Edit Producing

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!

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Edit Producing

Across the Pond

Having spent just over a year working on Channel 5 projects, 2018-19 is set to be the year of the American projects! I can now count PBS, Science Channel and History Channel in my credits.

So what’s the difference between producing programmes for the UK and producing them for the US? Not much in terms of the basic production process, but the big differences can be felt in the time zones and in the target audience.

The time zones are the trickier ones to deal with. I was working on a large-scale documentary series for the Science Channel, and we had several shoots going on simultaneously in the US across different time zones. It meant that the mornings were quiet, and were usually the times when we’d have our production team meetings, but as soon as the East Coast woke up, right up to when the West Coast woke up at the end of the day, our schedules became rather busy! It resulted in quite a few late nights in the office making calls to LA, and at the end of the project I suggested that we trial a change of working hours to match our contributors – which was well received.

As for the target audience – this changes with every programme and every channel. It is often helpful to put a name and a face to the target audience, such as ITV’s Auntie Beryl! Then as we read each script, watch each edit or interview each contributor, we can keep asking ourselves if our target audience character will like/understand/be engaged by the content that we are creating.

If you are about to start on a US project, my advice to you would be to find out how much production will happen in the US, and also find out from your series producer what the target audience is like. That way, you will be able to offer better editorial feedback on target audience relevance – and you’ll be able to plan for the possibility of work eating into your evenings if filming is taking place in the US!

In the meantime, I’m looking forward to learning more about the vast and fascinating American market.

Across the Pond

A Dramatic Turn of Events

Right now, I’m sat in a cafe, drinking cinnamon tea and reliving last week’s drama shoot. My back still aches from it, and my brain seems to have powered down to energy-saving mode. But the memories made, the jokes cracked and all the things I learned on the shoot still make me smile as I sip my tea.

The production I’ve just finished working on, a feature-length drama-doc about Prince Albert, was always going to be more drama than doc. We had already filmed the talking heads who were going to provide the documentary element of the film, we’d fact checked the script, we had cast the actors, and now it was time to shoot the whole thing. A beautiful country house in Yorkshire had agreed for us to film there, and we were setting off in the car, armed with lots scripts, schedules, socks and snacks.

During the shoot, I was to take on the role of the 3rd AD (assistant director). I’ll write a separate blog on the ins and outs of what’s involved in the role, but I think the first thing I realised when we got on set is the importance of the hierarchy in drama shoots, which just isn’t quite the same as on a doc shoot. There is a very clear pecking order: Director, 1st AD, 2nd AD, 3rd AD, Floor Runner. The hierarchy decides things like who gets to have an editorial say, who gets on set the earliest, even who eats lunch first. And I must admit, it was quite a shock going from being the researcher with quite a significant editorial say, to a position where my suggestions counted for nothing. Although I understand that in many cases, hierarchies are an important way of maintaining order, it is also important never to crush creativity and innovation in an industry that relies so heavily on creativity and innovation.

Of course, there are many other ways in which drama shoots differ from documentary shoots. The schedules and timings are far more precise; there are many, many more people involved; there are many more factors to consider, such as set dressing, lighting, radio communications. Each department multiplies threefold and everyone has their own specific responsibilities. It’s quite an amazing machine – but there again, I discovered a warning symbol. The careful working of the cogs in the machine made the whole shoot so systematic, so pre-determined, so…boring! Whereas on a doc shoot, you’re always travelling to new places, meeting new people, exploring new things, on the drama shoot all the creativity happens in advance, and once you’re on shoot it’s just a matter of getting the stuff on film as quickly as possible. And at the end of 16 hours of being on my feet, the last thing I wanted to do was think creatively about how to make the film as beautiful as possible.

So that’s why, as I finish the dregs of my tea, I feel extremely grateful for the experience of the drama shoot, and very confident that I’m working in the right industry and the right genre for me. I love making documentaries. I love sharing real people’s stories. I love going to new places and discovering new things, and making them accessible to thousands of viewers. I can’t wait to get stuck in to another documentary.

A Dramatic Turn of Events

Another day, another docu-drama

Today I started my new job at Channel 5’s in-house production company: Elephant House Studios.

The last six months have been filled with all things Roman, as I worked from conception to delivery on the octuplet series Eight Days that Made Rome. It’ll be out by the end of this month on Channel 5, and I can safely say that the whole team is very proud of their brainchild. I’ve never worked on a project right until the end, so it was great to see how it evolved and developed through every stage of the edit – the down side being the mountains of post-production paperwork that go with delivering the final films.

But it’s a rather snuggly feeling, knowing that soon I’ll be curled up in front of the TV watching a series in which I feel so very involved. From knowing exactly where I was standing behind the camera, to seeing the baby photos of one of the contributors, I have been part of this series at every level. It’ll also be my very first on-screen credit!

And in the meantime, I’m starting all over again with a brand new docu-drama. This one will be more drama than doc, and may well lead my career further into dramatisations, but when I think back to all the theatre productions I produced and directed throughout school and university, maybe that’s not such a bad thing after all. I get a real thrill from seeing historical characters come alive on the screen, and I think there’s a lot to be said for education through entertainment. This feature-length docu-drama, however, is focussed on the Victorian era, so I’m out of my historical comfort zone and learning every day.

But this is what I love about working in telly. There’s rarely a chance to get bored. There’s always an exciting new project round the corner. Always more people to meet, more facts to learn, more skills to develop. Having put Eight Days that Made Rome safely to bed, I am very keen to get my teeth into this new challenge.

Another day, another docu-drama

Best and Worst of Location Shoots

My two weeks of taking on the responsibilities of a producer for two weeks on location are over, and I’ve recovered with a nice week of holiday. Restored and ready to write this blog, I’d like to share with you the best and worst of my producing adventure!

First up, location shoots seem to be 50% standing around watching the action, 40% carrying kit, and 10% frantically sorting out emergencies.

The best part of filming was how the whole team became a little family by the end. Our crew of seven was spending up to 16 hours a day together, day in, day out, for a week. We supported each other through intense heat, hunger, tiredness, long drives and stress. The bonds created between crews are strong and happy ones, connections I hope to maintain for the rest of my career.

The worst part of filming was the lack of sleep. We were working 12 hour days, but that’s not including the evening meal and then the backing up and tidying away of kit and getting everything ready for the next day. I had on average 5 hours sleep a night. That was really tough, and by the end of the first week, the heat and the sleep deprivation really got to me and I started feeling very sick. But I’ve learned from that – I need to manage my sleep better, and become more efficient at backing up the day’s rushes and prepping the shoot materials.

All in all, I’ve come away from the experience having learned a lot, and I know I’ll feel a lot more confident when the next opportunity comes up!

Best and Worst of Location Shoots

CV Tips

I think it’s fair to say that every industry has a preferred CV format. It’s the same with TV – but I’m sure that many of my friends who work in the Civil Service, for example, would baulk at how my CV is laid out, and I at theirs! But when the average employer spends 30 seconds looking at each CV, you need to make sure yours is one that grabs their attention, that tells them everything they need to know about you at one quick glance.

One genuine moment that changed my life was when a talent manager at the BBC gave my CV a brutal makeover. After that, I appeared far more professional – and felt it, too! So here are a few do and don’ts of how to write a ‘TV CV’:

  • DO put your name at the top. In big letters. So people can easily see whose CV they’re reading
  • DON’T put your picture on. It’s not your social media profile, and anyway this helps to prevent unconscious bias
  • DO put your industry level – and make it appropriate for the job that you’re applying for. So don’t put Sam Jones – Producer, if you’re applying for a Researcher job!
  • DO put a little mission statement – but only if it’s a good one. A bad mission statement is worse than no mission statement at all. This should just be a couple of sentences that’s like a trailer for your CV – highlighting your best credits and top skills. Maybe try asking a friend to write it for you – they may highlight things about you that you might have missed! You can then use this mission statement across other professional platforms, like LinkedIn and the Talent Manager
  • DO put your contact details – email address, website and phone number are fine
  • DON’T put your address. It might genuinely cost you a job, if for example you’re applying for something in south-west London but live in north London. That’s an hour-and-a-half commute, and a kindly production manager may well try to save you the trouble by rejecting your application
  • DO put your skills in a list or table right at the top of your CV. This can include things like self-shooting, editing programmes you can work with, a clean driving license, training courses you’ve been on etc
  • DO head up each credit with a straightforward top line: COMPANY, Production, Role, Date.
  • DO mention who you worked with on each production, or put them as references after your top line. Your potential employer will call them up if they know them and ask what you were like to work with. So logically –
  • DON’T put down anyone on your CV with whom you didn’t have a good professional relationship. If your potential employer knows them, they’ll ring them – and that person may not give the best recommendation for you
  • DON’T put your references at the end of your CV. Your potential employer probably won’t read all the way to the end
  • DON’T put every exam you’ve ever taken as your qualifications. No one cares whether or not you did Ceramics GCSE – unless it’s relevant to the job you’re applying for, in which case put it in your cover letter
  • DO save a copy as a pdf, to prevent the formatting from going weird on different operating systems

Your CV should enable employers to IDENTIFY, VERIFY and CONTACT you. Anything superfluous to that and it starts to become your life story – and that’s called an autobiography!

CV Tips

Networking

I’ve talked about networking a lot in this blog, but it really is the bread and butter of telly. To quote Sara Putt, TV has a soft skills security blanket: people want to work with other people who are easy to talk to, have good manners, are gracious and conscientious and hardworking.  Employers verify that by asking their colleagues, your references, people who have worked with you before.

As an employer or as a freelancer, your most important asset is your network. This should involve professional relationships at ALL levels. Keep a database of all the people you know, whether they’re people you’ve worked with, people you’d like to work with, or people you’ve met for coffee and advice. You can use your network not just to find new employers, but also to verify new employers – if you’ve just got a job at a new company, you can ask friends who have worked there before what it’s like. Remember, it’s about quality, not quantity – if you have a really good relationship with just a few industry contacts, they’ll work all the harder for you when you need their help.

Don’t be afraid to reach out to people you want to connect with – most people will be more than happy to help, remember they’ve been in your position before! But don’t jump straight in asking them for a job. Best to invite them for coffee to ask their advice on something – people always like to share their wisdom! Ask them something specific, so that they can focus their answers. I’ve made the mistake of asking too general a question, and that cost me the meeting with the Series Producer I was looking to befriend. And always thank them afterwards – be specific about why they were helpful. Try to get that new contact to suggest another two people that you should connect with – that way you’ll double your network with every coffee!

Try to update your network every three months, or every time you have something new to say. This could be a new credit to your CV, a new skill that you’ve learned, a new short film that you’ve published. That way you stay in your network’s recent memory, rather than buried in a pile of CVs somewhere in the office. Talent Managers often track the availability of their favourite people, so if they regularly see that you’re getting gradually more experienced and more qualified, you may well become one of their favourites too!

Networking