Also known as: EP, Series edit producer
Edit producers take all the shot footage, known as ‘rushes’, and put the best bits together to create a polished, complete programme. They work with an editor who knows how to technically cut the show. The edit producer is responsible for telling the story.
The rushes are usually captured on different memory cards and shot at different times and by different directors. They all get transferred, or ingested, into the edit suite and a logger lists what was shot on which card number and at what timecode the footage can be found. Edit producers use those logs to help them find what they need.
They often start by putting all the material on a very long timeline so they can see what’s been shot, the style used and how a story has been told. They then edit the timeline down, selecting the best takes and finding appropriate GVs (general views) such as wide shots of the location or close-ups. The footage might include interviews and archive, with the addition of graphics and music if needed. They usually write a guide script as they go and record it into the programme timeline, which helps to tell the story that they are cutting and which eventually will become the script read by the presenter or a voiceover artist. They are responsible for making sure the finished programme runs to the required duration.
Edit producers’ jobs can vary depending on the type of programme that they are making. For a magazine programme, they may be required to cut lots of short films that eventually will be linked together by presenters. For a documentary, they may be needed to cut together an entire programme. For observational documentaries, they might cut without a recorded script, relying on the footage alone to tell a full story.
Very experienced edit producers may oversee an entire series, creating an overall style and carrying a narrative over several episodes, guiding a team of edit producers who cut individual episodes. They are known as series edit producers. Edit producers are mainly freelance.
Desiree Ivegbuna talks about being an assistant editor, a role that can lead to becoming an editor or an edit producer.
An edit producer works directly to the series producer. On a day-to-day basis they work with an editor, and will occasionally be joined by an executive producer and a channel commissioner who watch the show and give feedback. They may also liaise with the producer or director who shot the material, as well as researchers, assistant producers and the production management team when looking for and clearing archive or copyright material.
Edit producers tend to come up through production, starting as runners, then researchers, then assistant producers and then producer directors. Often, senior edit producers have been series producers who enjoy crafting final shows and no longer want to be on the road filming or running large teams.
At school or college:
You can take A-levels or Highers in any subject you enjoy, but English, media studies and film studies are relevant to this role.
If you want to go straight into a job or apprenticeship, the following Level 3 vocational qualifications will equip you:
Get an apprenticeship:
Apprenticeships are jobs with training. They’re a great opportunity to earn while you learn. Some of the major broadcasters offer apprenticeships. Check out the schemes:
If you can’t get an apprenticeship with a broadcaster, it might be worth trying to find an apprenticeship as a Junior Content Producer (Level 3, England) in another industry where you can develop your skills and your craft. You can then move into TV at a later point.
Before taking any apprenticeship, check what you’ll be learning with your prospective employer and college, so you can be sure it will give you the skills you want. Go to where can I find an apprenticeship? to learn how to find apprenticeships in your region, or approach companies directly.
Get a degree:
You don’t need a degree to be an edit producer, but if you want one, any subject you love will stand you in good stead. Or you might want to have a look at ScreenSkills’ list of recommended courses and select one in unscripted TV or search for "TV Production". We recognise courses with our ScreenSkills Select award where they offer training in the relevant software, dedicated time to building a portfolio and have strong links with the unscripted TV industry.
Get work experience:
Try to get work experience by writing to local production companies and asking if they offer any. Keep an eye out for work experience opportunities at the BBC, ITV, Channel 4, Channel 5, Sky and the PACT Indie Diversity Training Scheme.
Get to know people in the unscripted TV industry by attending events. Meet professionals and ask them questions about their work, while demonstrating interest in and knowledge of the industry. Offer to provide them with your professional contact details and try to stay in touch with them. Go to how to network well to learn how to do this.
Create a LinkedIn profile. See if there are Facebook pages or other social media groups for people making unscripted TV in your area. There might even be groups for runners and trainees. Join them. Create a ScreenSkills profile. There are a lot of crewing agencies that will charge you to be on their books. Sign up to the free ones initially. Wales Screen, Northern Ireland Screen and other areas offer free crew databases. Find a film office near you and get connected. If you do sign up to paid sites, make sure they specialise in the areas in which you’re interested.
Search for jobs:
Research unscripted TV production companies that you’d like to work for and watch the programmes that they make. Regularly check their websites and job listings websites to see if they are advertising for roles. You can also send in a short speculative letter with your CV to the head of talent. Register your CV on websites like The Talent Manager, which is used by most broadcasters and independent production companies when looking for staff. StartinTV offers tips on creating your CV and attending interviews, as well as some advice for your first day working in TV.
Covers genres ranging from period dramas to epic fantasies screened at the cinema, on TV or on streaming sites
Involves making sequences on a computer that can't be created on set, like enormous crowds and fire-breathing dragons
Combines art with programming as well as production, design and testing - the UK’s fastest growing entertainment industry
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