Interviewing Hayden Hillier-Smith
Just calling him Logan Paul’s editor doesn’t quite do him justice. The unseen force behind Paul’s 5 billion views, Hayden Hillier-Smith has fundamentally changed what a YouTube editor can be in today’s day and age.
Recruited by Paul in 2016, Hillier-Smith brought his British wit to Paul’s daily vlogs. It resulted in not only comedic edits but videos that stood apart from the lo-fi beats and time-lapses that populated the platform in 2016. The duo uploaded 443 daily vlogs in 476 days, a feat even Hillier-Smith remains shocked at.
In a time when having an editor was considered inauthentic — as viewers in those days expected creators to do everything themselves — Hillier-Smith pushed the boundaries for what was acceptable in post-production. Paul, at one point, even gave Hillier-Smith creative control saying, “Hayden, I 100% trust you. Do whatever the hell you want.”
Cover art for 'The Editing Podcast' with Jordan Orme and Hayden Hillier-Smith
It’s no wonder why so many creators pack the room to hear Hillier-Smith speak at conferences like VidSummit. Today, he has a YouTube channel of his own with over 280,000 subscribers, represented by Night Media, and started The Editing Podcast with co-host Jordan Orme (who has edited videos for Justin Bieber, Quavo and Tyga) and producer Ashley Woods. Together, they break down what makes an engaging edit and interview some of the best in the field from the editor of HBO’s Euphoria to the editor of Ryan Trahan’s popular “Penny Series” on YouTube.
As he sets to soon launch his first editing course, I sat down with Hiller-Smith to learn what actually goes into every cut. Below are three lessons from Hillier-Smith’s journey that can guide your edit — whether you do it yourself or work with an editor.
1) Breathing Room Breeds Creativity
When Hillier-Smith started, the production of Paul’s vlogs was quite literally 24/7. Paul would film in Los Angeles and upload the footage around 11 p.m. that night. Waking up in London, Hillier-Smith would be greeted with a folder of footage, edit all day, and upload the finished product. It was a “constant conveyor belt of momentum,” said Hillier-Smith.
While the time crunch of editing daily vlogs led to Hillier-Smith and Paul’s signature style, it left very little breathing room. With an upload deadline a mere six hours away, there wasn’t time for a reshoot or version two.
But during the pandemic, Hillier-Smith and Paul moved away from daily vlogs and uploaded fewer, but higher quality videos three times a week. It was during that time that Hillier-Smith had an epiphany.
“We know that a lot of people are having a very tough time,” Hillier-Smith said. “I want to ensure that while you’re having a tough day, we can give you a few moments to forget about it”
For Hillier-Smith and Paul, this meant no longer just uploading what got done. It became, “How do we make this great?” said Hillier-Smith
“Hayden, it’s game time,” Paul told Hillier-Smith, emphasizing the risk of complacency.
The vlogs duration dropped from around 15 minutes to four or five. Through this, Hillier-Smith had a self-described creative renaissance.
Hayden edited 443 videos in 476 days for Logan Paul's channel
The vlogs duration dropped from around 15 minutes to four or five. Through this, Hillier-Smith had a self-described creative renaissance. He was able to recommend shots to Paul and edit around a shared vision — rather than a Google drive and a hard deadline. Not only was he able to take a step back to truly perfect every frame, but he had the chance to develop an editing philosophy. One that prioritized the viewer’s journey.
“You have to start here … and I as an editor have to find a way to bring you to this emotional feeling,” said Hillier-Smith.
2) Every Edit Needs: Emotion, Story, and Rhythm
Those are the three sub-conscious demands that drive Hillier-Smith’s every edit. Emotion tells the viewer how to feel. Story informs what is actually happening. And rhythm primes the viewer for what’s next.
“If you hit all three of those things,” Hillier-Smith explained, “that feels satisfying and that [and] will make me want to keep on watching.”
Only hitting two of the three categories is not enough — Hillier-Smith emphasized an engaging edit requires every frame to balance all three.
One of Hillier-Smith’s favorite ways to bring in emotion is through a musical concept called “leitmotifs,” which is a short musical cue that quickly sets the tone (think Darth Vader’s imperial march).
In Paul’s vlogs, Hillier-Smith did exactly this. Giving repeat characters or moments their own musical cues. Every time Paul broke out in a comedic fight or went driving with his roommate Evan, for example, the same music would play, informing the audience of what’s to come.
It doesn’t need to be a leitmotif though. Just adding sound effects to heighten reality will do wonders to keep retention. When editing Logan’s “Boxing A Stranger Who Showed Up At My House” video, for example, Hillier-Smith put in additional sound effects and music to heighten the moment.
The actual edit can’t change the story, but it can enhance it. The order in which shots are cut is ultimately what tells the story. Starting a YouTube video with five shots of exposition will bore viewers. At the same time, not leading with the necessary context creates confusion.
When Paul tells the camera, “Before I jumped off the top ropes at Wrestlemania,” Hillier-Smith brings in a shot of him jumping off a rope.
Logan Paul jumps off the ropes during his match against Roman Reigns
“The story is revealing that, and making a response,” Hillier-Smith said.
The rhythm of an edit is all about pacing. And for Hillier-Smith, the pacing is dynamic. Slow cuts build tension, and fast cuts create the payoff.
“You don’t quite have enough time to see the image … and then that adds a sense of curiosity,” Hillier-Smith said.
Rhythm can also be a lack of cutting. A slow zoom on a sustained shot creates a sense of wonder, but without a payoff in the story, the decision feels empty.
3) Context Defines Content
Hillier-Smith emphasized the essential difference between a YouTube video and a feature film is not just the length — it’s the environment. Sitting in a theater, the audience usually paid to be there, and is primed for a 2-hour endeavor starting with a gorgeous establishing shot.
“On YouTube, you click on the video — establishing shot — ‘What the (redacted) is this?” Hillier-Smith said.
Lying on a couch browsing YouTube’s homepage, the viewer is not committed like they are in a theater. There’s hundreds of videos to choose from, Netflix is two clicks away, and TikTok is a swipe away. On YouTube, the viewer’s attention is fragmented before the first frame even plays.
When editing for YouTube, keep this perspective in mind: every edit should convince the audience to stay. Regardless of how perfect the time-lapse and drone shots came out, if it doesn’t push the story, consider cutting it.
With The Editing Podcast and his YouTube channel, Hillier-Smith is entering a new chapter in his career as he continues putting these lessons and many more into practice as he bridges the gap between the traditional film world and YouTube with each and every cut.
Special thank you to Ricardo Ramirez, Alessandro Bordoni, Samuel Flores and the Richy Films team for helping with the interview shoot and Chloe Ginsberg for helping with research and preparation.
