November 4, 2014
Meet the Team: “Gay Rodeo” Editor Virginie Danglades

Virginie is a video editor-at-large at part2. Recently, she edited two episodes in this season’s “This Is Life with Lisa Ling” — last week’s “Road Strip,” and our upcoming episode “Gay Rodeo,” continuing her journey into far corners of America. Previously, Virginie had edited episodes for “Our America with Lisa Ling,” “Hard Time.” From docuseries, food and travel shows, reality TV to game shows, Virginie has cut projects for The History Channel, PBS, A&E, NBC, MTV, TLC, and Bravo. She wouldn’t trade her seat in the editing room for anything!

P2: There is a wealth of slow-motion in this episode.  What were some challenges of intercutting slow-motion with normal speed footage without feeling too jarring?

VD: Finding a style that fits and enhances the storytelling is the number one priority. There is a lot of grace in slow motion footage. It also kind of puts the action in your face and the impact might stay on you a bit longer than the way a shot plays out in real time. Intercutting slow motion and realtime speed footage is about finding the right point of ‘entry’ from shot to shot, sometimes trying to match up the action between shots, or alternating angles to expand the action. Pacing and playing to the music is key too. It’s a lot of fun to experiment with it!

P2: We get an almost ghostly sonic transition in the scene where Lisa discusses the ceremony of the riderless horse, how did you use sound & image to make such an emotional sequence feel so natural?

VD: It’s a slow segue from one sound element to the next. The music cue slowly blends into the sound of the horses’ hooves, then everything fades away to let the natural sound of the arena and people’s voices singing the national anthem become the sole sound element. The effect is kind of eerie and poignant.

P2: What was the process of selecting and tailoring this episode’s music?

VD: We had an idea to start with. It’s rodeo, we’re out west, however it’s a modern story, some contestants are younger some older and they come from different backgrounds. We didn’t want to fully go the predictable country music, western music way. Finding the right tone and the right cue for each character, for each section, and keep the energy and the flow of the stories has been an enjoyable and very collaborative creative process with the team. We tried cues until they felt right.

P2: As an editor on last week’s episode, “Road Strip,” what were the differences between editing strippers and rodeos?

VD: The shooting styles between these two episodes were different so it does dictate in a way the editing style too. Also “Gay Rodeo” had much more footage as three cameras were sometimes running at times, and there was much more slow motion footage than in “Road Strip.” I had a plethora of images to work within the same editing schedule. However I also found a common thread between the two episodes, as there is a lot of physicality and movement in both – be it pole dancing or riding a steer.  It was a real treat to me, pure fun to edit.

P2: What sequence are you particularly proud of and what made the sequence work so well?

VD: Hard to say that I have a favorite sequence in “Road Strip.” I love how the whole show looks! In “Gay Rodeo,” I’m especially happy with the way the on camera interviews flow with the rodeo footage that’s being intercut. There is an elegance and grace to it that I was hoping to get. Maybe, the sequence when Breana gets ready and then rides a steer for the very first time might stand out. It does visually stands on its own, so I’m definitely proud of how the sequence turned out.


Interview by staff  for part2 pictures.

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