Treat the original media and original telemetry relationship as the master. Do not render gauges into every clip before you know the final edit.

For normal trims and splits, keep track of source time. For speed changes, freeze frames or reverse sections, decide what the telemetry is supposed to mean because timeline time is no longer moving one-to-one with recorded time.

I also keep the GPS data with the whole trip rather than exporting a new tiny track for every cut. Then each edited clip can reference its original recording interval.

That makes it easier to revisit the edit later when you decide the route map should start earlier or the speed gauge should appear only in one section.

For VSDC, I would keep telemetry as an editable data layer for as long as possible instead of baking it into an intermediate. If the data comes through an external workflow, use clear synchronization markers and preserve the untouched source.

Before doing a long project, test one clip that includes a trim and one speed change. That will show whether your chosen telemetry workflow follows source time the way you expect.

That test is important. A normal trim is easy, but a 50 percent slow-motion section raises the question of whether the speed gauge should also advance at half timeline speed or continue representing the real recorded event.

I will define that behavior before I build the graphic package.

Exactly. Telemetry is not just a sticker; it is another timed source. Once the edit changes the relationship between source time and timeline time, the overlay workflow needs an explicit rule.

Keeping the original timing available gives you the most options.