Who we are

Flow Pouch makes functional mushroom pouches. People use them as a clean alternative to nicotine pouches and energy products: no nicotine, no caffeine, no crash. We launched in 2024, we have grown quickly, mostly through subscriptions, and we manufacture in the US. We are a remote team of about 25 people across the US, Europe and the Philippines.

Why we are hiring

We make a lot of video ads. Our editing team of about ten editors in the Philippines works from a weekly sprint on Monday.com, with a lead editor on the technical side and a Head of Creative above the team. What is missing is the person in between: someone who is there for the editors every day, checks progress, clears blockers before they cost a week, and makes sure every editor hits their numbers. That is this role.

What you will own

• Daily progress. You know, every day, where each editor is against the sprint and what is in their way.

• The board and the sprint. Monday.com, planning, capacity, deadlines.

• Blockers. Missing assets, unclear briefs, broken tools: you spot them and clear them.

• Performance. Weekly KPIs per editor are already set. You track them, give feedback, run 1:1s and bring our Head of Creative recommendations with evidence.

• Quality control. You hold the gate before delivery and can judge an ad edit yourself.

• Systems. You turn how we edit into a documented process that new editors can follow.

• AI workflow. Our editing increasingly uses AI tools, and our CMO is building an AI-assisted system for the editors. You help build it, push adoption and judge the output.

• Hiring and onboarding of new editors, together with People Ops.

What this role is not

You will not be editing full time and you have no editing quota. You need enough editing skill to judge quality, systemise the work and fix something in a pinch, but the job is management. Compensation and exit decisions sit with our Head of Creative; you bring the proposals.

Who we are looking for

• 6+ years in video editing for ads, of which at least two leading a team of editors or creatives, in-house or at an agency.

• You have run performance: KPIs, reviews, difficult conversations. Your management track record matters more than your software skills.

• You know short-form ad editing well enough to set realistic turnaround times, give specific feedback and write down how it should be done.

• Friendly, but clearly the one in charge. You are used to holding people to deadlines and comfortable being the person who asks every day.

• Comfortable with Monday.com or a similar board. Fluent English.

• You use AI video and editing tools yourself and can judge AI-generated output.

• Based in Europe. Your day starts early enough to catch the editors' afternoon in the Philippines and runs into the US morning for our Head of Creative and founders.

Strong plus: you have managed a team in the Philippines before. Nice to have: hands-on Premiere, CapCut or After Effects; a performance-ad background (hooks, hit rate); Scrum or similar experience.

What is hard about this

We would rather you hear it now than in month three:

• The team is remote and several time zones away. Presence has to be built through consistency, not proximity.

• Not every piece of work fits neatly into a weekly count. Part of the job is making the measurement fair and keeping it honest.

• You step into a team with an existing lead and existing KPIs. You earn authority through follow-through, not by changing everything in week one.

• Our Head of Creative and founders want fewer messages, not more. You become the single line of communication about the editing team.

The engagement

Type

Full-time contractor.

Compensation

$3,000–5,000 per month, depending on experience and location, plus a bonus tied to the share of editors hitting their weekly KPIs.

Location

Remote.

Reports to

Our Head of Creative.

Start

As soon as possible, ideally November 2026.

How to apply

Send us your CV or LinkedIn profile, plus short answers to the following questions:

1. The team you led: how many editors, where they were based, what they produced, how you measured them, and what changed under you.

2. A time an editor was consistently missing deadlines. What did you do, and how did it end?