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Neville Carbon is a graduate of De La Salle University - Dasmariñas with a degree in Communication Arts. He is currently taking his Masters Degree at The University of the Philippines Diliman and has an extensive experience in cinematography, editing and media production. With his enthusiasm and dynamic passion for the arts, he is able to effectively translate his vision to his work.

Video specialist for ai vide video editing Website development Graphic design And all type of digital marketing

yo, i’m luv i mostly edit gaming videos and shorts. i’m into the fast paced , funny kinda edits good cuts, memes, sound effects, subtitles, zooms, whatever fits the video. i’m still building up my editing work rn, so i’m mainly looking to work with smaller creators and actually grow with them instead of just taking random one-off jobs. if you like my edits and think i could fit your content, just dm me :)

I am a content creator passionate about helping people understand life, learn useful skills, and build confidence. I create simple and practical content that motivates people to learn, work hard, and improve themselves.I am a content creator passionate about helping people understand life, learn useful skills, and build confidence. I create simple, practical, and meaningful content that motivates people to learn, work hard, stay positive, and improve themselves. I also enjoy creating engaging thumbnails and visual content to help ideas reach more people.

Chargé de production et post-production audiovisuelle, spécialisé sur le format YouTube. Pendant deux ans, j'ai géré l'ensemble du workflow d'une chaîne créateur chez Enfant Terrible (Gaspard G) : plannings de tournage, coordination des équipes, suivi montage jusqu'à la mise en ligne. Avant ça, deux ans en freelance sur des courts métrages, où j'ai appris à tenir un projet de la préparation au bouclage avec peu de moyens. Accomplissement dont je suis particulièrement fier : j'ai géré de A à Z un reportage tourné au Canada sur les peuples autochtones, de la préparation logistique du tournage jusqu'au montage final. Ce qui me passionne dans ce métier, c'est de faire tourner une machine de prod sans que ça se voie à l'écran : que le créateur puisse se concentrer sur son contenu pendant que je gère le reste. J'ai aussi monté toute l'infrastructure technique de mon ancienne équipe (montage à distance, serveur NAS dédié aux workflows d'édition), ce qui me donne une vraie autonomie technique en plus de la coordination. Gros consommateur de YouTube moi-même, je connais les formats de l'intérieur autant que du côté spectateur, ce qui m'aide à anticiper ce qui marche pour une audience plutôt que de suivre une méthode générique. Je peux aussi intervenir en renfort technique sur un tournage (régie, assistanat technique) si besoin d'un coup de main ponctuel plutôt qu'une prise en charge complète du projet.

🎬 Monteuse vidéo débutante Je débute dans le montage vidéo et je cherche mes premières expériences pour progresser et développer mon portfolio. Je ne suis pas encore une experte, mais je suis motivée, sérieuse et j’aime apprendre. Je peux réaliser des montages simples pour YouTube, Shorts, TikTok ou Reels, selon vos besoins. 💻 Je suis à la recherche de petits projets rémunérés, adaptés à mon niveau, avec des créateurs qui sont prêts à me donner ma chance et à me permettre de progresser. Si vous cherchez quelqu’un de motivé, sérieux et prêt à apprendre, n’hésitez pas à me contacter 😊

I'm a YouTube strategist. The work I'm proudest of is a 360K-subscriber US Navy channel I took over after it had been sliding for ten months, down 54% in watch time and 76% in subscriber growth year over year. Within six weeks and eight uploads, retention at thirty seconds went from 60% to 76%. Average view duration rose 74%, from 3:50 to 5:00, while I was making the videos longer. Suggested traffic went from 6.4% to 19.5%, which meant YouTube had started showing the channel to people who had never heard of it. RPM went from $3.82 to $6.36, and August became the strongest revenue month of the previous four. None of that came from better production. The footage and the edit were fine before I arrived. What was broken was the architecture. The opening thirty seconds announced the topic instead of opening it, and the packaging only ever spoke to people who had already subscribed. That's the thing I actually do. I think most retention problems are structural rather than qualitative. A viewer doesn't stay because a moment is dramatic. Shock is a spike and it flattens fast. They stay because a moment opens a door they didn't know was there, and that changes what they assume the rest of the video contains. When I build something, I want to be able to point at the specific second that does that and say what it makes the viewer suspect. If I can't, it usually isn't working yet. I work end to end rather than handing off an analysis. Ideation, research, scripting, cut-by-cut notes to the editor, thumbnail briefs and directing the designer through revisions. I like being close to the script and close to the data at the same time, because the answer to a bad retention curve is almost always a line of writing, not a setting. On range: I worked on strategy for a sex educator with a US audience, where every video had to hold attention and stay monetized inside strict platform rules. I built Lumio's channel from zero while the product became the number one selling TV on Amazon India, and I've worked on Unacademy's main channel and Gokwik. What I'm looking for is long-form work where research quality matters and where someone actually reads the retention graph after publishing.

Actuellement en 1ère année de Master Vidéo et Digital Content à l'ESD Lyon, après un Bachelor en réalisation numérique à l'ESEC Lyon, je suis passionné par la production de contenu depuis toujours et je cherche une alternance en production audiovisuelle / création de contenu. J'ai eu l'occasion de me confronter à toutes les étapes d'un projet : chargé de production et assistant réalisateur sur des live stream et podcasts (Cinécoop, CUP&MUG), assistant technique sur un tournage à 360° avec la compagnie Käfig (spectacle Boxe Boxe Brasil), et production de contenus promotionnels pour un centre de formation aéronautique. À l'aise sur un tournage comme derrière un plateau de live, je gère aussi bien la logistique, la prise de vue et la prise de son que le montage et la post-production. Curieux, organisé et à l'aise dans l'urgence d'un direct, je cherche une équipe où apprendre vite et où chaque projet compte vraiment.

Generative AI Content Producer and Documentary Creator with 4+ years of hands-on experience creating research-driven science, space, and dark-science content. Skilled in AI video generation, prompt engineering, documentary scripting, AI voice-over, sound design, visual storytelling, and end-to-end content production. I build AI-assisted workflows from research and script to visuals, voice, editing, and publishing.

I’m a creative video editor and content creator with a passion for turning ideas and raw footage into engaging, high performing content. I specialize in short and long form video editing for platforms like TikTok, Instagram Reels, and YouTube Shorts, with a strong understanding of pacing, storytelling, trends, captions, transitions, and audience retention. I’ve worked on transforming long-form content into attention-grabbing short clips, helping content reach 10,000+ average views per video and contributing to the growth of a TikTok account from 0 to 30,000 followers in just one month. I’m comfortable creating content that is not only visually appealing but also designed to capture attention and keep viewers watching. What makes me unique is my ability to combine creative editing with social media strategy. I don’t just edit videos I think about the hook, pacing, message, and overall audience experience. I’m always learning new editing techniques and exploring creative ways to make content more engaging, entertaining, and effective.