11 steps to editing your documentary.
Be clear and what the documentary is about. There’s likely to be a lot of unscripted interview responses, or scenes yet to be constructed out of archival footage or photos. Knowing exactly what your producer, director or broadcaster wants will ensure your efforts are focused and keep you on track.
Create a clear post-production path. The reality is that if you were run over by a bus (hope not), or another editor is brought in to help, the work can be continued without skipping a beat.
Organise your BINS and FOLDERS. A documentary will likely have many hours of footage. It needs to be easy to find at any given time. You’ll need folders for:
Original footage imported from the camera data cards
The same footage broken into scene bins
Create separate bins for audio, VFX, sound effects etc.
Folders containIng your edits
Transcribe your interviews. There’s no avoiding this. Someone, usually a production assistant, will need to sit down and transcribe (type out) every bit of every interview and add timecode points for reference throughout. (Actually, there's transcription software that can do this too).
Yes, it takes hours to do, but trying to find snippets of dialogue without transcriptions will take many more hours and have you tearing your hair out.
Back-Up Everything. Okay, we’re at step 5, and you’ve already spent a number of hours getting ready. Make sure you copy your project and file directory every day to the cloud, and I like to put on a USB to take home too. Label those Back-ups with each day’s date.
Watch everything: That’s right, watch it all with your transcripts in hand. I like to make a paper log that I create as I immerse myself in the rushes. I make notes about what is relevant, and mark timecode points of bits I might find interesting. I'm looking for the 'gold' in a storytelling sense.
Your director will be doing the same elsewhere, so when you get together, you both know what you're talking about.
Don’t try and cut the film in one go. Cut the individual scenes (don't forget the radio edit!) and put them ‘on the shelf’. After you’ve assembled a few, string them together in your first assembly sequence. Do they play? Is your story or theme clear? Is another theme emerging?
Be prepared to change your cuts, and change frequently. You are crafting or sculpting so be prepared to change depending on the needs of your director, broadcaster or your story.
Create an archive of effects and archival footage. As you progress through your rough cuts, you’ll ‘colour’ the edit with ‘temp’ (temporary) effects or music. Create a library of these so you can access them throughout.
Know how to research online and physical libraries. Oftentimes, documentaries rely on archival or stock footage. While in many cases a researcher takes on this role, the editor needs to be adept in this skill too. Know which libraries or archives are useful to you, and what the costs, copyright and ethical issues are in using any such footage.
Titles and Lower Thirds:
What is a Lower Third?
A lower third is simply the banner that sits at the bottom of the screen informing us of who is being interviewed, or running other information. Of course, such information can be put anywhere on the screen in many creative ways.
Exploring the Essential Graphics Menu
You can also use a range of titles templates in Premiere's Essential Graphics tool. Explore your many creative options by accessing this link: It will teach you how to use motion graphics/titles templates to really give your videos a pro look.