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'The Ellies' 2013 - entries now open!
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Greetings Editing Colleagues,
I hope you've found warmth from your creativity this month, as we now steer to the close of winter.
A date has now been set for 'The Ellies' 2013 ASE Awards. Mark in your diary Saturday the 7th December.
We have a new larger venue in the works, being co-ordinated by your ASE Executive Committee.
Entries are now open, but for a limited time. Check the website and flyer below for details.
http://www.screeneditors.com.au/awards/
Please let me introduce Shannon Longville, who is now our ASE eNews Editor. Shannon has kindly offered to take up the role from Adrian Barac. A note of thanks to Adrian for his past efforts too.
The eNews is a valuable resource for ASE members. If/when you have contributions, please forward to Shannon at newsletter@screeneditors.com.au
We're in need of banner images for the ASE website home page. It's great to proudly display the diverse work of our membership. Help us promote your creative endeavours.
http://www.screeneditors.com.au
Remember, it really is a matter of "what can you do for your community?".
Please let us know what you'd like to contribute or make available to share.
Let's find great comfort in supporting each other.
Regards,
Jason Ballantine ASE
ASE President
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SOUTH AUSTRALIA
SA is a bustle of activity for post this month, with films nearing the finish line and projects on the horizon.
Local filmmaker Shalom Almond, and ASE member editor David Banbury are near completing feature doco My Long Neck that has been in the making for four years. AFI winning and ASE member Bryan Mason and the Closer Production team are in the mixing stages of their feature film 52 Tuesdays as well as starting production on various TV docos for the ABC.
Wolf Creek 2 has pictured locked with local editor, ASE member and SA Co-Chair Sean Lahiff, and is now back in Adelaide where it will finish VFX and mix.
SA also has two prominent TV series on the go, with Sam Fox: Extreme Adventures (Channel 10) about to finish shooting and move into the last block of post, as well as Anzac Girls (ABC and Showtime) about to start production.
A busy start to the financial year for SA, and we look forward to seeing a full slate of work for both post and production to continue.
Carly Turner and Sean Lahiff
SA Chairs
WESTERN AUSTRALIA
This month saw the return of the WA Screen Awards after a one year hiatus. With a backlog of fine films nominated, it was a great night celebrating local screen production and a chance for the WA film community to get together and support each other. Congratulations to Editor Tim Whittingstall for his award for Best Editing in a Short Film "Eleven Thirty". Others nominated for this award were Noah Joseph James for "Ruby Boots Wise Up", Stefan Androv Radanovich for "Perished" and Antony Webb for "Henry & Aaron's 7 Steps to Superstardom - Ep 2 - Ride The Coattails". And congratulations to Lawrie Silvestrin ASE for the award for Best Editing Longform for "Desert War". Other nominees for this were Meredith Watson Jeffrey for "Mal.Com Ep 2 Secrets", Jonathan Rowdon, Roland Smith & David Langlands for "Outback Truckers" and Meredith Watson Jeffrey for "Blame".
Other notable winners: Best Longform Drama went to "Red Dog" edited by ASE member Jill Bilcock ASE, Most Outstanding Achievement in Television Drama went to "The Great Mint Swindle" edited by Antonio Mestre, Best Music Video "The Chemist - Silver and Gold" edited by Dominic Pearse and Best Feature Film - Factual "Hunter - For The Record" edited by Stefan Androv Radanovich and Dominic Pearse.
This week sees the screening of the first episode of "Comic Book Heroes" a two part series on ABC 1 on Tuesday 13th and 20th August at 10pm. Filmed over two years in Tokyo, Perth and San Diego the series tells the inside story of two Australian comic book publishers battling to crack the American market. It was written, directed, filmed and edited by Nick Dunlop. Watch it if you can on ABC 1 or iView.
And a special thanks to Meredith Watson Jeffrey for her ASE committee work over the past few years. Meri has moved to the USA for a while and we wish her and her family all the best.
Also a special thanks to Ted and Bryan McQueen-Mason for representing ASE WA at the recent Industry briefing from ScreenWest regarding the ongoing Infrastructure Review process. This is something ASE WA has been involved in for the past year and is close to being ready to present to the State Government.
And finally, ASE WA would like to welcome the arrival of Beyond West (the WA branch of Beyond International) and we look forward to this adding to the continued growth of the local screen sector
Lawrie Silverstrin ASE
Chairman, WA Sub Committee
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Meet The Member: Beth Biederman
 For the past 7 years I have been working as a freelance editor in Toronto, Canada for prime time shows such as Four Weddings Canada (Slice) and The High Low Project (HGTV US), and the kinder time show Waybuloo (BBC - Cbeebies). I’ve recently moved to Melbourne and getting to know the local industry while working as a Post Supervisor for the animated series Get Ace airing on Network Ten next year.
I knew I wanted to work in post when… One of my first jobs was working with the National Film Board of Canada. I treated the job as film school. I borrowed equipment, went on shoots, assisted in the edit and made my own short films. At first I thought I wanted to be a director but as soon as I started cutting I was hooked.
My first break in the industry was… Working as an assistant to a literary Talent Agent. I stapled a lot of scripts but got to meet a lot of great directors, editors, cinematographers, writers and producers.
The thing I love most about editing is… Building a great story in any genre.
The best tip I’ve got for aspiring editors is… Working as an assistant is great way in. Do your job really well and then make and take every opportunity you can to cut. Gaining the editors’ trust and showcasing your skills can only lead to good things.
If I weren’t in post production I’d be… Dancing.
Meet The Member: Sally Moran
 Sally has been in the in the industry for the last 15 years. Most recently she spent a decade in the UK editing largely long-form documentaries for the likes of BBC and C4, before relocating to Sydney in 2012.
I knew I wanted to work in post when… I was bored rigid working as a PC, and wanted to be where the storytelling was.
My first break in the industry was… cutting crocodiles for the late Steve Irwin, and before that working as a Sound Recordist on corporate docs for an Aboriginal audience.
The thing I love most about editing is… the intellectual challenge involved in shaping narratives, the lovely synchronicities which unfold between image and sound, the creative excitement of a great collaboration.
The best tip I’ve got for aspiring editors is…Never be afraid to make a decision; Music is your friend, getting the right gesture in there early will motivate your cutting and make your story sing; Less is more; avoid style over content.
If I weren’t in post production I’d be… Hmm? Sitting on a hilltop with a view, learning how to paint.
Meet The Committee: Steven Baras-Miller
 Steven began his career in television in 1994 working 90 hour weeks for no pay in community television. After producing, shooting and cutting 250 episodes of his own program he was offered a traineeship at the ABC in 1998.
Since then Steven has worked his way around the network as an editor on programs like Foreign Correspondent, the 7.30 Report, Art Nation, ABC Kids and, for the last three years, Australian Story.
I specialise in…Documentary editing. I am work full time for Australian Story on ABC1.
My first break in the industry was… I started working in the industry as a volunteer in community television. I taught myself editing, camera and producing by making as many mistakes as possible when I wasn't getting paid.
The highlight of my career so far…Winning Best Editing in a Documentary Series in last years Australian Screen Editor Awards.
I was inspired to join the ASE committee… Because I was impressed by the amount the guild was doing to support editors.
The ASE is important… Because editors spend so much time working alone the ASE is a place where we can get together and find out that all of the insanity we face every day is happening to other people as well!
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Meet The Sponsor: Paul Willey
 The ASE’s newest sponsor is also one of the local and international industry mainstays. Here’s a set of five questions answered by Paul Willey, General Manager of Soundfirm.
In a nutshell, what is Soundfirm?
Soundfirm has been around for 30 years and has facilities in Sydney, Melbourne & Beijing. We pride ourselves on being ‘collaborators’ with clients on their creative projects, not just service providers.
You have a broad range of clients how does your operation facilitate their varying needs?
The aim of any post production operation is to ensure that technology and talent are maximised to deliver projects on time and on budget. Soundfirm has always operated an ‘open door’ policy with regards to creative talent and we rely on a mix of skilled freelancers (picture and sound) alongside our in-house crew, to allow clients unrivalled flexibility when it comes to finishing their film. Data-centric work-flows present both creative opportunities, but also technical and logistical challenges. We are vastly experienced in delivering complex feature film projects and this foundation has been a fantastic platform on which to build our CV in delivering high-end TV drama series, documentary and short-form content; all of which we are working on more and more.
Tell us about a recent job that was challenging and/or different to the usual.
‘Around The Block’ (Dir, Sarah Spillane) was a film we delivered earlier in the year that saw Soundfirm complete the full picture and sound post production onsite: one of the first multi-million dollar films we posted in its entirety. The challenge is to ensure that you utilise the ‘economies of scale’ associated with posting everything under one roof to maximise the time the client has in the creative environments here; grading and mixing in particular. We were able to take advantage of shared networks and collaborative work-flows in post to meet those challenges.
Why do Soundfirm choose to support the ASE?
Soundfirm is proud to support and sponsor the ASE. The craft of the Editor and the Post Producer shares a common aim: to create stories that entertain, educate and engage audiences. We highly value the Editor’s contribution to the post production process and we endeavour to support them technically and creatively. We are passionate about technology that inspires creativity, and our recent investments in people and equipment will ensure that Editors continue to find a natural home with us at Soundfirm - either at our Sydney site, Fox Studios, or at our brand new building in Port Melbourne.
What do you think the biggest issue/s are in the post-production industry at the moment?
The point of entry in terms of technology is now incredibly low: however, downloading Final Cut Pro X does not in itself make you an Editor! The focus therefore has to be on skills and training; recognising that the craft of the picture and sound Editor is one that needs to be honed and refined. Yes, there remains downward pressure on budgets, but that is nothing new, in our view. The way to counter this is for facilities and creative talent to forge smart and diverse collaborations with other businesses and markets; ensuring always that people and their talent remains at the heart of everything we do.
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DATELINE: Sunday 28th July 2013
THE MAIN EVENT: "Class of 2003"
VENUE: Upstairs in that grand old darling - The Lord Dudley in Paddo - scene of more than a few past industry crimes.
A very stylish event and the welcome very warm for all who attended.
Three stalwarts of the original 'Class of 2003' graced us with their wit and erudite musings on their life's work.
Peter Whitmore ASE, Suresh Ayyar ASE and Stewart Young ASE.
The afternoon's conversation was hosted by Dr Karen Pearlman who easily managed put the chaps at their ease and extract the pearls of wisdom we'd all gathered to hear.
Read the full article, including audio and photos from the day, here:
DATELINE: Sunday 4th August 2013
THE MAIN EVENT: Editing Master Class: Andy Canny
The Australian Screen Editors Guild in association with MIFF Accelerator presented the Editing Master Class with Andy Canny on Sunday the 4th of August as part of the 2013 Melbourne International Film Festival.
Editor Andy Canny’s most recent editing credit is the MIFF Premiere Fund-supported Galore, which had its world debut at this year's MIFF and was directed by MIFF Accelerator alumnus Rhys Graham. Andy's other credits include The Loved Ones; Underground: The Julian Assange Story, Beaconsfield, acclaimed TV series The Slap and forthcoming film The Mule.
DATELINE: Wednesday 24th July 2013
THE MAIN EVENT: SMPTE Seminar 2013 Scott Gray ASE
VENUE: Sydney Convention & Exhibition Centre
The subject was “Why doesn’t the Cinematographer have ultimate control over what tools they use?”
On the panel were Directors of Photography - Denson Baker ACS, Ben Allen ACS, Tom Gleeson, Alexis Castagna and Post production types, Colourist – Adrian Hauser, Post Supervisor - Henry Karjalainen, special effects supervisor - Chris Godfrey and myself.
It was a fascinating discussion on the rapid changing of camera technology and the effect it is having on DPs as to the amount of control they have in the process.
The two main points of the discussion were about the equipment and, to a lesser extent, what creative control the DP has lost with the new technology. As equipment choices have rapidly expanded and become more affordable, the DPs are faced with the choice of buying a particular camera kit, which can limit some of the work, they will get. Many production companies have the expectations that DPs will own their own gear but they are not so aware that no camera can shoot all scenarios. A frustrating situation for many DPs. I think everyone agreed that the most valuable thing a DP can buy is the lenses. The cameras will keep changing but a good set of glass will last a long, long time!
The other main discussion was how post production effects the role of the DP. I raised the point that we often re-frame and re-size images to maximize the story telling. I also mentioned that technology now allows us to do just about anything with a well exposed frame and that DPs should try and avoid riding such fine lines on exposures [some of my best friends are DPs so I’m not afraid to say such blasphemies to a room full of DPs]. Too low or too high will reduce choices in the edit room. It’s rare to have underexposed material but occasionally it happens.
Henry and Chris were particularly enlightening on various post production workflow ideas and had some great anecdotes about “Gatsby”. I particularly loved Chris’s comment that he is the one responsible for introducing Baz Luhrmann to the magic of post production and VFX. I’m sure many exhausted post industry types have muttered their silent thanks to Chris under their breath.
Overall we all talked so much that there was only time for one question. I didn’t see anybody walk out of the room from boredom, so I think it was probably a big success.
Have a look at this example of the VFX employed in Gatsby. Really amazing work!
http://if.com.au/2013/07/04/article/The-Great-Gatsby-VFX-breakdown-Video/PEZVAGYTGE.html
- Scott Gray ASE
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Digistor Training Services - August/September
Avid Boot Camp MC101 and 110 – October/November TBA
One off opportunity to train with Avid’s own Master Instructor David East to become an Avid Certified User.
Becoming a ACU is your ticket to employment in the Avid Community. Limited Places. Register your interest now.
training@digistor.com.au
CINEMA 4D Level 1 and Level 2 -Various dates late August & late September
Join a C4D class now!
http://www.digistor.com.au/Training.aspx
Adobe After Effects for Broadcast Design Tuesday 13 & Wednesday 14th August
Learn with CS6 Adobe Certified Instructor Annette and increase your skillset.
http://www.digistor.com.au/Training.aspx
NUKE for VFX Compositing Wednesday 21st August
This introduction to Nuke covers the basics and fundamentals of Nuke Compositing.
http://www.digistor.com.au/Training.aspx
CINEMA 4D for Architecture (2 day Training Course) 26th & 27th September
Come to Digistor as part of our Architecture Week promo. Discover how to effectively integrate ArchiCAD with C4D and much more!
http://www.digistor.com.au/Training.aspx
We also offer one on one, custom on site and many other types of training.
Don’t forget ASE Members are entitled to 10% off all training courses !
VFX & EDITING COURSES - AFTRS OPEN
We have a large number of editing and VFX courses over the coming months in Sydney.
Highlights include:
Avid for Final Cut Pro Editors
Avid Media Composer 101 &110
Cinema 4D (Advanced and Introductory)
Nuke (Intermediate)
Introduction to Game Design
Introduction to Photoshop for Video Graphics
For a complete list of AFTRS OPEN short courses visit the website:
Don’t forget ASE Members are entitled to 10% off all training courses !
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"Editing is the well orchestrated withholding of story information"
- Pixar
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We would like to thank our Sponsors for their invaluable support of our Guild.
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More than six years ago ASE member John Buck began researching the story behind Avid, and ultimately decided
