Cuts that keep people watching.
I'm SM Turjo, a video editor. I cut direct-response VSLs, animate SaaS product stories, build motion graphics packages, and shape documentary footage into something people finish. Every edit is built around retention, from the first three seconds to the last frame.
Start a projectLatest work.
Ten recent cuts across two rails. Hover to hold a rail, click a card to open the player.
What I do.
Send raw footage, a script, or a screen recording. You get a first cut, then two rounds of notes.
VSL editing
Direct-response sales videos built around the hook. Tight pacing, pattern interrupts, b-roll stacking, proof callouts, and burned-in captions. Ships with two or three opening variants so you can test cold traffic properly.
SaaS product animation
Screen recordings turned into clean animated walkthroughs. UI motion, cursor choreography, zooms that land on the right control, callouts, and device mockups. Timed to a voiceover so the demo never runs ahead of the story.
Motion graphics
Title systems, lower thirds, kinetic type, animated logos, transitions, and data visualisation. Delivered as a reusable After Effects kit with editable text layers, so your team can drop new names and numbers in without me.
Documentary editing
Long-form assembly from raw field footage and interviews. Transcripts, selects, a paper edit you approve before I touch the timeline, then structure, music, sound design, and grade. Built for pieces that need to hold twenty minutes.
Short-form cuts
Hooks pulled out of long-form and rebuilt for the feed. Vertical reframing with subject tracking, styled captions, sound design, and a batch of clips per episode. Named and organised so posting is copy-paste.
Colour & sound finishing
Grading, shot matching, noise and hum cleanup, dialogue levelling, and a mix that meets platform loudness targets. Useful on its own if your edit is locked and only the finish is letting it down.
What clients say.
Sample quotes for layout. Swap in real ones before you publish.
Why work with me.
Six things clients bring up after the first delivery.
Retention drives the cut
Pacing decisions are made against where viewers actually drop. I ask for your analytics on episode one and edit to the curve from then on.
Hooks come in variants
Every VSL and short arrives with two or three openings. You test instead of guessing which one carries cold traffic.
First cut in 72 hours
Footage in on Monday, a watchable cut with temp music by Thursday. Long-form documentary work runs on its own agreed schedule.
Reviewed frame by frame
Notes go through Frame.io with timecoded comments, so nothing gets lost in a thread of voice memos and screenshots.
Project files are yours
Full project folder, fonts, presets, and the mograph kit handed over on request. Nothing stays locked to my machine.
Delivered ready to post
Correct aspect ratios, safe zones, thumbnails, caption files, and loudness set per platform. Export, upload, done.