Supervise the edit of TV productions
Overview
It is about working with the on-line and off-line editors and the dubbing mixer, ensuring all clearances are in place. It also involves working collaboratively with senior personnel to ensure the desired vision is achieved in the final product. You will need to take on board both the technical needs of the post-production team as well as the creative requirements of the production.
You may not have the time or resources to prepare a paper edit. You will therefore have to have other documentation in place to refer to during this process.You will also need to know the differences in clearances for using programme music and title music.
You will need to check durations and timings if you are working with inserts and liaise closely with the Series Producer and editor. This Standard is for Production Managers and Line Producers.
Performance criteria
You must be able to:
identify content of all relevant view rushes and takes
select and log interviews and actuality that meet requirements
compile relevant documentation to refer to throughout the edit
work with post production team members to meet post production requirements
exchange information with post production team members at appropriate times
liaise with the channel or commissioner throughout the edit process
ensure that selected voice over take fits the picture in both duration and tone, without deviating from the agreed script
ensure commentary scripts are of the required content and length
give graphic designers accurate information about requirements for opening titles, credits and captions and approve the finished work
write realistic and appropriate publicity material
check content for compliance with legal, ethical and regulatory codes, and with the broadcaster’s requirements
Knowledge and Understanding
You need to know and understand:
how to structure the item in a way that best tells the story
the need for relevant preparation and documentation and the financial implications of starting an off-line edit without these
the principles of how the script should complement the pictures
how the tone and style of the programme should be appropriate for the programme genre and transmission slot
when to liaise with the channel or commissioner during the edit process
the use and importance of music in the sound track, and the logistical and financial implications of using different music sources
know the differences in clearances for using programme music and title music and whether special permissions are required for titles music
how to oversee a voice over recording session
how to write scripts for commentary both by yourself and with a presenter
what source material may be needed by the graphic artist
how to recognise opportunities for publicity stills, copy and online presence
what information to include in publicity material including billings
the legal and ethical issues that affect broadcast material, and how to seek advice about potentially sensitive material
how to work collaboratively with other people
how to give clear directions whilst being open to other people’s suggestions