Director's Cut-Edit 5: Our Transition Team

FROM THE OFFICE OF
THE PRESIDENT OF
'NOTHER BROTHER ENTERTAINMENT

Last Sunday, November 16, 2008, we started filming some of our transitions. In editing we saw that we needed some stuff to help transition from one scene to another. We even had some actors come back to film new stuff. What exactly was that stuff? We’re hoping you won’t be able to tell until we tell you. The point of going back and filming additional material and scenes is to make it look like it was all filmed together and we hope we accomplished that. So who was on our “transition team”? Me and the Second Unit Director.

Gino’s been promoted yall. He’s now not only the editor (or EIC) he’s also now the Second Unit Director and Music Supervisor.

The job of Music Supervisor is both creative and logistic; music supervisors select music and negotiate usage licenses. Music supervisors play diverse roles in the creative process of films, helping to emphasize storylines, emotion, time period and cultural location. Gino will help me select the music and I'll negotiate usage licenses. I wanted Gino to be Music Supervisor because he’s a musician and has his own rock band (shout out to Rubberband. That’s him on bass to the right.). As a musician he has an ear for music and knows about keys and chords whereas I just know what sounds good.

As far as his other new title, a vital task for the second unit is to shoot inserts and B-roll (supplemental or alternate footage). Sometimes, and as it is THIS time, the editor will take charge of a second unit to film B-roll or inserts as he will know what footage he is missing. Gino could have easily have been my DP (Director of Photography) because he has a great eye for filming too.

Like myself Gino is an artist and a man of many talents, I guess that's why we get along so well. His artistry in music and eye for visual art is what makes him an excellent editor. Anyone can pick up an instrument, but it takes an artist to make it sound good.