Overview of the roles
Unscripted storytelling is an intricate dance between reality and crafted narrative, with editors serving as the primary choreographers.
In the world of unscripted filmmaking, three new distinct roles have emerged - the finishing editor, supervising editor, and consulting editor.
These roles, while distinct, often overlap and vary depending on the size and budget of the production, the experience of the individuals involved, and the overall workflow established.
It's important to note that these roles are not always strictly defined. In smaller productions, one person might wear multiple hats, acting as both supervising editor and finishing editor, or even consulting editor - while simply being credited as ‘editor’!
Each of these roles are a departure from the typical model of working with a primary editor until picture-lock. They are much more commonly seen in the US, but over the past two decades in the UK they have become more prevalent. The rationale for hiring any of the three roles depends greatly on the demands of the documentary or series being made.
The advantage is that new perspectives or different types of expertise and experience can elevate the overall creative level.
Broadly speaking, the main difference between the three is when they become involved:
- The finishing editor works at the end of the edit process
- The supervising editor tends to work throughout the overall post-production schedule
- The consulting editor supports the edit at strategic points
Definition and responsibilities
More and more frequently in unscripted edits the primary editor doesn’t get to work until picture lock. This can be due to delays in a schedule caused by anything from legal issues, problems with access, unexpected illness or bereavement etc. When the primary editor has to go onto their next booking, if the project is far enough advanced then a finishing editor will be hired.
The finishing editor is therefore responsible for the final stages of the project’s editing process. Depending on how well advanced the edit is, they may work alone or with the director (sometimes though because of delays etc the Director may have already moved on).
This type of editor tends to be highly experienced and confident working alone. They ensure that the project is polished, refined, and ready for finishing post (online, grade, tracklay and mix). Their role primarily focuses on fine-tuning the edit, refining pacing, transitions, and emotional impact. They are normally hired for a shorter time and because of this they tend to earn more than a primary editor/s.
Occasionally, where larger structural changes are needed, a finishing editor is paired with a consulting editor or an executive producer to support them through the process.
In recent years there has been a trend for productions (and even streamers) to plan from the get-go for a finishing editor to be brought in. This can help with programme delivery planning, consistency of style and elevate the film overall.
The finishing film editor: the final polish
Creatively and technically, the finishing editor's responsibilities are identical to those of the primary editor:
- Transitions and effects: checking the quality and appropriateness of transitions between scenes (e.g., dissolves, fades, wipes) and any visual effects used. They should serve the narrative without distracting.
- Titles and graphics: often graphics arrive into the edit late into the process. The finishing editor will be well-versed with integrating these into the cut.
- Archive updating: late in the unscripted edit process, archive that was intended for the film is no longer available or affordable or legally permissible. In those cases, new solutions need to be sourced by the archive team and then integrated to the edit by the finishing editor.
- Music replacement: like archive clips, sometimes late into the process it becomes evident that music may not be clearable or affordable (or a key decision-maker doesn’t like it). The finishing editor will be confident with dealing with this and finding a workable solution. If a composer is involved, for scheduling reasons, they may provide some tracks before picture lock. If the edit then needs to change the finishing editor will have to work around this and find a tasteful solution.
Definition and responsibilities
The supervising editor is the lead editor overseeing the entire editing process. Their role is both creative and managerial, ensuring that the editing team follows a cohesive vision while also providing support and guidance where needed. The supervising editor tends to be hired for the duration of an edit though not necessarily full time.
They oversee a small team of editors or to oversee a less-experienced editor. Like lots of roles in filmmaking, the value delivered to production is both practical and psychological. From a psychological perspective, the supervising editor is a highly experienced and trusted person to reassure nervous investors or commissioners.
From a practical viewpoint, their leadership helps to ensure that the final film/series is compelling and coherent.
The supervising editor tends to be highly experienced and as such they tend to earn more than the finishing editor.
They can be full time for the period of post production or for just a few days a week.
One of the more critical jobs of the supervising editor is to figure out the post production workflow for a given project. This involves close collaboration with the line producer or production manager and the post production supervisor (if one has been hired).
As the senior editor, they play a central role in shaping the narrative and structure of the documentary film or series. They are responsible for overseeing the entire editing process, from the initial assembly of raw footage to the final cut.
Here's a breakdown of the supervising editor's key responsibilities:
- Managing the editing team: if the production involves multiple editors, the supervising editor is responsible for managing and coordinating their work. This includes assigning tasks, setting deadlines, and ensuring consistency in style and approach.
- Overseeing the assembly edit: This stage focuses on creating a rough cut that reflects the overall narrative structure.
- Providing creative input: offering creative suggestions and feedback throughout the editing process. This might involve suggesting alternative approaches to storytelling, identifying potential problems, and proposing solutions.
- Ensuring consistency: maintaining consistency in style, tone, and pacing throughout the film. This involves ensuring that all the elements, from the visuals to the audio, work together harmoniously to create a unified and compelling viewing experience.
Definition and responsibilities
At times in the editing process, a production can benefit from the expertise of a consulting editor. The consulting editor advises and shares insights, often visiting the edit, but they don’t tend to provide a “fingers on keyboards” editing service.
The documentary consulting editor is a senior-level expert who provides guidance, support and feedback rather than being directly involved in day-to-day editing. They are often brought in to review cuts, suggest structural improvements, and troubleshoot creative challenges. As an external voice, the consulting editor offers a valuable outside perspective. Because of their seniority and that they are hired usually by the day, the documentary consulting editor earns more than the supervising editor.
Their value lays in:
- Providing objective feedback: a ‘fresh eye’ can often identify areas for improvement in terms of narrative structure, pacing, character development, and overall impact.
- Offering strategic advice: a consulting editor will provide guidance and suggest alternative approaches to storytelling, and help the team to overcome creative roadblocks. They’ll usually themselves have learnt various lessons the hard way in their own careers!
- Reduce risk: as well as adding creatively to projects, a consulting editor can reduce the risk in hiring less experienced teams. By regularly supporting the edit team, it’s less likely that a project will very in the wrong (and costly) direction.
Unlike the finishing editor and supervising editor, the consulting editor can be involved at various times in an edit:
On-going advice and support:
- Sometimes consulting editors are hired by production throughout the edit period to provide regular support to less experienced edit teams. This can be as simple as fortnightly check-ins and regularly feeding back on work. Because the consultant might only be hired for one day per month, it is a cost-effective way for a production to leverage the experience of the consultant while the edit team have another creative brain to draw upon.
Specific targeted support:
- At key stages of the editing process, typically during the initial assembly or rough cut phase, a consultant can provide an objective perspective and help shape the narrative. This can be either for single broadcast documentaries, feature documentaries or for documentary series. The support can be in the form of notes on cuts or it can be provided by spending a few days (or weeks) in the edit with the team.
One-off feedback notes:
- Consultants often provide feedback notes on films. Usually, the work takes between one and five days depending on the level of notes required. They will comment on the overall film and the story elements including structure, flow, transitions, use of music, character arcs, etc.