Jr Editor (FTC) at OpenAI

Junior editor supporting footage ingest, organized media, and hands-on editorial work across the studio

About the Team

OpenAI didn’t begin as a traditional company. It began as an idea: that artificial intelligence could be

developed in a way that benefits everyone. As a creative team, our role is to help make sure the work

behind that idea is understood, as it leaves the lab and meets the world.

This company works at the frontier of intelligence. Like any frontier, it’s unfinished, constantly shifting,

and still being explored. Our job is to stay close to that uncertainty and help shape how this story gets

told, in a way that feels grounded and human. We do this through campaigns, launches, films, brand

systems, and work that doesn’t fit neatly into any of those categories yet. This team is for people who

want to help shape something from the beginning.

About the Role

As Junior Editor, you will support OpenAI’s creative studio as footage comes in from production, helping

the post-production team turn incoming material into organized projects and working cuts. You’ll work

closely with editors and post-production producers to prepare media, keep projects running smoothly, and

contribute to films and content.

We’re looking for an organized, dependable editor with a foundation in editing and an interest in

developing their storytelling craft. You’ll help ingest and prepare footage, build selects and rough

assemblies, implement feedback, and take on various edits with and without guidance from the team.

This is a hands-on role that combines editorial support with creative editing. You’ll follow established

media, backup, and delivery workflows, communicate progress and issues clearly, and build confidence

across the post-production process as the studio’s production work grows.

In this role, you will:

• Ingest and verify incoming picture and sound media against production logs, follow established

transfer, backup, and security procedures, and flag missing files, corrupted media, or technical

issues

• Organize footage, audio, graphics, and project files in clear folders and bins, maintaining naming

conventions, metadata, version tracking, and shared project organization so the team can find

and use material quickly

• Prepare media for editing by creating proxies or transcodes, syncing production sound, and

organizing sequences in line with the team’s workflow

• Review footage and build selects, stringouts, and rough assemblies that help editors explore

story, performance, and pacing

• Edit shorter pieces, cutdowns, and alternate versions with guidance from editors, developing

narrative judgment and craft through feedback

• Implement edit notes, make straightforward picture and audio changes, and add supplied

graphics, titles, music, or temporary sound while keeping cuts and review versions organized

• Prepare review exports and check picture, sound, captions, aspect ratios, and file naming

against the brief, raising quality or technical issues before delivery

• Help prepare organized project and media handoffs for online editing, color, sound, and finishing,

and support delivery and archiving under the post-production team’s guidance

• Edit stand alone pieces, both with and without direction, using your experience with storytelling

and critical thinking skills.

You might thrive in this role if you:

• Have hands-on editing experience and examples of your work, which may come from personal

projects, coursework, internships, freelance work, or a production team

• Are comfortable working in editing software and have a basic understanding of media

organization, timelines, codecs, frame rates, and exports, with a willingness to learn the team’s

tools and workflows

• Bring strong attention to detail and dependable organizational habits, and understand the

importance of careful media handling, version control, backups, and confidentiality

• Have developing instincts for story, pacing, performance, music, and sound, and enjoy using

feedback to improve an edit

• Communicate clearly, keep the team informed about progress and blockers, ask questions when

something is unclear, and stay focused and collaborative when priorities shift

• Are curious about film, storytelling, and new creative technologies, and want to grow your

editing craft while contributing to the day-to-day work of a post-production team

Partnerships @ Sieve is looking for part time directors 

We're launching a video production project in San Francisco and are looking for part-time directors on a 2–3 month contract, starting immediately and running through January 2027. The work involves:

- Running short, scripted shoots with small groups of actors
- Directing performances and guiding actors through scenes
- Capturing footage and managing on-set camera and audio setup
- Performing live voice roles during shoots

We're offering $50+ per hour, with flexible part-time scheduling. Training will be provided at the start, so this is a great fit for current students or recent graduates who want paid, practical directing experience.

Could you help us with the next steps soonest? Specifically, we'd appreciate it if you could:

1. Share this opportunity with interested students and alumni, or point us to your job board or career services contact
2. Let us know if there's a preferred process for employers recruiting from your school
3. Tell us whether an info session or quick call with interested candidates would be possible

I'm happy to send a full role description or jump on a call this week.
Thank you for your time, and I look forward to hearing from you.

Best regards,

• Komala, Partnerships @ Sieve | The multimodal data lab 

Osmo studio is looking for a paid production intern:

https://osmo.inc/career/studio-intern

About Osmo Studio

Osmo Studio is a film production company based in San Francisco, making commercials, launch films, and narrative work for frontier tech companies across the Bay Area and beyond. We’re also building post-production software for editors and creative teams.

The role

We’re hiring a paid Intern to work across the studio. Part of the job is keeping our gear room running: learning how every camera, lens, light, and grip kit we own gets packed, stored, prepped, and checked back in. Part of it is PA work, making runs around the city for whatever a production needs. And part of it is working alongside our producing staff and learning how productions actually get made.

You don’t need to know gear or producing yet. We care much more that you want to get into film, and that you’re organized enough to remember where everything lives once we’ve shown you. We’ll train you.

What you’ll do

• Help build and maintain our gear organization system: labeling, shelving, cases, and inventory.

• Prep and pack gear before shoots, then check it back in, clean it, charge it, and flag anything damaged or missing.

• Make PA runs around the city: rental house pickups and returns, gear drops to set, supply and craft runs, and whatever the production needs that day.

• Support our producing staff on prep and shoot days: call sheets, crew and vendor coordination, schedules, and paperwork.

• Offload delivered projects from working drives to long-term storage and keep the archive tidy.

• Help out on set when there’s room for an extra hand.

Who you are

• You want to work in film, whether that’s camera, G&E, or producing.

• Organized and reliable. Once you learn a system, you keep it.

• Comfortable getting around SF on your own and happy to carry a few Pelican cases.

• Low ego, high follow-through. You close the loop without being asked twice.

Nice to have

• A driver’s license and a clean driving record.

• Film school, student set, or rental house experience.

• Basic comfort with media management: drives, file structures, checksums.

Schedule and location

24 hours a week, 3 days a week, based at the Osmo studio at 400 Treat Ave in the Mission, plus runs around the city. We can be flexible on which days and hours, and we’ll work around class schedules.

Compensation

$22 per hour (about $2,300 a month at 24 hours a week). Transit and parking on runs are covered.

What you’ll get

• Hands-on training on professional cinema cameras, lenses, lighting, and grip.

• A real look at producing: budgets, scheduling, and running a shoot, working directly with our producing staff.

• Time on real commercial sets alongside our producers, DPs, and directors.