Tomás Castaño. Video editor, storyteller, writer. I make engaging videos people want to watch.
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I'm an editor first. I also tell the story, write the script and find the topic people are searching for, so you hire one person instead of four.
Download my resume PDF, 2 pagesEvery cut here answers one question: will they keep watching? Ads, interviews, vlogs and a sales video, from the last five months.
Source: YouTube Studio for the George Gammon and Rebel Capitalist channels, June 2019 to June 2025.
Most sponsor reads look like a pause in the video. Mine look like part of it. Every claim the host makes gets its number, its chart or its product on screen, for Interactive Brokers, Mint Mobile and Monetary Metals on Jeff Snider's channel.
Three seconds to stop the scroll. Five to make a promise. Thirty to prove the video is worth staying for. I work on every one of those seconds.
Why those three: TikTok asks for the point in the first 3 seconds, YouTube shows the skip button on an ad at 5, and YouTube Studio scores an intro at 30.
From the blogHow I build a hook
Four recent hooks and two story beats I'm proud of.
Keep scrolling. Each one plays as it reaches the middle.
“Tomás is an editor who keeps up with the latest technology and knows how to use AI tools to his advantage, optimizing his workflow to deliver clean, dynamic work. His innovative character has left behind resources my team still uses today. All of that, added to his human quality, makes him an excellent addition to any team he joins.”
“You improved the whole editing style in our team. Almost all the editors are now working with amazing animations.”
And from my current team's Slack
MOLove the pacing on it, kept me engaged throughout, looks great to me
SI really love the carousel style.
Can you please ask it to generate a PDF with all the prompts and guidelines you've given it, so I can use the same thing on my Claude?
I@The Colombian Guy That's amazing, the sound effects are perfect
LDFire, I really appreciate your work, dude
SEYou are a real hero. Please, let's make our next production call about this
Silences, ums, throat clears and stray noises come out before anything else, so the conversation flows from the first minute.
Then every chapter opens with a title card and a new music bed. The viewer feels the video moving forward and stops checking the clock.
A title card and a new bed at every boundary.
Six years of cutting macro finance taught me this. A news story gets its headline on screen. A number gets its chart. A place gets its map.
People follow a hard idea when they can see it, so nothing is mentioned without being shown.
They name a place. I show the map.
When the story exists and the pictures don't, I build them, with AI and whatever technique fits the person telling it.
A young vlogger's basement flood became a comic, because a vlog can be fun. A finance educator got a character drawn in a few plain lines, because that's what we agreed suited her.
Once the whole cut exists, I go back for the hook. An hour-long interview has peaks. I look first for the one people are searching for right now, cut it to twenty or thirty seconds and dress it with music, sound, color, headlines and data.
And I take that peak from the second half on purpose. The viewer stays through the interview waiting for the promise I made in the first seconds.
The peak sits past the middle. The hook borrows it.
becomes 24 pieces of content.
Cleaned, in chapters, with graphics and a hook.
Each with its own argument and title.
Captioned word by word for Reels, Shorts and TikTok.
The ideas that never fit in a clip, slide by slide.
So the episode keeps showing up on Google.
Three or four pieces go out every day. Nothing is posted twice.
You record once a week. I deliver all 24 pieces within a week of the recording, enough to publish three or four a day, every day. Every piece points to the others, and one person keeps the voice consistent from the video to the article.
A long video holds ideas that never fit in a clip. I pull the argument from the transcript, write every slide, check every number against its source and design it in the client's brand. Four clients, four different looks.
teocotidiana.org went live in August 2026. I designed it, coded it with Claude and publish on it every week: long articles written to rank on Google, a weekly newsletter with its own sign-up flow, and an Instagram carousel that sends readers to each piece.
An editor who writes knows what the video is trying to say before the first cut.
Visit teocotidiana.orgIt is the same question behind a hook and behind an article: what is someone typing into the search bar today? I choose the topic from that, write the title as the question they ask, and then make the piece that deserves the click.
879 clicks and 11,360 impressions in ten weeks, from a domain that did not exist in August. Source: Google Search Console.
Today first. Keep scrolling and the playhead moves back in time. Or pick a clip.
TeoCotidiana is where I test every idea before it reaches a client. I write, shoot, cut, caption and publish each piece myself. It's in Spanish because that's who I write for; the client work on this page is in English.
Claude reads the transcript, finds every repeated line and builds the sequence inside Premiere. I watch every cut. When an AI-built chart came back showing a drop from 12% to 6% that nobody in the interview had said, I caught it, because I check every figure against the source.
I taught that workflow to the agency's editors in a 49-minute class, live on my own project. The slides below are mine.
Ten slides. Scroll sideways.
Premiere Pro, Final Cut Pro, CapCut and Descript. Long-form interviews, vertical clips, ads and VSLs, vlogs, multicam, audio cleanup and mixing.
Hooks, chapter structure, retention editing, scripts, and an image for every story that had no footage.
Articles, newsletters, scripts and captions. Author of one published book, with a second in progress, and Spanish-edition editor of a New York Times bestseller.
Topics chosen by search demand, YouTube SEO, thumbnails with A/B testing, Search Console and YouTube Studio.
Charts, maps, headlines and captions rendered in code with Remotion. After Effects, Photoshop, Adobe Express, Canva.
Claude connected to Premiere, AI-generated scenes and music, transcript-based cutting, and a frame-by-frame check before anything ships.
