GUEST BLOG: CREATING THE EDIT WITH THE CLIENT • THINGS TO DO AND THINGS TO DEFINITELY NOT DO
by Colin J. Mason
At Motivo, collaboration is at the heart of everything we do, and we’re always looking to highlight the voices of those we work with. That’s why we invited Colin J. Mason from Mirandum Pictures, a frequent collaborator and trusted editor, to write our very first guest blog.
Colin dives into the delicate art of client-based edits—what works, what absolutely doesn’t, and how to navigate the process smoothly. Whether you’re an editor, producer, or a client stepping into the edit bay, his insights are invaluable.
I’ve been a director/editor for 20 years, and while I’m proud of my directing work, I often joke with my colleagues that production is just a necessary evil to get to the “real work”—the editing. Maybe it’s because I love working only a few feet from my coffee maker. Either way, over the years of working with directors, producers, and clients, I’ve picked up a few techniques and learned some key dos (and definitely some don’ts) when it comes to working with clients.
Familiarize the Client with the Process
Clients who are new to editing often think it’s as simple as dragging clips into a timeline, hitting "enhance," and—voila!—a masterpiece. It’s your job to set the record straight early on. Walk them through your process. It might seem like second nature to you, but what’s obvious on your end can often be brand new information to them. Set up distinct phases with easy-to-remember names, and then establish realistic timelines and expectations for each phase. Teach the client what kind of feedback to give during each phase and what should wait until the next round. Keep the jargon to a minimum, and never assume they understand which things are simple for you to accomplish and which are not.
“Walk [the client] through your process.
It might seem like second nature to you,
but what’s obvious on your end
can often be brand new information to them.”
Paper Edits Are Your Friend
We’re all used to referring to a script when editing narrative work, but storyboards and outlines are often treated as afterthoughts in documentary or more ad hoc video projects. But even if the brief is something simple like “we shot some footage of our coffee shop, can you make it look cool?”, having at least a basic outline can make all the difference. It helps set the direction for the project, ensures the client is on the same page as you from the start, and ideally prevents the dreaded “why did you do it like that” conversation that inevitably seems to happen right when you’re showing off an edit you’re the most proud of.
Additionally, the transcription capabilities in modern editing software mean that if your project is interview-based, it’s easy to export transcripts and assemble them into time-coded paper edits. Your client is then free to review and make changes to these without subjecting you to time-consuming and labor-intensive rounds of revision. This means that by the time you’re moving clips around, the client already knows exactly what to expect from your edit.
Communicate, Communicate, Communicate
If you’re a professional editor, you’re probably the sort of person who deliberately got a job doing detail-oriented work by yourself. Unfortunately, if you want to be successful, you still need to talk to people. Get used to it. Clients are investing money, time, and resources into the project you’re working on, and it’s not weird for them to expect regular updates. Check in regularly, especially before they start getting antsy.
Also, no project goes perfectly. Something is going to go wrong, and it’s paramount that you don’t wait until it’s a full-blown crisis to talk about it with the client. If there's going to be a delay, reach out to your client immediately. If there's a technical issue, give them a simple explanation of the problem and how you plan to fix it. If something's running late, be honest about why and provide a realistic timeline for when they can expect it. Clients don’t like bad news, but they’ll tolerate it way more than silence.
Know What The Client is Saying Even When They Don’t
Remember, your client hired you because you’re the expert and they aren't, which means they might struggle to communicate exactly what they want and why. Your job is to crack the code. I’ve found that asking clients to be specific about what bothers them about a shot or a scene, and reminding them that there are no wrong answers, can help them find the language to express where the disconnect is.
Asking for reference videos or commercials is also useful—it lets them show you what they’re after without needing to develop artistic language they may not have. Pay attention to patterns in their feedback to understand their taste and preferences, and shape your edits to conform to those. After all, this video is for them, often about something they care deeply about. So take their tastes seriously. It’s not about your vision. It’s theirs.
Know When To Push Back
That being said: sometimes, the client’s vision just isn’t going to work, and it’s your job to recognize that and explain why.
Instead of just shutting down their Very Bad Idea, offer a solution that aligns with their vision but keeps the integrity of the video intact. Being diplomatic is key: hear them out, then make counter-suggestions that take the spirit of their idea to heart, but guide them toward something better. It can often be frustrating, but remember that ultimately you and the client want the same thing: for the video to serve their needs as well as it possibly can.
(Word to the wise: the client will always want their logo to be as big as possible. You will be tempted to push back against this. You will always lose this fight.)
“Sometimes, the client’s vision just isn’t going to work,
and it’s your job to recognize that
and explain why.”
Stick To Your Process
Your editing process exists for a reason. It’s been refined over time through trial, error, and possibly a few existential crises. Stick to it. When a client inevitably asks if you can just "throw something together real quick," remind them (politely) that rushing an edit is like microwaving a steak—technically possible, but the result will be disappointing for everyone involved. If a client wants to recut a scene after you’ve already started the color grade for the entire project, make sure you have a process in place that gives you extra time (and ideally extra money) if you agree to make changes.
While flexibility is important, clients can sometimes see your process as disposable. If you treat it that way, they’ll start to think it is. Set boundaries when necessary. Your sanity, your relationships, and your physical and mental health depend on it.
“Rushing an edit is like microwaving a steak—
technically possible, but the result
will be disappointing for everyone involved. ”
Ultimately, the key to a smooth editing process with clients is a combination of clear communication, solid boundaries, and the confidence to steer the ship when necessary. I’ve learned way too much of this the hard way—through mistakes, misunderstandings, and more than a few coffee-fueled all-nighters. It doesn't always have to be like this. By sticking to your process, setting expectations early, and staying flexible when needed, you’ll save yourself from the kind of stress and frustration I’ve learned to avoid over the years. Hopefully, this will help you create not just better videos, but better working relationships, too.
About Motivo Media
Motivo Media is a Seattle-based video production and marketing agency specializing in storytelling for non-profits and growing businesses. With expertise in digital marketing and audience engagement, we create compelling content that connect with audiences and amplifies your mission.
Get in touch by emailing us at hello@motivo.me