Now that I’m an Assistant Producer, I’m looking to develop the skills that will help me to get the knowledge I’ll need when I reach the next step on the career ladder: a Producer/Director. There are two roles that are useful as intermediary positions between AP and PD, and those are Edit Producer and Story Producer. For now, the one I want to focus on is Edit Producer.
Edit Producers sit in the edit with the editor and put together the programme in a way that most effectively tells its story. It can be quite a tricky role: sometimes you’ll realise that the script doesn’t quite work when you finally get to putting it all together, sometimes you’ll have to think outside the box to find a better way to tell the story, and sometimes you’ll realise you don’t have enough material! As the edit producer, you’ll have to think of a way to solve all these problems within the time frame, the budget, and the requirements of the commissioner.
When I edited my short film, Painting Freedom, I experienced those challenges. The first ideas I had for how to put together the film really didn’t work, and after getting some feedback from a few director friends, I realised that I had to do a better job of edit producing this film!
The first thing I did was go through all the footage we had, including some that I’d initially disregarded. It’s important to know exactly what your resources are. I then went through all the interviews I’d done with the artist, Hannah, and transcribed everything she said. This is a really handy thing to do, because when you’re looking through material, it’s a lot quicker to read than to watch!
The next thing I did was to divide the story into five beats. Sometimes you’ll need more than this, but most stories can be easily summarised into five bullet points. The beats you should be looking to hit are:
- What’s the main event for example
- the women are painting their portraits
- the spaceship is launching
- the king is dead
- What’s the background for example
- they’ve survived ISIS captivity
- the spaceship is looking for life on Mars
- was the king murdered?
- What’s the twist for example
- they’ve never painted before
- the astronauts are not sure they’ll get back alive
- the king’s brother wants to seize the throne
- What’s the next development for example
- the paintings are exhibited at the Houses of Parliament
- the spaceship computer starts malfunctioning
- the king’s son beats his uncle to the coronation
- What’s the resolution for example
- the paintings inspire DFID to help the Yazidi women
- the astronauts fix the computer and make it to Mars
- the king’s son banishes his uncle to Corsica
I then looked to fill those beats with content, both audio and visual, and laid it out in a simple table with two columns, VISUAL on the left, AUDIO on the right. In VISUAL, I would put short descriptions of the clips I wanted to use, and in AUDIO, I would put the text of either Hannah’s interview transcripts, or my commentary.
And then it was time to put everything together! I gave the editor this ‘paper edit’, as it’s called, and we put everything in place. Over the course of doing this, we would sometimes change our minds about which visual worked best, and we cut down the audio significantly. Don’t be afraid to kill your darlings for the sake of a better story!
The final, and arguably the most important step, is the music. In an ideal world, you would want to get a composer to write a score specially for your documentary, but in the real world of tighter and tighter budgets, that’s not always possible! Most companies will have their preferred music archive (ask the production manager which one they use), but for independent projects I love freemusicarchive.org. It’s got a fantastic range of tracks that are all free to use!
So now that I’ve edit produced my own short film, I’d like to find the opportunity to learn about edit producing longer, more complicated films. I’m going to start by practising paper edits, and I’ll look for opportunities to shadow some of the edit producers on my current project!