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It explains why scheduling constraints are felt most in the edit room, distinguishes documentary from reality TV and unscripted formats, and describes the role of documentary editors as writer-collaborators. 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Since then, we’ve grown to over 1,000 members nationwide.  \nADE advocates for better working conditions and codified ethical standards in the edit room, and champions diversity, inclusivity, and mentorship in documentary post-production.  \nBACKGROUND  \nWith the explosion of interest in documentary, both theatrical and episodic, there is an ever greater need to clarify the standards for our field.  \nThe Alliance of Documentary Editors (ADE) is creating a series of guides for documentary editing. This first guide is focused on one of the most pressing issues for documentary editors:  \nEdit Schedules.  \nThe editing process for every documentary, from the smallest short film, to the award-winning feature, to the epic series, begins with an edit schedule. Editors are rarely invited to participate in the scheduling of a documentary, but the results of an unrealistic schedule are felt most keenly in the edit room.  \nAt the same time, independent producers hired to manage series or oversee multiple productions are often working with budgets set when a series is commissioned, and therefore have little flexibility to adjust unrealistic edit schedules. As more producers and directors shift into documentaries from other genres, understanding what makes fora good documentary schedule has become even more crucial.  \nThis Guide for Documentary Edit Schedules was created with the input of hundreds of professional editors and assistant editors currently working in documentary film and television. It is not meant to replace union guidelines (most documentaries are small, non-union productions) . Rather, we created this Guide to help producers, directors, and distributors plan a realistic documentary schedule, ensuring the most efficient and cost-effective edit while maximizing the creative contributions of the edit team.  \nDEFINITIONS  \nThe difference between “documentary” and“reality TV,” and “unscripted” can be the source of endless debate.  \nFor the purposes of this guide, when we talk about documentary we are referring to content that:  \n• Does NOT have a set formula prior to edit (eliminating competition shows, game shows, and reality shows that follow pre-set structures).  \n• Does not have a script or “soft” script for the cast to follow in scenes (eliminating reality TV).  \n• Is not a news magazine show (60 Minutes, 20/20, etc.)  \n“Editing a documentary is akinto someone handing you a bag of sentences and asking you to write a book.”  \n— Travis Swartz Producer  \nWHAT DO DOCUMENTARY EDITORS DO?  \nDocumentary editing is an intensely creative process that is little understood outside of our field. The difference between what documentary editors do versus other editors can be boiled down to one main factor:  \nThe Documentary Editor is also a writer.  \nThe editor works in close collaboration with the director and producer to create an outline of the film or show, and then shapes every scene from scratch using vérité, interviews, archival, and even animation. It’s an exploratory process. In this way, the documentary edi","cbCaiiYJY9Rx9MwH","https://ap.wps.com/l/cbCaiiYJY9Rx9MwH","pdf",637887,"English","# Who We Are\n## Background\n## Definitions\n## What Do Documentary Editors Do?\n## Before The Edit Begins\n## Feature Documentary Schedules\n## Documentary Series Schedules\n## Humane Work Hours\n## Endorsing Organizations & Contact Info","[{\"question\":\"What is the purpose of this ADE guide on documentary edit schedules?\",\"answer\":\"To help producers, directors, and distributors plan a realistic documentary edit schedule that maximizes efficiency and cost-effectiveness while supporting the edit team’s creative contributions.\"},{\"question\":\"How does the guide define “documentary” for scheduling discussions?\",\"answer\":\"It excludes formats with a set formula before editing, content with scripted or “soft” scripts for scenes, and news magazine shows, focusing on documentary content that is not built from those predetermined structures.\"},{\"question\":\"When should a documentary editor typically begin working?\",\"answer\":\"Typically after most footage is shot but while some key shooting remains, so the editor has enough material to cut while still being able to adjust to what the edit discovers.\"}]","GUIDE FOR DOCUMENTARY EDIT SCHEDULES - November 2021 - Professional planning guide | PDF",1789235796]