uriel romano
senior freelance editor based in Buenos Aires, working remotely with US agencies.
I cut interview-driven, documentary and institutional films — most often for agencies serving government, higher education and corporate clients.
I work across US time zones and handle projects from raw footage through final delivery: assembly, editorial color, sound design, captions and versioning.
how I work
finding the story
I turn interviews, speeches and hours of A-roll and B-roll into a clear story. I find the throughline, choose the strongest voices and build a structured first cut that carries the audience from beginning to end.
first cuts and scheduling
once the scope is agreed, all assets are ready and an editing slot is booked, a first cut on a short-form project will usually take two working days. I confirm timing for each project before starting.
finishing and captions
editorial color correction and Rec.709 delivery, sound design, 2D motion graphics and logo animation. final audio mastering runs through a specialist partner. closed captions (SRT) handled in-house.
project files and rights
you receive consolidated project files on completion. I claim no ownership over the footage or the finished work — rights sit with you and your client under your own agreement, including any third-party music, stock or font licences.
tools and setup
editorial: Adobe Premiere Pro and After Effects
color: Lumetri, Rec.709 delivery
formats: RED R3D, Canon C-Log 3, DJI
workflow: native camera-original editing, with a workstation and storage built for large projects
languages: English; Spanish-language footage cut natively
my work culture: the 4 c’s
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I’m set up to onboard with US agencies—a US-registered business, standard tax paperwork and invoicing in USD
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you'll hear from me before you need to ask. I send progress notes at agreed points rather than going quiet between deliveries, and flag problems in the footage early rather than at handover.
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I've worked inside both Australian and US agency pipelines — as a staff editor at Shootsta in Sydney, and for several years with agencies in New England. the conventions differ, and knowing them means less explaining on your side. I work in English, and can cut Spanish-language footage without relying on a translator.
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I sign client and agency NDAs. project material stays on my own storage, isn't handed to subcontractors without your agreement, and doesn't appear in my portfolio until you've cleared it.