A framework for getting the edit started that works every time.

Everyone who edits hunting films has faced this moment… footage scattered across drives, multiple camera angles, and the lingering question: “Where do I start?”

The solution lies in defining your film’s most important part, its backbone. And in hunting films, that backbone is always, always, always the kill-shot sequence. When you look at your YouTube analytics, the part of your film that will get a replay spike is always the moment you make contact with the animal.

This makes a daunting editing task relatively simple by using the following framework.

Start with the Kill-Shot
Drop your kill-shot footage on the timeline. This moment is the culmination of your hunt and the natural climax of your story. And it’s your anchor point for building the rest of the film.

Building Backward: The Shot Setup
From the kill-shot, work backward to construct the shooting sequence. Begin with footage of the setup. Show the hunter building or finding the shooting position, then getting into place behind the weapon. Include the technical aspects of the hunt such as ranging the target, dialing in your scope, and those critical moments before squeezing the trigger. Move back and forth between these elements and the animal to create tension and show the technical skill involved in making an ethical shot. Your sound design can help enhance the tension and then give the viewer a release when the shot is made. This is the magic of a hunting film and what the viewer is there to experience.

The Stalk Sequence
After you’ve created the shot sequence, continue building backward through your stalk footage. Include when you first spotted the animal and planned your approach. Show how you worked the wind and used terrain for concealment while closing the distance. This progression naturally builds suspense while educating viewers about hunting tactics.

Reaching the Beginning
Keep working backward until you reach your starting point. Show the initial glassing session, setting up camp, and those early morning departures. This could span several days, but you don’t want this lead-in to take too much time.

A good story unravels its characters’ journey through wanting something and overcoming obstacles to get what he or she wants. Keep that in mind as you build backwards toward the beginning. The time between the kill-shot and the start of the hunt is the obstacle. Show it in a way that keeps the viewer watching by reminding them of the desire and the overcoming.

Building Forward to Completion
Once you’ve reached the beginning, return to your kill-shot and build forward. This is the fun and easy part. Show the recovery, field dressing, and pack-out. Include the celebration and meat processing. End with the final reflections on the hunt.

Why This Method Works
This backbone approach gives you a solid structure to build around. It stops the indecision about how to start and ensures your story maintains focus on the hunt’s key moments. By working backward from the climax, you naturally create suspense and keep the narrative tight.

Additional Footage
With your backbone in place, weave in supplementary footage. Add scene-setting landscape shots and wildlife encounters. Include meaningful camp life moments and key conversations that enhance the story.

Technical Tips
Keep your initial edit rough. Don’t get bogged down with precise cuts or color correction early on. Focus on story structure first, then refine your edit with additional passes for timing, pacing, and technical polish.

Remember, every hunting film tells a story of preparation, patience, and execution. By building your edit around the kill-shot sequence, you ensure these elements flow naturally while maintaining viewer engagement throughout the film.

This structured approach transforms a daunting editing project into manageable steps, letting you focus on crafting a compelling narrative that honors the hunt.