The next chapter.
Here’s what I’m pursuing.

Dear Dorsia team, The part of your posting that caught my attention was the idea of sitting with hours of unscripted footage and finding the story inside it. That’s the work I know best. A restaurant, an event, or a trip can produce plenty of beautiful images; the edit is where you find the people and moments that make someone want to keep watching. I’m a documentary editor and filmmaker working in Premiere Pro. I edited The Hustle of @617MikeBiv, edited and shot Last Man Standing, and directed, shot, and edited Peter Liman: Monet of the Mountaintop. Those projects have given me different ways into a story: following a person, finding the useful interview moment, or letting an image and a piece of music do the work. Dorsia’s mix of restaurant films, quick social pieces, and longer documentary-style episodes feels like a place where that experience could be useful. I’d be interested in helping develop recurring formats that have a recognizable personality, while letting each place and person bring something different to the screen. You can see my work at jasonzucker.com. I’m based in Fair Lawn and available for onsite work in New York. Best, Jason Zucker

Dear Kalshi team, Kalshi gives an editor a specific challenge: make an unfamiliar product understandable quickly, then give someone a reason to care. That interests me as both a filmmaker and someone who builds apps. My editing background is in documentaries, interviews, trailers, branded work, and social content. In Premiere Pro, I spend a lot of time making decisions about where a story should begin, what information can wait, and which moment actually earns its place in the cut. I edited The Hustle of @617MikeBiv and worked as editor and cinematographer on Last Man Standing. Your upcoming campaign sounds like a chance to work through those decisions across many different pieces. I’d want each version to have a clear idea and its own reason to exist, with the opening, sound, and pace built for the platform where it will run. My app-development work also makes me comfortable getting inside a product before trying to explain it. My portfolio is at jasonzucker.com. I’d welcome a conversation about the campaign and the kinds of footage your team is developing. Best, Jason Zucker

Dear Manhattan Institute hiring team, Your producer opening caught my attention because the work begins with people who have something substantial to explain. Making an interview or a complicated idea watchable without losing its meaning is a challenge I enjoy. I’m a documentary editor and filmmaker. My credits include editing The Hustle of @617MikeBiv, editing and cinematography on Last Man Standing, and directing, shooting, and editing Peter Liman: Monet of the Mountaintop. I work in Premiere Pro, and much of my process involves finding a clear structure within interviews and footage, then making sure the images, sound, and pacing support it. For MI’s combination of research-driven video, conversations, and shorter clips, I’d bring particular attention to context. A short excerpt should give viewers a useful way into the larger discussion. I’d also welcome the opportunity to work with scholars and your communications team early enough to understand what each piece needs to accomplish before the edit begins. My work is available at jasonzucker.com. I’m based in New Jersey and open to working onsite in New York. Best, Jason Zucker

Dear OLIVER team, The embedded nature of this role appeals to me. Working closely with one client over time gives a producer the chance to understand their people, their review process, and what makes a piece of content useful to them. I’ve worked across editing, videography, and segment production, and my freelance work involves direct conversations with clients about briefs, schedules, deliverables, and revisions. My documentary credits include The Hustle of @617MikeBiv and Last Man Standing. I’m comfortable thinking about a project from the needs of the finished edit back to the material it needs in production. Your posting also mentions evaluating AI tools to improve a busy production workflow. Alongside filmmaking, I build apps, client portals, and practical AI tools through Zucker & Co. That gives me another way to contribute: looking closely at repetitive work and asking where a better process would give the creative team more time. I’d be interested in hearing how your podcast and video teams work together inside the client organization. My portfolio is at jasonzucker.com, and I’m available to start immediately. Best, Jason Zucker

Dear OLIVER team, A video for an executive interview, an internal audience, and a social channel may start with the same footage, but each needs a different edit. That part of your Video Editor role feels closely connected to how I work. I edit in Premiere Pro across documentary, interview, trailer, branded, and social projects. On The Hustle of @617MikeBiv and Last Man Standing, the central work was shaping material into a story: choosing the right moment, deciding what the viewer needs to know, and finding a pace that carries them through it. I also noticed the emphasis on reusable systems and organized handoffs. Through Zucker & Co, I build websites, apps, and client tools, so I’m interested in the practical side of making good work repeatable. In an in-house studio, clear versions, useful templates, and a well-organized project can make the next edit easier for everyone. I’d welcome the chance to discuss the balance between editing and motion design in this position and show you the work most relevant to your client. My portfolio is at jasonzucker.com. Best, Jason Zucker

Dear SERHANT. Studios team, A property tour has to help someone understand a space. An agent’s video has to help someone understand a person. The fact that this role involves both is what interests me about SERHANT. I’m a filmmaker with experience directing, shooting, and editing. I handled all three on Peter Liman: Monet of the Mountaintop, edited and shot Last Man Standing, and edited The Hustle of @617MikeBiv. I approach production with the edit in mind: what the viewer needs to see, where a person’s voice belongs, and how the sequence will hold together. I’d bring that documentary perspective to your property and agent content. A room, a neighborhood, or a conversation can provide the detail that makes a film feel specific. Finding those details—and giving them the right amount of time—is a big part of what I enjoy about filmmaking. My portfolio is at jasonzucker.com. I’m based in Fair Lawn and open to onsite work in New York. I’d appreciate the opportunity to discuss the team’s production needs. Best, Jason Zucker

Dear SERHANT. New Development team, Your posting describes a wider story than an individual property: the neighborhood, the building as it takes shape, the people introducing it, and the life someone imagines having there. That range is what makes this opportunity interesting to me. My background is in documentary filmmaking. I directed, shot, and edited Peter Liman: Monet of the Mountaintop, worked as editor and cinematographer on Last Man Standing, and edited The Hustle of @617MikeBiv. Working across production and post has taught me to think about how individual images become a coherent story. For a development with its own launch calendar and identity, I’d start by understanding what makes the project distinct. That should influence the footage we seek, the interviews we plan, and the rhythm of the final film. It also gives shorter social pieces a clear connection to the larger story. I’d welcome a conversation about the projects in your current pipeline and where my filmmaking experience could contribute. My work is at jasonzucker.com, and I’m available for onsite work in New York. Best, Jason Zucker

Dear SERHANT. team, I live in Fair Lawn, so your New Jersey opening immediately stood out. I’m interested in work that gets me out making films about places and people in the area where I live. My background combines shooting and editing. I directed, shot, and edited Peter Liman: Monet of the Mountaintop, edited and shot Last Man Standing, and edited The Hustle of @617MikeBiv. Premiere Pro is my main editing tool, but I think about the final piece from the moment I start looking at the footage we’ll need. For your New Jersey team, I’d bring a story-first approach to both property tours and agent videos. A home has a layout and a feeling; an agent has a way of speaking and a personality. The production and edit should give viewers a clear sense of those things. That’s the kind of detail I’d look for before reaching for a familiar treatment. You can see my work at jasonzucker.com. I’d be glad to talk about your shooting schedule and the content your team wants to build. Best, Jason Zucker

Dear New York Times Audience team, I’m interested in what happens between finishing a video and getting the right audience to watch it. A title, a description, or the way a piece is introduced can set an expectation that the edit then needs to fulfill. My background is primarily in making the work: documentary editing and filmmaking, alongside building websites and apps. That combination has made me attentive to how a piece of content sits inside a larger digital experience. I edited The Hustle of @617MikeBiv and have worked across directing, shooting, and editing on other documentary projects. The Audience Editor role would be a move toward the distribution side of video for me. I’m particularly interested in the collaboration you describe between audience specialists and video journalists—bringing the people who make a story into the conversation about how it reaches viewers. I’d welcome a discussion about whether that production and product perspective would be useful to your team. My portfolio is available at jasonzucker.com, and I’m open to the New York office schedule. Best, Jason Zucker

Dear New York Times Reporter Video team, The distinctive opportunity in reporter-led video is that the person on camera knows the story deeply. The producer’s work is helping that knowledge become a piece someone can follow, rather than simply compressing everything the reporter knows. That relationship between subject knowledge and story structure interests me as a documentary filmmaker. I edited The Hustle of @617MikeBiv, edited and shot Last Man Standing, and directed, shot, and edited Peter Liman: Monet of the Mountaintop. In those projects, my work involved finding a path through interviews and images and deciding what each moment contributed. My background is in documentary and television production rather than a traditional newsroom leadership role. I’d welcome the chance to discuss whether that experience could be useful to your Reporter Video team, especially in story development and the edit. The opportunity to work across coverage areas and help shape distinct visual approaches is compelling. My work is at jasonzucker.com. Thank you for considering my application. Best, Jason Zucker

Dear New York Times Opinion team, A short opinion video has a difficult job: establish a point of view, give it enough substance to matter, and hold a viewer who can leave at any moment. The room to experiment with how that works is what interests me about this opening. I come from documentary filmmaking and editing. My work includes The Hustle of @617MikeBiv, Last Man Standing, and Peter Liman: Monet of the Mountaintop. Across editing, shooting, and directing, I’ve focused on structure, the relationship between interviews and images, and the rhythm of the finished piece. I also build apps and AI tools, which keeps me interested in testing ideas and finding practical ways to make them work. I’d bring that curiosity to conversations about original video formats and visual treatments. My background differs from the newsroom-management path described in the posting, and I’d welcome an honest discussion about where my experience could contribute. You can view my portfolio at jasonzucker.com. Thank you for taking a look. Best, Jason Zucker

Dear New York Times Reporter Video team, I’m applying specifically for the Culture and Lifestyle side of this opening. Music, film, and the people behind creative work are the clearest connection between my background and the stories your team covers. I edited The Hustle of @617MikeBiv, worked as editor and cinematographer on Last Man Standing, and directed, shot, and edited Peter Liman: Monet of the Mountaintop. What I enjoy in that work is finding the telling detail: an interview moment, an image, or a transition that brings a person into focus without overexplaining them. I edit in Premiere Pro and would bring that documentary sensibility to videos built around Times reporters. A reporter’s expertise offers a strong foundation; I’d want the edit to make that expertise feel accessible while giving the piece a clear visual shape and momentum. My portfolio is at jasonzucker.com. I’m based in Fair Lawn and can work from the New York office. I’d welcome the chance to share the projects most relevant to your Culture and Lifestyle coverage. Best, Jason Zucker

Dear Understood Content Studio team, The emphasis on clarity and accuracy in your producer posting stood out to me. When someone comes to a video looking for help or understanding, the production needs to make the information easier to use. That is a worthwhile editorial challenge. I’m a documentary editor and filmmaker working in Premiere Pro. I edited The Hustle of @617MikeBiv and directed, shot, and edited Peter Liman: Monet of the Mountaintop. My work involves organizing interviews and footage, finding a structure, and being deliberate about what a viewer needs at each point in the story. I’m interested in bringing that approach to Understood’s interview and explanatory video work. Preparing a useful question, keeping an edit in context, and making a longer conversation understandable are all parts of the process I’d want to contribute to. I also work directly with clients on schedules, revisions, and deliverables. My portfolio is available at jasonzucker.com. I’d welcome a conversation about the content formats where my filmmaking background would be most useful. Best, Jason Zucker

Dear Vox Media Podcast Network team, The phrase in your posting about translating a creator’s personality into a podcast’s visual style is what caught my attention. A conversation can be technically clean and still feel flat. The interesting work is finding an edit that feels like the people having it. I’m a documentary editor working in Premiere Pro. I edited The Hustle of @617MikeBiv and worked as editor and cinematographer on Last Man Standing. I spend a lot of time with interview material, looking for the sequence, pause, or change in pace that lets a story feel natural while still moving forward. I’d bring that attention to voice and rhythm to your full-length episodes and the shorter pieces around them. A clip should work on its own, but it should also give someone a good sense of the show they’ll find if they keep watching. You can see my work at jasonzucker.com. I’d be interested in hearing which shows this role would support and how your editors collaborate with their producers and hosts. Best, Jason Zucker

Dear Vox Media Podcast Network team, Launching a video-first show means making a lot of creative decisions that will become familiar to its audience: how it opens, how it moves, what it looks like, and when the edit should simply stay with the conversation. That’s what draws me to your Senior Video Producer opening. My documentary work has involved directing, shooting, and editing, with credits including The Hustle of @617MikeBiv, Last Man Standing, and Peter Liman: Monet of the Mountaintop. I work in Premiere Pro and enjoy developing a structure from material that doesn’t arrive with one already built in. I’d be interested in working with your show teams to find a visual approach that fits each host, then carry it through full episodes and shorter pieces. My experience working directly with clients on briefs and revisions would also inform how I contribute to an established creative team. My portfolio is at jasonzucker.com. I’d welcome a conversation about the shows you’re developing and the balance of hands-on editing and production leadership in this role. Best, Jason Zucker

Dear On with Kara Swisher team, The mix of technology, politics, and culture in your guest lineup makes this role particularly interesting to me. I work in filmmaking and also build apps and AI tools, so there’s a direct connection to the kinds of subjects the show explores. My strongest contribution would be in shaping interview material. I edited The Hustle of @617MikeBiv and worked as editor and cinematographer on Last Man Standing. In Premiere Pro, I focus on structure and pacing: when a conversation needs room, when an edit needs to move, and what a viewer needs to understand the next point. For a show built around substantial conversations, I’d want the full episode to remain engaging and the shorter clips to stand on their own without losing the speaker’s meaning. I’d welcome the chance to discuss your production workflow and how my editing background could fit within it. My portfolio is at jasonzucker.com. I’m based in New Jersey and available to start immediately. Best, Jason Zucker

Dear WITHIN creative team, Your emphasis on connecting creative work to what a client is trying to accomplish is what interests me about WITHIN. A short video needs a clear purpose as well as a good opening, and I like having that conversation before getting too far into the edit. I edit in Premiere Pro across documentary, interview, trailer, branded, and social work. My credits include The Hustle of @617MikeBiv and Peter Liman: Monet of the Mountaintop. I enjoy finding the useful moment in a larger piece of footage, then giving a shorter version its own structure and pace. There’s another connection in your posting: I build practical AI tools and apps through Zucker & Co. I’d be comfortable exploring how those tools can support the editing workflow, with the finished piece and the client’s needs guiding the choices. I’d also welcome the chance to collaborate with your designers and strategists on variations for different platforms. My portfolio is at jasonzucker.com. I’d be glad to discuss the freelance work you need covered and the types of campaigns I could help with. Best, Jason Zucker