DLP Media Group is hiring: Assistant Editor in El Segundo

About the Role

Assistant Editor (Sports)

Location: Hybrid (Los Angeles preferred)

We’re looking for a detail-obsessed Assistant Editor to support fast-turn sports content across studio, shoulder programming, features, and social deliverables. You’ll be the connective tissue between Production and Post—prepping projects, keeping media organized, enabling editors to move fast, and ensuring every version ships on spec and on time.

What You’ll Do

• Ingest & Organization: Offload cards/drive deliveries; verify checksums; create proxies; apply naming conventions; organize bins, markers, and metadata across projects.
• Sync, Group, Prep: Timecode/audio waveform sync; multicam grouping; string-outs; paper edits; temp lower-thirds and slates; pull selects.
• Turnovers & Conforms: Prep EDL/AAF/XML and reference movies; sequence relinks; online preps; deliver to color/mix/VFX and reconform finals.
• Versioning & Exports: Build broadcast/digital/social cuts; manage aspect ratios (16:9, 1:1, 9:16); apply graphics packages; export masters and review copies.
• QC & Delivery: Technical QC (video levels, captions, cadence, audio mapping/loudness); create and validate caption files (SRT/SCC); verify delivery specs for broadcast/streaming/social; upload to MAM/.io and network portals.
• Asset & Data Management: Maintain project archives, backups, and LTO/cloud; track releases, transcripts, cue sheets, and music reporting.
• Cross-Team Collaboration: Partner with producers, editors, graphics, audio, and operations to schedule, prioritize, and unblock work; communicate risks and status clearly.
• On-the-Fly Support: Pull b-roll/stat graphics, update supers, swap VO, and troubleshoot last-minute fixes during live sports windows.

What You’ll Bring

• 1–3+ years in post production; sports experience strongly preferred (live, studio, or features).
• Proficiency in Adobe Premiere Pro (preferred) or Avid Media Composer; working knowledge of After Effects and Photoshop.
• Familiarity with color and audio pipelines: DaVinci Resolve (conform/trim/round-trip basics) and understanding of mix turnovers (AAF/OMF, stems, channel mapping, -24 LKFS/ATSC A/85 or platform equivalent).
• Solid grasp of codecs, frame rates, and color spaces (ProRes, DNx, H.264/H.265, 23.976/29.97/59.94; SDR/HDR basics; LUT management).
• Experience with media management/MAM tools (e.g., Frame.io, CatDV, LucidLink, SNS, Extensis) and collaboration platforms (Asana, Airtable, Slack).
• Proven ability to manage multiple deadlines, maintain immaculate project organization, and thrive in fast, high-stakes windows (nights/weekends during season).
• Meticulous attention to detail, clear communication, and a team-first mindset.

Nice to Have

• Knowledge of broadcaster/streamer tech specs and delivery portals (e.g., Amazon/ESPN/YouTube/Facebook/TikTok).
• Experience with transcription tools (Trint/Verbit), speech-to-text workflows, and AI-assisted logging.
• Basic MoGraph templating (Essential Graphics), mogrt relinking, and dynamic data updates.
• LTO/archive best practices and checksum tools (MD5/xxHash).
• Passion for the NFL/NBA/NHL/NASCAR/NWSL and current sports storylines.

Work Schedule

• Standard business hours with flexibility for nights/weekends tied to games, travel days, and live events. Some overtime during peak seasons.