Structure is essential and every editor has their own approach. BAFTA nominated editor Nigel Timperley, joins Studio Insider to provide his hot take on the method of storyboarding. 

When you are starting out, working on projects alone, editing can feel like climbing a mountain, overwhelming and directionless. With potentially hours of uncut content and no clear ideas, it’s easy to get stuck before you even begin. Getting out the pencils and drawing paper, storyboarding can be a productive way to chisel out the path of your structure. And guide you through the tricky process. 

But how does this method translate to the well seasoned professionals, working in large teams on projects for some of the biggest commissioners. Well, with some difficulty according to the expertise of experienced editor, Nigel Timperley: 

“The truth is if you’re doing a drama, or something scripted then yes, you should storyboard with shots and framing techniques to help you consider how you might want to put it together. 

“But from my experience with documentaries, storyboards simply can’t predict the unexpected. The sort of moments that leave you stretching your head.

“Sometimes a camera crew might not give you the shots you want, or a presenter may be rubbish. In one case recently, the tomb which we were filming in actually collapsed.”

Structuring pieces

But in spite of the unpredictability, Nigel still finds structure in his own unique ways. 

“Sticky notes can usually be my answer. As the editing process goes, you do a very rough assembly, then you do a rough cut, which the commissioning editor watches and gets an idea of what the documentary will be like. Then it can be any number of cuts until they’re happy and sign it off. 

“You can imagine, that’s a lot of changing, sticky notes give me the flexibility to chop and change things structurally. 

“But most of all I revolve my structure around rhythm. Editing film is all about rhythm, whether it’s speech, action, music. In my opinion, that’s what takes priority over storyboarding. I see it like an orchestra and you’re threading together all these different elements into what you hope is a beautifully cohesive sequence, which may or may not happen.”

Across his 42 year career, Nigel has edited on a variety of genres, ranging from history, science, drama and even the odd pop promo. However, it was his work on factual documentaries which led to his BAFTA nomination. 

“While I’m an old dog, this job makes me feel like I’m on a constant learning curve of being a student. Working on stories like the London Bombings, Ancient Egypt, even the work I’ve done on cardboard boxes fascinated me. 

“I’m paid to learn about this stuff. It doesn’t feel like a job, does it?”

The industry shift

However, the landscape of editing seems to be shifting. With large charges occurring in the revenue streams, and streaming platforms like Netflix and YouTube ruling the land, editors are being forced to adapt and suit the corporate demands of the industry. 

“There was a time when the editor was pretty important in the hierarchy. There used to be a producer, executive, director and editor. But now there are moments when I’m at the bottom of the pile, along with the composers, and it’s ironic that it’s the two people who are probably as skilled as anybody.

“There was a time when I was starting out that I’d have got upset about it, but it’s important for people looking to get into the industry to remember it’s a privilege to work in, every film I do I just love!”

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