositing and VFX, grade and full mix — the whole finish in-house, down to the last frame.
05 · Rapid fire
How a request moves through my week.
01
Questions up front
I read the whole brief, then ask the two or three things that would otherwise cost a round: claim wording, mandatory text, which platform leads.
02
Rough cut fast
Structure and hook before polish, shared early. Feedback on a rough cut is cheap; feedback on a finished animation is not.
03
Variants in batch
Hooks, cutdowns and platform versions come out of one organised project, so the fifth variant costs minutes instead of an afternoon.
04
Deliver, then learn
Named exports per placement, same-day revisions, and a note on what I'd change once the first numbers are in.
06 · Team & craft
Ideas in the room, standards in the timeline.
At werbevideo.ai I lead the editing side of the work: I set the template and naming conventions, review other editors' cuts, and coach juniors on hook logic, caption typography and export hygiene. I like brainstorms where the concept is still soft — an editor in the room early usually saves the idea that "can't be shot".
“Perfect — fast, reliable and efficient. Highly recommended.”
Christophe Daret · GM, La Maison du Savon de Marseille“Already our fifth project together, and certainly not the last.”
Florian Marx · Formcase07 · Stack
Adobe
Premiere Pro · After Effects · Photoshop · Illustrator
Finishing
DaVinci Resolve · grade, sound design, mix
3D & motion
Blender · CapCut for fast social turnarounds
Generative
Kling · Runway · Higgsfield · HeyGen · ElevenLabs
Workflow
Slack · ClickUp · Drive · Frame.io-style review loops
Languages
French (native) · German · English — all working level
On AI
I use generative tools where they buy speed — b-roll that doesn't exist, a second voice track, a set we can't afford — and drop them the moment they cost credibility. The test is always the same: does it hold up at full screen on someone's phone?
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Send me raw footage and a deadline.
A reference list only proves the past. If you want to know how I'd work on your accounts, give me a folder of footage, a brief and a turnaround — you'll get the main cut plus hook variants back, and you can judge the craft instead of the CV. Full showreel, case studies and the vertical work live on hervetailliez.de.