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The 2013 Ellie Award Winners (L-R) David Whittaker, Nick Meyers ASE, Mike Honey (Life Membership), Bob Burns, Scott Walton, Christopher Branagan ASE (Accreditation Recipient), Deborah Peart ASE (Accreditation Recipient), Katrina Barker, Lawrence Silverstrin ASE and Alexandre Guterres.
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Greetings Editing Colleagues,
I am very pleased to introduce myself as your new ASE President.
I would like to say a very special thanks and farewell to our beloved ex-President and ex-Vice President, Jason Ballantine and Melanie Annan.
Jason and Mel have re-invigorated the Ellie’s, promoted a survey on work practices and with the invaluable help of the Committee’s completed the new website and provided many training and educational events to name just a few accomplishments. They have worked tirelessly and raised the overall profile of editors and editing in this country.
Jas, Mel - as a result of your efforts, the Guild is in an incredibly strong state and we wish you both the best of luck in your future careers.
A very warm welcome to all our new Committee Members in Victoria and the new Victorian Chair, Steven Baras-Miller. Also a welcome to our new Vice President, Deborah Peart. Thank you to all our out going Committee Members and Chair people for your tremendous support.
Congratulations to all our 2013 Ellie award winners:
http://www.screeneditors.com.au/2013-awards-accreditation/
The 8th Annual Ellie’s night was hosted by the charming and energetic Jean Kittson at the Paddington RSL. Margaret Pomeranz was our special guest. A huge thanks to Margaret Slarke and the Executive Committee - the party would not have been the same without all of you making it happen!
Our Honorary Life Membership was awarded to Mike Honey, who sadly retires from Spectrum Films this year. Margaret Pomeranz spoke beautifully about Mike’s history and career and a very moving visual presentation by Spectrum Films was screened. Mike was Spectrum Film’s Chief Technical Officer for the last 17 years. He has worked as an editor for television networks both in Australia and Canada on a variety of award winning drama and documentary productions. He has been nominated for three AFI awards for Rebel, Waiting and The Custodian. We wish him the best of luck in his retirement and congratulate him on his Life Membership.
Our Accreditee’s this year are Deborah Peart ASE and Christopher Branagan ASE. Deb is our new Vice President and as a previous committee member, has been in charge of communicating with and caring for our sponsors. Her career in drama editing spans Underbelly to Puberty Blues and onwards, and her latest project is The Code. Christopher’s career highlights include RawFm, SeaChange, The Choir of Hard Knocks and Upper Middle Bogan. We welcome and congratulate you both.
Deb and I are very pleased to be representing you this year. We have already, with the help of Cindy Clarkson, organised to be part of a new international online magazine called The Assembly, run by Gordon Burkell of The Art of Guillotine.
The ASE will have a dedicated section in the magazine, so any articles or interviews that you feel relevant can be published.
Feel free to contact us with any ideas you have.
On a final note.
We “make our own future”. From our decisions and actions we also contribute to the future of others. With each and every job we are setting new standards.
When we agree to less than what we deserve, we set a precedent, and we will be asked to do it again, and again, and then again.
Our power lies in our ability to communicate with each other. The more we share and discuss, the more unified we can be. The more we actively support one another the stronger we will be and we will always be able to take great comfort working to that end.
How far we can take this in terms of rights and conditions remains to be seen, but I strongly believe that we are creative collaborative members of the Australian and International film making community, and I would like to see us represented in the best possible way.
I look forward to collaborating with you all in the coming year.
Have a great holiday season.... and a happy new year.
Regards,
Dany Cooper ASE
ASE President
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VICTORIA
The Victorian branch finished off the year with a bang, hosting a full house for our Christmas drinks. We welcomed our colleges from other guilds, including the Directors, the Screen Sound and Composers. We also had Jenny Tosi Film Victoria CEO in attendance to say a few well chosen words. A great night was had by all. We have a few committee members stepping aside from the committee from next year, and I would like to pass on my thanks for all the hard work put in over the years by Maz Swierczak, Patrick McCabe and former chair Cindy Clarkson. Your good humour and dedication will be missed. I will also be stepping aside as Victorian chair, and welcome Steven Baras-Miller into the role. I will however continue to be a member of the committee. I can confirm we already have two new committee members locked in from next year, Barrie Munro ASE and Ben Joss. Welcome on board guys. We all look forward to 2014 and another year of events, promoting the ASE, and editing in the industry and beyond.
Steven Robinson ASE
Former Victorian chair
SOUTH AUSTRALIA
The South Aussies have been plugging away with business as usual. We are welcoming the sizzling southern summer with a Sundowners Rendezvous at the Maid & Magpie Hotel, then starting the New Year with an evening at Rising Sun Pictures where we'll get an exclusive insight to their world of visual effects, editorial, tools and technology used behind the scenes on films like Prometheus, The Great Gatsby, Wolverine and Gravity. (Stay tuned for soon to be announced dates and details).
Byran Mason's 52 Tuesdays has just been accepted into competition at the Sundance Film Festival, and the thriller Swerve, cut by Sean Lahiff, has just begun its theatrical release in the United States.
A big shout-out and congratulations to the Creative Arts Editing students who have just completed their studies at Flinders University - We wish you all the best for your leap into the working world, and look forward to your future involvement with the Australian Screen Editors.
Carly, Sam and Sean
SA Committee
QUEENSLAND
For the second year in a row, ASE had the great pleasure of shining a light on editing and post-production during the Brisbane International Film Festival.
After arranging last year's fantastic masterclass with Jill Bilcock ASE ACE, we stepped things up another notch this year by staging not one but TWO fabulous sessions: "In Conversation with Matt Villa ASE" and "Spotlight on Queensland Post-Production".
Expertly moderated by producer Trish Lake (Freshwater Pictures), the Queensland session featured a "who's who" of new and established post-production wizards: freelance film editor Geoff Lamb ( The Turning, Jack Irish, Secrets & Lies), veteran post-production maestro and editor Steve Cooper of The Post Lounge (VFX on Patrick), senior colourist Justin McDonald of Cutting Edge ( The Turning, Secrets & Lies) and technical lead/senior motion designer Chris Morris of Breeder. Each panellist took turns in revealing how they'd weaved their magic on recent projects, before Trish led a fascinating discussion about the state of our local post industry. Very rewarding to hear everyone's thoughts on how to build a stronger and more collaborative Queensland post sector and what's needed to ensure more projects are 'posted' locally. A session full of energy, ideas, candid insights and creative genius. Fortunately we had a camera rolling, so watch this space for some clips in the near future.
It's not every day that you get the chance to hear and see how one of Australia's most talented film editors has made it to the top. With credits from a host of feature films, such as Daybreakers, Happy Feet 2, The Great Gatsby and the soon-to-be released Pre-Destination, Matt Villa ASE is undoubtedly one of our most versatile, talented and in-demand film editors. With the guiding hand of session moderator Sue Swinburne (Griffith Film School lecturer), Matt shared many stories from his 20+ year career - how he started out as an assistant, his move into VFX editing and his eventual arrival in the editor's chair. His dissection of two notable scenes from Baz Luhrmann's Australia and The Great Gatsby were also a highlight of the session. Thanks for popping up to see us Matt!
We can't thank Geoff, Steve, Justin, Chris, Matt, Sue and Trish enough for their outstanding contributions on the day. Another big thanks go to ASE President Dany Cooper ASE, ex-president Jason Ballantine ASE and our wonderful guild administrator Margaret Slarke - your combined support was crucial in arranging and cementing ASE's continued presence in the industry program of one of Australia's leading film festivals. We'd like to acknowledge Screen Queensland for its ongoing support of ASE events in our state.
The ASE Qld Sub-Committee would also like to thank our fantastic team of volunteers who helped things run smoothly on the day: Sarah Petrasiunas, Ahmad Halimi and William Shelley. You rock people!
IN LATE BREAKING NEWS, we're over the moon to hear that one of our own has clinched the highly coveted 2013 ASE Ellie Award for BEST EDITING IN A DOCUMENTARY FEATURE! Big congrats to Scott Walton for his great work on feature doc Show Me The Magic. Go Scott! Adding to our local Ellie pride, we're also thrilled that Charlotte Cutting was nominated for her top effort on the ABC-TV doco ABBA: Bang A Boomerang. Go the Maroons!
We wish everyone a Merry Christmas and a Beautifully Assembled 2014.
Axel Grigor
Queensland Co-Chair
'Spotlight on Qld Post-Production' at Brisbane International Film Festival. (L-R) Justin McDonald, Chris Morris, Steve Cooper, Geoff Lamb, Trish Lake
WESTERN AUSTRALIA
On behalf of the ASE members in Western Australia season's greetings to you all. It's a measure of how busy everyone has been over here in WA that this year has gone by so quickly. The work of the WA ASE over the past year could best be described as collaborative. Being small in numbers we decided that the best approach to organising events was to find ways of extending our editing events to include members of other local industry groups. As well as a couple of Sundowners which are always fun, some highlights for the year have been: "DCP Rules" a very successful seminar exploring the brave new world of Digital Cinema. This was presented by Steve Quartly of DigiPix with support from Luna Palace Cinemas. As well as editors, we had numerous cameramen and soundies, directors and producers attending and considerable interest from around the country from filmmakers who were eager to learn about getting their films up on the big screen. Following on from this we were able to arrange a screening of the Keanu Reeves doco Side By Side which explores the recent development of digital technology in filmmaking. This was made possible with the help of the Australian Cinematographers Society. We were also pleased to present "Wedited Bliss" a seminar exposing the secrets behind the director/editor relationship. This was a joint event with the Australian Director's Guild and the panelists included directors James Bogle and Franco Di Chiera and editors Meredith Watson Jeffrey and Lawrie Silvestrin ASE. But the most exciting event would have to have been The Turning. Being a national event run almost simultaneously in Sydney, Melbourne, Brisbane and Perth, it was not only a chance to celebrate the work of filmmakers from around the country but also a unique opportunity to create a wonderful sense of community amongst the various state chapters. We were very happy to include the ADG and ACS in our presentation and panelists included director Claire McCarthy and cinematographer Denson Baker as well as editors Merlin Cornish and Beckett Broda.
As well as these events ASE WA regularly attends industry briefings from ScreenWest and the Film and Television Institute and is an active contributor to the state's screen sector strategic planning. In the future, we hope to build on the success of our events to not only help nurture a better understanding of post production but also to help promote screen editing as a vital, dynamic and highly creative part of the screen industry.
And finally, we'd like to send our thanks to the national executive committee for its great work throughout the year and in particular to the outgoing President Jason Ballantine ASE and Vice President Melanie Annan for their brilliant work over the years. We wish them all the best in their respective future endeavours.
Lawrie Silverstrin ASE
Western Australian Chair
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Meet The Member: Andrew Cooke
 I've been editing TV shows for the past 8 years and recently spent 5 of those working in London. In trying not to be pigeon-holed as a certain type of editor, I ended up cutting for a wide range of genres; history, current affairs, observational docs and eventually a flagship Channel 4 entertainment series which won me a BAFTA TV Craft Award. Now back in Sydney, I've had a good year cutting some interesting factual shows for ABC & SBS and giving drama a bit of a crack.
I knew I wanted to work in post when… I started playing around with a tape-to-tape suite at school and found myself enjoying, a little too much maybe, being tucked away in a small room pushing buttons.
My first break in the industry was… Being taken on as an assistant and mentored by a brilliant editor, John Buck.
The thing I love most about editing is… Being physically responsible for bringing together and arranging the pieces into a form that can evoke emotion, entertain or inform. Being able to collaborate with, and learn from awesome people. Being tucked away in a small room pushing buttons.
The best tip I’ve got for aspiring editors is… If the opportunity arises, throw yourself into the deep end.
If I weren’t in post production I’d be… A little less bleary-eyed at the end of the week.
Meet The Committe: Jenny Hicks (NSW)
 I became an assistant editor in the early eighties, and remained one on and off for the next 25 years. On and off because every few years I'd wander off and do 'something else' with my life but the film industry always drew me back. For the last decade or so of that time I mainly worked on American pictures both in Sydney and in NZ and then in 2006 I went to South Africa to do 'Blood Diamond'. I decided then and there that I would move to South Africa to hoist myself up the career ladder and become an editor in their young and vibrant film community. This done (7 years later) I have recently returned to Sydney and am looking forward to working on Australian projects and getting involved in The Biz in general.
I knew I wanted to work in post when… I got a crush on a boy who was an assistant editor.
I specialise in… Telling a good story. Whether it is drama or documentary.
My first break in the industry was… Professor Poopsnaggle! A kids TV series. I was (as we had back in the day) the apprentice assistant editor and I learned my trade under the gentle guidance of the delightful Robert Werner.
The highlight of my career so far… Editing a feature film called Winnie. I had a clever, creative director, a fabulous cast, and lots of great footage to play with. And when that happens, which is rarely in my experience - Editing is a glorious, wonderful way to spend your days.
I was inspired to join the ASE committee… To be helpful, and to get to know other editors. I have always enjoyed the company of editors, we’re a pretty cool bunch I reckon.
The ASE is important… Because we editors should strive for a strong commUNITY. I believe that the ASE can create a greater awareness of basic wages and conditions so that we all know what the bottom line is and can negotiate independently with confidence and solidarity. The ASE also gives us an open forum for communication and information and a collective approach to up-skilling through seminars, screenings and workshops. Editors can inspire each-other, as one good thing about this racket, is that you never stop learning.
Meet The Committe: Daniel Jesus Vignolle de Mello (NSW)
 Daniel first realised he loved editing when he started making videos with friends. He studied Radio and TV in Rio de Janeiro and immediately began working in the industry, when life brought him to Australia, five years ago. Since then, he has worked on corporate videos, in advertising, on his own personal video projects and trying to find time to finish his graphic novel; all while watching his baby daughter, Vijaya.
I specialise in… Storytelling. I always try to find an interesting narrative in every work I do. I have worked mostly within the corporate market, but even when cutting ads, I was never satisfied with sticking pretty shots together. I have to tell something meaningful even if the final product is to sell shampoo, which is why I'm looking more and more to move towards drama.
My first break in the industry was…Working for a university channel back in Brazil. I had to make professors and scientists sound understandable and interesting to the general public. I was the only editor cutting programs and documentaries about politics, public health and arts.
The highlight of my career so far… Well, I wish I could say it was that big feature film. Corporate isn't that exciting to talk about, but saying that, it's hard to think I would develop a variety of skills such as camera, animation, directing, scriptwriting and production anywhere else. All these skills have had a great impact on my work.
I was inspired to join the ASE committee… Because of the love and dedication to the cause I have seen from amazing editors. They could be out there doing their own thing, but they decided to invest their time to share their knowledge and keep us together.
The ASE is important… As a hub to connect, educate, represent and make us realise that there are other crazy talented people out there passionate about the craft of editing.
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Meet The Sponsor: AVID
Avid have been one of the ASE’s longest standing sponsors. Australia and New Zealand Video Manager, Ren Middleton touched based with us about the companies latest offerings and vision.
How would you best describe Avid?
Avid is passionate about world-class content creation, from production through to post production and delivery. Avid is proven and trusted as the most open and integrated solution provider, with the world’s largest customer community, and has always been the leader in digital media technology. Avid products are made by and for creative and media professionals and our focus is on enabling the connection between content creators/distributors and consumers – more powerfully, collaboratively, efficiently and profitably.
You have a broad client base, how does Avid facilitate their varying needs?
Avid has a vision to lead the industry and fight for what our community needs. “Avid Everywhere” is our vision for creating the most open, fluid end-to-end, distributed media production environment in the industry using the latest deployment technologies, including cloud-based solutions. Imagine a world where you start with an idea to create content for the enjoyment and pleasure of other people – at a faster rate and more powerfully. A world where you can connect, create, collaborate, tag and protect assets, and be rewarded by the community for the assets that have been created. That’s what Avid wants to help facilitate today and in the future.
Why does AVID choose to support the ASE?
Close collaboration with our customers is what gives Avid the ability to understand and be inspired. Working with and supporting the industry’s creative community, innovators and storytellers keeps Avid at the forefront of creative and workflow best practices.
What do you think the biggest issue/s are in the post production industry at the moment?
There is more and more pressure to connect and automate the entire creation-to-consumption workflow with relentless pressure for operational efficiency. Often IT investment priorities are reorganising away from creative but this doesn’t' reduce the need for the delivery of higher quality, inspiring content that will motivate increasingly sophisticated consumers to act; be it to create, purchase or view. Of course this is complicated by the need to protect and optimise the value of media assets.
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DATELINE: Dec 7th 2013
THE MAIN EVENT: The 2013 Ellie Awards
VENUE: Paddington RSL, NSW
Click here to view the full list of nominees and winners, as well as more photos from the evening.
2013 Lifetime Membership recipient Mike Honey with special guest Margaret Pomeranz and President Dany Cooper ASE
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2014 AACTA Awards
AACTA President, Geoffrey Rush invites you, your friends and colleagues to experience the 3rd AACTA Awards – Tuesday 28th January and Thursday 30th January at the Star Event Centre in Sydney.
Tickets are now on sale. Don’t miss out!
http://aacta.org/
http://www.youtube.com/watch?v=G5Z8w19_crk
The ASE congratulates all it's guild nominee's at the 2014 AACTA awards.
Best Editing in a Feature Film
THE GREAT GATSBY - Matt Villa ASE, Jason Ballantine ASE, Jonathan Redmond
THE ROCKET - Nick Meyers ASE
THE TURNING - The Turning Ensemble (ASE guild members)
Best Editing in Television Drama
Mrs Biggs, Episode 3, 7 Network - Ben Lester, Mark Atkin ASE
Power Games - The Packer Murdoch Story - Mark Perry
Redfern Now, Series 2, Ep 6 Dogs of War - Dany Cooper ASE
Top of the Lake, Episode 5, The Dark Creator - Scott Gray ASE
Best Editing in Documentary
Desert War, Episode 1 "Tobruk"- Lawrie Silvestrin ASE
I am Girl - Lindi Harrison ASE
Redesign My Brain, Episode 1 - Make Me Smarter - Philippa Rowlands ASE
http://www.aacta.org/winners-nominees/3rd-aacta-awards-nominees.aspx
Queer Screen films to play @ Mardi Gras Film Festival 2014
Queer Screen has just released 10 films that will play at Mardi Gras Film Festival 2014 - Feb 13-23.
The full program will be released Jan 15. Tickets are on sale for all ten films, along with festival Flexi passes. One film not to miss is Portrait of Jason, recognised as 'the most extraordinary film I've seen
in my life' by internationally acclaimed director Ingmar Bergman.
To see all ten films, buy tickets and passes please visit www.queerscreen.org.au
Portrait of Jason |
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CINEMA 4D Xmas Special plus Free Training
Add CINEMA 4D to your Christmas stocking this year. Digistor is offering fantastic savings with training included at no additional charge. Here's the deal …
Purchase on or before 20 December 2013 and;
- Save 25% on the upgrade from CINEMA 4D Lite (included in Adobe CC) to CINEMA 4D Broadcast or Studio
- Save 15% on CINEMA 4D Visualize, Broadcast or Studio
plus Digistor will throw in 1 day's training at any of our scheduled CINEMA 4D training classes.
Whether you're a broadcast designer, a film/video/game animator, an architectural visualisation specialist or anyone else that needs professional 3D animation, then don't miss this opportunity to get CINEMA 4D at unbeatable pricing.
Santa comes but once a year!
Conditions apply, so contact Digistor on 02 9431 6000 or email enquiries@digistor.com.au for details.
www.digistor.com.au
Digistor Training Courses
The Digistor Training Centre specialises in classroom style and bespoke onsite training designed to meet your individual needs and requirements. Digistor sells the tools that are taught. Attendees gain the benefit of access to Digistor's skilled solutions sales force and the company's special offers and events. Digistor can also include training services as part of a software and/or equipment quote, minimising costs.
AutoDesk Smoke 2013 with Joel Osis Friday January 17th 2014
All attendees receive a free Smoke T-shirt
Avid Media Composer v7.0 for FCP Users Advanced Workshop (2 Days) 7 & 8th Jan 2014
CINEMA 4D Essentials (1 Day) Wed 18th Dec, Wed 22nd Jan or Fri 31st Jan
What’s New? - Media Composer v7.0 (1/2 Day) Fri 13th December
What’s New? - DaVinci Resolve v10 (1 Day) Fri 24th Jan 2014
TriCaster with Authorised Trainer Greg Taylor (1 day)
TriCaster 3PLAY with Authorised Trainer Greg Taylor (1 day)
For further details of current courses or to make a booking visit: http://www.digistor.com.au/Training.aspx or contact Sarah Palmer Training Services Manager on 02 9431 6032 or sarahp@digistor.com.au
We offer 10% Discount on Training to all ASE members.
http://www.digistor.com.au/Training.aspx
Don’t forget ASE Members are entitled to 10% off all training courses!
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Cameras in Post
by Belinda Fithie
Editor & Post Production Supervisor
Canon; Black Magic Cinema Camera (BMCC); 5D; GoPro; Panasonic, etc. are all cameras that we come across in the Editorial. This is not a new phenomenon, but I feel every time I turn around there is a DOP playing with a new camera.
Occasionally we’re consulted as to how these cameras fit within the Post Production workflow. More often than not, we have to switch from the creative brain to the problem solving brain and work out how best to deal with what is presented to us. This includes the ability to miraculously match the quality of a camera above to the primary cameras such as RED EPIC or ALEXA and sync sound.
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We would like to thank our Sponsors for their invaluable support of our Guild.
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