2023-12-14 18:06:23
After having worked since 2022 with producers and composers in Los Angeles in the field of soundtrack, orchestration and music editing, Brazilian composer, orchestrator and arranger Antonio Ibrahine is preparing to collaborate on several other projects in the film industry. Graduated in Composition at UNIRIO and also a graduate of the film music course at Filmuniversitaet Babelsberg, in Germany, Ibrahine specialized in music production for cinema.
In his next work, Ibragine will collaborate as an arranger on the soap opera “Reis”, from Record, whose soundtrack is produced by Daniel Figueiredo. Ibrahine has also accepted partnerships with two other producers, Beijing Yiwei Culture and Media CO., acting as a composer in the film “Perfect City: the patients”; and MacKenzie Drive Productions LLC., in the film “Charlie and Addy”.
In addition to being a composer and arranger, Ibrahine is a multi-instrumentalist and has dedicated much of his career to editing music for films and series. He was the music editor for the film “The Unquiet Dead” and worked with composer Jim Dooley as a music editor on the “Walker” series.
“The goal of a music editor is practically the same as a composer: to support the narrative through music. The difference is that the editor works with pre-composed music, while the composer makes the music itself”, explains Ibrahine regarding the work of the music editor.
The most important function of a music editor in a film is, according to Ibrahine, to prepare the “temp track”, which is the planning of the combination of pre-composed music with the video. There are, however, several other stages of the musical production of a film that depend on the music editor.
“The entire film is mapped with reference music from other films, indicating where the music to be composed should begin, end, what the concept of the music is for each scene and the film as a whole, indicating rhythm variations and emotional variations of the scenes . The music for a film starts in the music editor”, explains Ibrahine.
Another importance of the music editor’s work is connecting what was decided and produced by a film’s directors, composers and producers. “I’ve always had an admiration for music editing, even though I never really planned to work in editing,” he says. “In my experiences with The Unquiet Dead and later with composer Jim Dooley on the Walker series, I was able to apply a lot of my technical and musical knowledge. The more technical musical knowledge an editor has, the more control over the narrative he will have”, concludes Ibrahine.
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