Flow31 · V2 Event Aftermovie
client film for Ali. cut, colour, sound and a full set of motion graphics built to their brand system.
video editor for creators and education businesses
long-form and short-form. courses, YouTube, podcasts, reels, talking head. four years as lead editor inside a 1M-subscriber creator's operation - one client at a time, long-term.
two things I do - click either to jump
LONG-FORM·SHORT-FORM
hire an editor. spend three weeks explaining the brand. two great cuts. then the drift, then the silence, then the hiring post again.
the problem was never that editors can't cut. it's that almost nobody stays long enough to get good at your brand. so I take one client at a time and I stay - you brief once, and by month two I'm making the calls you'd have made.
four years inside his operation. in his words.
"I was always the person who looked over everybody's shoulder. With Patrick, I never had to."
01 / long-form
structure, pacing, colour and sound - cut so people actually finish watching. four years of it at Story Hero Academy: 91 lessons, a $400K launch, and a founder who stopped checking my work.
scripted, cut, colour, sound and story-developed end to end.
client film for Ali. cut, colour, sound and a full set of motion graphics built to their brand system.
cut, colour and sound to an existing brand system - his voice, not mine.
a year in the making. written, shot, cut, graded and sound-designed solo - the whole pipeline in one film, and the best work I have done.
one of 91 in the library, produced across four years.
02 / short-form
original pieces built to hold attention, not captions slapped on a clip. most of the work below is from my own channel - shot, cut, graded and sound-designed by me, so the numbers are mine rather than shared credit.

three shots underwater, one line on screen, no voiceover. the sound design carries the whole cut.

one continuous take, no cuts to hide behind. the hook has to come from the writing and the hold.

fast-cut training piece. music, SFX and pace built to carry ten seconds without a word spoken.

a line about chasing a career versus just wanting to be fit and free. more shares than saves - people sent it to each other.
owned and edited end to end, built entirely to the founder's brand - animated text and motion treatments that look nothing like my own feed.
client work. a full episode cut down to a short-form clip with animated text - finding the moment that stands alone is most of the job.
I cut this script five different ways and posted them the same day. two broke out - this one and the 246K above. that is hook testing, not luck.
locked-off top-down of one desk, a whole day in fifteen seconds. small reach, strongest engagement rate on the account.
slower storytelling cut with cinematic music. the highest hold of anything on the account - people stayed for the whole thing.
landscape cinematic with voiceover - my life as a Christopher Nolan film. shot, graded and scored for feel rather than for the hook.
and it isn't luck. skip rate is the share of viewers who leave inside the first three seconds - averaged across every reel I posted in six months, while I deliberately changed how I build openings. 28% held past three seconds in March, 46% in August.
Monthly average across 126 reels, March-August 2026 · Source: Instagram insights · more on my Instagram
folder structures, file naming, documented workflows, trackers and content calendars - built once, then everything runs through them. you never have to ask where something is or what's coming next.
consistent folders, naming and bin structure on every project. hand it to anyone and they'd find their way around it in a minute.
SOPs and editing guidelines written down, not carried in my head. it's how I briefed a team of five and kept the look consistent.
Claude Design turns your design system into on-brand graphics and animations in an afternoon. Claude Code writes my own tooling - batch processing, asset pipelines, automation.
story, pacing, colour and sound stay human. AI speeds up the work around the edit, never the judgment inside it.
"Patrick is a powerhouse. Technical skills in every step of pre-production, production and post-production for making world class videos." "He has the work ethic and the people skills to actually deliver on projects on time, at the quality standards creators have."
"Patrick understands rhythm, pacing, and how to translate emotions into film - which is a very rare skill when it comes to video editors."
"Patrick killed it on our recent project. He moved fast, efficient and did exactly what I was hoping for."
"Being the lead editor is not an easy job, but Patrick was responsible for creating all of the video lessons that helped other people learn storytelling and filmmaking."
"We're so happy with the results! Patrick produced multiple music videos for us including Creative Direction, Scripting, Filming, Editing. Together with our vocalist, he made our visions come to life."
who you'd be working with
I'm Patrick. German, based in Chiang Mai. for four years I was the person running post inside Story Hero Academy - Niklas Christl's education business - producing 91 course lessons, managing a team of five editors and animators, and building the systems the whole operation ran on through a launch that did $400K in two weeks.
alongside that I shoot and cut my own films, run event work for Flow31, and built my own channel to 14K - which is where the retention numbers further up came from. colour grading is the part I love most. the ear for sound came from a decade as a professional musician before any of this.
I'm not trying to build an agency. I want one long relationship where the work compounds.
long-form, short-form or both. if you're publishing weekly and tired of the hiring cycle, that's the conversation.
you pay monthly, in advance, and you can stop at the end of any month. no six-month contract, no minimum term, no notice period.
so the first month is a paid month like any other - you just aren't committed to a second one until you've seen the work. if it isn't right, you stop and you've paid only for what you got. I'd rather earn the next month than lock you into five.
I know. that's why there's a video near the top of a creator with a million subscribers saying he never had to check my work. four years, same operation, 91 lessons. I'm not looking for a project - I'm looking for the seat I had before.
the reels are my own aesthetic. almost nothing I've been paid for looks like them - the Story Hero library and its brand channel were built entirely to Niklas's brand, his voice and his motion treatments. give me a design system and I work inside it.
you can, and for straight repurposing that's a reasonable call. what you're buying here is someone who understands why a hook holds, who doesn't need managing, and who's still there in month twelve. if cheapest-per-clip is the goal, I'm the wrong hire.
say so on the call and I'll tell you straight. under roughly four videos a month a retainer isn't worth it for you. I'd rather point you elsewhere than take one you don't need.
raw footage, any copy or script, and a couple of examples of edits you like. if you have a brand or design system, send it. that's the whole onboarding.
two rounds per video, inside the scope we agree upfront. that's deliberate - unlimited revisions sound generous and end up meaning nobody commits to a direction. in practice it drops to almost none by month two.
we quote the extra volume for that month. I'd rather flex than have you go find a second editor.
Premiere Pro and After Effects, DaVinci for colour, Dehancer for film emulation. I'll work inside your existing project structure and file workflow rather than making you learn mine.
either. plenty of people need one and not the other. we scope whichever you actually publish.
yes to both. everything runs through SoulFrame LLC, my US company.
I won't. one retainer client at a time is the entire model, and it's why the turnaround is what it is.
then post is probably costing you more than you'd like to admit. book 30 minutes and tell me what you're publishing and how often. if I'm not the right fit I'll say so on the call, and I'll usually know who is.