| |
|
|
| |
|
|
Collision Course - edited by Karryn de Cinque
|
Dear Members,
I am hoping all are well and the cooler weather is making it more fun to be huddled in your dark rooms!
It seems crazy already, but it’s time for you to be thinking about your awards entries and planning to get together for our end of year bash. The awards guidelines are now up on the ASE website. You will notice that the Ellie Award's entry form has been released with some revision and clarification within the categories. We hope this will help you when deciding which award is most appropriate for your production. This year all entries will be submitted online, so get your codecs sorted! (There will be guidance online to help).
To celebrate our previously accredited members we have the “Class of 2006” event coming up in August in both Melbourne and Sydney. We are looking forward to hearing their stories of what led them to editing as a career and the things that keep life in the editing room exciting. And of course it is a great excuse to get together, enjoy some nibbles and chat with our fellow editors.
In Sydney we held the Rake discussion, inviting the Australian Writer’s guild to join us to listen to Peter Duncan (writer and director), Henry Dangar ASE and Mark Perry, both editors of the series, talk about their experiences working on this production. Read more about it the State Updates section of the newsletter.
NSW Sundowners was a great evening at the EQ, despite the great balloon disaster – they all popped, so ASE member Bri had to wear a red beanie to attract the ASE folk. It was pretty bloody cold and all the footy fans took up the inside of the venue, so we huddled around the gaslight. It was great to catch up with Chelsea and Mia from Audio Network, and Tao Huy Do, editing student at AFTRS, was the happy winner of a copy of ‘Bliss’ in DVD. (Of course I should have won it myself as I was the only one wearing a production t-shirt).
Look out for news on events across the country: South Australia are joining forces with the ACS to present a discussion on ‘A Month of Sundays’, Queensland is hosting a session on Valérie Loisele’s editing, where I get to be on the panel and meet up with the QLD mob.
I was interviewed on Radio National about editing in general in the lead up to this event (scary..LIVE radio), listen to it here.
Western Australia are hosting a Da Vinci Resolve workshop at the end of the month, so look out for that, and Sydney will be running the Freelance Business skills for editors course with Monica Davidson.
So plenty happening around the country - I think we are all wishing we could be at each other’s events!
Happy editing,
Fiona Strain ASE
|
|
|
|
| |
|
|
WESTERN AUSTRALIA
On July 4th 2016, a cold Monday evening, over 500 screen practitioners, media, sponsors and industry partners got glammed up and headed to the Heath Ledger Theatre, State Theatre Centre of WA to celebrate the 28th annual WA Screen Awards (WASAs).This uniquely Western Australian extravaganza supported by FTI and ScreenWest, and hosted by the very cheeky comedian Rhys Nicholson recognises the emerging sector and established filmmakers.
The highlight of the evening was a richly deserved Screenwest Outstanding Contribution to the Industry Award presented to Lawrie Silvestrin ASE, who was recognized for his service to the screen industry by Director General of the Department of Culture & Arts, Duncan Ord. Everyone who has worked with Lawrie knows his dedication to excellence whether its working on documentaries, feature films, drama series or short films. He gave a passionate speech about filmmaking and its community now firmly part of his DNA. He pointed to the ASE as an example of the fraternity that exists in this industry. Lawrie was instrumental in setting up the WA branch of the ASE and continues to play a key role.
  There was a moving tribute to the producer, and joint head of Artemis Films, Brian Beaton who died suddenly just over 2 months ago. He was one of nicest in the business and leaves a massive hole in the small West Australian industry. ScreenWest announced an annual prize dedicated to Brian’s memory, a wonderful tribute with $5000 prize money set aside each year.
Who Do You Think You Are series 7 received Best Long Form Documentary and, “always the bridesmaid”, Teresa Ashton-Graham picked up Best Editing.
The other big winner of the night, with four awards including Cinefest Oz Best Short Form – Drama and Jaguar Best Performance by an Actress for Alexandra Nell’s performance was We Were Here, directed by David Vincent Smith and produced by Joshua Gilbert and Simon Camp.
And, as the sparkling wine courtesy of Happs disappeared far too early in the evening, all there was left to do was congratulate the winner of the prestigious PSC McKenna Hampton Young Filmmaker of the Year award and $5000 cash prize went to producer/editor Jess Black.
Roland Smith - WA Committee
ASE WA members waved the banner for the Guild at the FTI Guild Field day held in Perth as part of the Revelation Film Festival. It was a great opportunity to promote the ASE and recruit new members.
 
ASE members Meredith Watson Jeffrey and David Langlands with some old school tools,
and our latest recruit, Dean Edwards who signed up on the day.
SOUTH AUSTRALIA
 A Month of Sundays DOP Mark Wareham ACS is coming especially to Adelaide to present a Q&A after a screening of this wonderful local production. Mark has won many ACS awards including 3 National Gold Tripods. A Month of Sundays was not a big budget feature and was shot over only a 4 week schedule, so come and hear how Mark approached this film with such constraints.
Co-hosted by the ASE, there will also be input from Assistant Editor Karen McKay and the opportunity to ask questions about the post production process.
Free for ACS and ASE members.
$10 for other screen guild members (e.g. AWG, SPA, ADG, AACTA), MRC members and students
$15 for the general public.
Wed August 10 - 6:15pm catch-up and a 6:45pm screening
Mercury Cinema
Morphett Street
Adelaide, SA 5000
Tickets: http://trybooking.com/MCFD
Event Page: https://www.facebook.com/events/1759875207623322/
Karen McKay, Chair - SA Committee
NSW
This month's Sundowners was at PJ Gallaghers in Moore Park. We had an excellent turn out with a special guest appearance from our Sponsors at Audio Network as well as welcoming new members to the ASE.
There was a lot of laughs and a lot of beer to keep us warm on such on chilly night; and we can't forget the winner of this Sundowners Great Australian DVD, Tao, who is currently studying at AFTRS, who took home the digital remastered Bliss.
  
A big thank you to everyone that came and see you at the next one!
Brianna Cook, NSW Committee
'INSIDE RAKE' EVENT
The ASE joined up with the Australian Writer's Guild to have an animated discussion with writer/director Peter Duncan, and editors Henry Dangar ASE and Mark Perry. There was a great turnout, and it was refreshing listening to Peter Duncan describe a very relaxed approach to writing the series with Andrew Knight. “Bitching about politics”, with coffees and lunch consumed, one of them will come up with a crisis, and the other will try and trump it... The respect Peter has for the editors and their choices was obvious, especially when dealing with scenes that have become more improvised over time. The audience was very focused and engaged, with questions that led to a greater understanding of the writing and editing process.
 
 
Memorable quotes from the night: Peter Duncan: ‘The hardest thing to do is when we switch tempo as hard as we do, like when they do something really sad, we switch to something really funny. One of the great things the editors do is to find that balance, but make sure it doesn’t feel like you’re watching two shows.'
Henry Dangar ASE: ‘It’s shot in two episodes per block for each director. Four blocks are created, that piggy back two episodes, for each eight-episode series. There are two editors working on two blocks each. The shooting period is three weeks for two episodes. The editing period to network approval is three weeks for each block of two episodes. 107 minutes of screen time is cut in that period. The courtroom scenes are killers, two cameras, sometimes three...'
A big thank you to the boys for agreeing to be grilled on the night, Dave Cole and 2Dogs for supporting the event and helping to prepare for the clips, Essential Media for allowing us to investigate the interior workings of this series, and Olya Booyar for bringing the writers to the party. Also a big thank you to AFTRS, in particular Margot White, Miller Giss, and Alan our projectionist for use of the theatre and smooth projection. And of course, the ASE team who helped organize the night: Matt Villa ASE, Orly Danon, Jane St Vincent Welch ASE for presenting and Andrea Lang ASE for the flier (and the whole committee for commenting on it.), Jenny Hicks and Brianna Cook for helping out on the night and our wonderful administrator Margaret Slarke.
You can read a more detailed transcript of the event on the Australian Screen Editors Website.
|
|
|
|
| |
|
|
WIN VALUABLE OZ FILM MAGAZINES
 Up for grabs are:
1) About 25 industry/guild mags Lumiere and Script, Screen & Art 1969-1974 -- for example, the issue pictured which asks on the cover "Is the chunder enough to build a film industry on?".
2) An almost complete run of CINEMA PAPERS.
Email which you want (one or both) and your reason why in 25 words or less to hotdox@iinet.net.au and I will get in touch with the winner/s who can pick them up in Hurlstone Park, Sydney or pay for shipping. Closing date: July 20.
GENDER MATTERS: SCREEN AUSTRALIA PLEDGES $3 MILLION TO FEMALE HELMED PROJECTS
If.com.au writes: $3 million will be shared among 45 female-helmed film, TV and online projects and 13 career boosting initiatives. The announcement marked the largest cohort of projects funded in a single day in Screen Australia's history. Full story here.
HOW STORYTELLING IS CHANGING THE MODERN WORLD
Antony Funnell spoke with three novelists who see new technologies as a way to increase engagement and expand the creative dimension of telling tales. Full story here.
SCREEN INDUSTRY SCORNS PRODUCTIVITY COMMISSION
The Australian newspaper writes: The film industry will join the book industry in pillorying the Productivity Commissions draft recommendations on copyright, arguing geo-blocking content is crucial for the health of the sector. Full story here.
|
|
|
|
| |
|
|
Meet The Committee: ANDREA LANG ASE (NSW)
 Andrea Lang ASE has been editing and helping make documentaries for about twenty years. Her feature documentary credits include Cunnamulla, Wedding in Ramallah, Landmines a Love Story and End of the Rainbow which have enjoyed overseas and domestic acclaim. She won an AFI for Best Editing in 2000 for Thomson of Arnhem Land. In 1997 she co-produced a 4 part series for ABC Our Boys. She co-directed an episode of the AFI winning series Liberal Rule in 2009. Recent editing credits include Three Boys Dreaming and Scarlet Road, both finalists in the SFF Foxtel Documentary Awards. In 2012 she was awarded Best Documentary Editing by the ASEG for her work on A Law Unto Himself. Her most recent editing credits Ka-Ching! Pokie Nation which she co-wrote, and The Cambodian Space Project – Not Easy Rock’n’Roll in competition at the 2015 Sydney Film Festival and nominated for Best Editing in the 2015 AACTA Awards. She likes the bush, politics, music and schnauzers. When she can howl old Communist tunes with Sir D in the bush she is in heaven.
When I start a project...
I have a rigorous system of numbering, naming and foldering to prepare for the creative anarchy that lies ahead. It also put off the inevitable obsession that grips me when I get into an edit, functional procrastination. Sometimes I also clean the side of the fridge.
When I finish a project...
I call up my family and friends and try and make it up to them. Editing can take you away physically and emotionally. Even so I never feel like I’ve really finished it. If it’s a good cut I’ve pretty much run out of things to try…but then...how about if we did this…? Thank God for Lock-offs.
It makes my day when...
I’m constructing the dramatic story of the documentary. When a screening audience reacts the way I’m hoping they will. Finding a shot that tells so much and fits perfectly in the jigsaw of the story and lets me drop some awkward cutting. Having a great laugh with a director when you crack something at last. Chucking a ball around the walls of the edit suite for Sir D to catch (dog not director). So many things about editing make my day.
I hide under my desk when...
I’m in the middle of the schedule and I realise that I should never have thought I could edit this or anything at all actually. Also, when feedback becomes a blizzard of conflicting suggestions/demands.
I was inspired to join the ASE committee...
to hang out with editors, to share intelligence and pillage ideas, to strengthen our industrial position and be nerdy when I want to be.
I love editing in...
the country, or in a room with a window to a view of the weather. I love it with someone in the room with me but also like those dark solitary hours when I get totally in the zone, with the frisson of a deadline whistling up on me.
The ASE has...
been a great support to me and relies on its membership for strength. This is the second time I’ve been on the Committee and I highly recommend it.
|
|
|
|
| |
|
|
INTERVIEW WITH ASE EDITORS, SALLY FRYER ASE AND HILARY BALMOND, ON CO-EDITING 'SUZY AND THE SIMPLE MAN'
 
Sally Fryer ASE Hilary Balmond
Hilary Balmond’s first feature doc was Mitzi Goldman’s ‘A Common Purpose’. After a stint cutting reality television in the UK, and a few TV documentaries later, she joined up with Sally Fryer ASE to cut ‘Suzy and the Simple Man’, which debuted at the Sydney Film Festival. She also found time to cut Rob Nugent’s ‘Night Parrot Stories’ – which also screened at the festival. Sally Fryer ASE started her career in London in 1986. After moving to Sydney in 1998, she amassed a mountain of credits including In The Company of Actors, The Oasis, and the award winning Paul Kelly, Stories of Me. She became full time editor with Ian Darling’s Shark Island Productions in 2005, who directed ‘Suzy and The Simple Man'.
When Ian Darling of Shark Island Films gave adventurer Jon Muir and his partner Suzy a camera, hoping they could record the rhythm of their own life, they envisioned a year of filming. The premise of the film seemed simple: 'Suzy & The Simple Man is an environmental love story about sustainability and the cycle of life. Suzy and Jon Muir live a simple life off the grid — growing organic fruit and vegetables and caring for their chooks and sheep. But when all seems perfect, something changes their world, and life takes an unexpected turn.' And the film turned into an 8 year passion project.
 Hilary entered the scene around two years into the filming - Sally and her assistant, Ania Free, had been meticulously logging footage and starting to cut scenes. Hilary, who was mostly based in the Southern Highlands, did an initial solid 4 months on the film (part time as she was juggling a young family). Her initial cut was 6 hours long. The rest of the post process consisted of sporadic weeks of collaboration and cutting between Sydney and the Southern Highlands over the next few years.
Hilary Balmond: ‘We worked on this film together in something like a story structure – Sally took the beginning and the end and I took the middle. Of course that wasn’t planned but that’s how it turned out.’
On keeping a consistent style and rhythm to the film, Hilary says: ‘we are always going to do some things differently and it's great when we can share each others clever tricks and ideas and we get really excited by that – it only enhances the work of both of us. Regardless, we couldn’t have helped falling into similar rhythms anyway. There was a great sense of peace that came from a lot of the footage and Jon and Suzy’s lives that we all felt.’ Sally Fryer: ‘Hilary and I both felt the same about the rhythm at which the film needed to be cut. During the course of filming over such a long period of time both Hilary and I had got to know Jon and Suzy and I think the cutting of the film really does reflect their gentle/so not urban lifestyle.’
When a fine cut of the film got accepted at the Sydney Film Festival, they had only two weeks of fine cutting and a rushed post and music composition period. Hilary was on another job and the fine cut fell to Sally: ‘To fine cut a film where another editor that you respect highly has done all of the hard work is just a dream’.
But do collaborations work? Hilary: ‘In my experience it’s good for editors to work together and share projects. You do have moments of – ‘oh no I really liked that scene the way it was’ but if you look at it through the lens of a collaborative project, this process helps prevent you from becoming stagnant and can help you out when you are getting too close to or lost in the footage. I guess it can be frustrating and refreshing at the same time.’ Sally says: In the words of that famous Lego movie ‘Everything is awesome, everything is cool when you’re part of a team’. Filmmaking is a very collaborative process anyway and if what you are all aiming to do is tell the best story possible then I think collaborations can work very smoothly.'
You can read a full transcript of the interview with Sally Fryer ASE and Hilary Balmond on the Australian Screen Editors Website.
Orly Danon - NSW Committee
|
|
|
|
| |
|
|
NSW
|
|
|
|
| |
|
|
EDITOR, DIRECTOR, BRING 'THE MARTIAN' HOME WITH AVID
While Ridley Scott wanders through space these days, shooting the next “Alien” chapter, we look back at his most recent work — The Martian. Academy Award-winning editor Pietro Scalia and director Ridley Scott used the organizational and collaborative power of Avid Artist and Storage Suite solutions to deliver the epic story of a castaway astronaut, in record time. Full story here.
THE PRODUCTION BOOK OFFER
Buy The Production Book, and get a FREE 12 month IF Magazine subscription
The Production Book is clearing the remaining stock of the 2016 directory. The directory contains 18,000 listings across 245 categories containing contact details of almost the entire Australian film and television industry. We’ve slashed the price of the directory to $99 inc gst, and we’re throwing in an annual subscription to IF Magazine, completely free-of-charge.
|
|
|
|
| |
|
|
AFTRS OPEN: 
GOT A QUESTION: study@aftrs.edu.au
AFTRS OPEN - EDITING & VFX SHORT COURSES
AFTRS Open has a range of short courses year-round, all taught by industry experts in AFTRS state-of-the-art facilities. Here are some highlights:
TV Editing Intensive: Avid 101 & 110
This 10-day Intensive course delivers technical training in the use of the non-linear film/video editing application Avid Media Composer and will prepare you for Avid’s User Level certification in Media Composer 8. (8 - 19 August)
Avid 101: Editing Essentials
This three day Avid-accredited course with Rebecca Edwards is the first step in achieving confidence, creativity, and efficiency with Avid Media Composer 8, the non-linear film/video editing application used in most television productions. (22 - 24 August)
Get Cutting with Avid - 1 day intensive
This highly practical course will introduce you to the fundamentals of using Avid Media Composer, getting you up and running quickly in one day. It is most suitable for Post Producers or Production personnel who already work in the industry but are new to Avid. (25 August)
TV Assistant Editor
The Australian TV industry is crying out for more trained and effective Assistant Editors. This 3-day, intensely practical course gives students a fast, but thorough, hands-on experience in the duties, technical skills and responsibilities of the Assistant Editor. No prior editing experience is required. 29 - 31 August
To view all upcoming courses visit the AFTRS Open website .
Digistor has a range of trainers available for specialist tools such as Premiere Pro CC, Avid Media Composer, Autodesk 3ds Max, MAYA, Cinema 4D and DaVinci Resolve & Fusion plus The Foundry Nuke. We specialise in short notice customised training to suit your requirements so if you have any specific training requests please let me know and we can organise a trainer to suit.
NEW – Don’t forget Blackmagic Design Fusion training Thursday 7th July. For further information training@digistor.com.au or http://www.eventbrite.com.au/e/blackmagic-fusion-training-registration-22721852673
We can also offer 1 on 1 or small group training for your entire team on demand. For further information or to make a booking: http://www.digistor.com.au/Training.aspx
MAXON Cinema 4D Express – Monday 8th August
Learn how you can create 3D images quickly using Cinema 4D’s intuitive design and logical workflow. In this introductory course, you’ll learn about using Cinema 4D for animation, lighting plus camera techniques, typography and objects. 1 Day Intensive. Learn with Maxon Certified Trainer – Annette Rays
MAXON Cinema 4D Extension – Tuesday 9th August
1 day Class designed for those who have experience in 3D or have completed the Cinema 4D Express course at Digistor and would like to learn more on how to become skilled in this area of production. Learn how to incorporate and create three-dimensional (3D) graphics as a form of animated or still digital media. Learn with Maxon Certified Trainer – Annette Rays
Adobe After Effects CC Training Thursday 25th and Friday 26th August
Adobe After Effects CC for Compositing. Our instructors are experienced in editing and post-production pipelines and real-world use of the tools they teach. You and your team will receive the benefit of practical guidance from specialists who understand deadlines and workflow and are committed to staying up-to-date with developments and passing this information onto customers.
Blackmagic DaVinci Resolve Fundamentals & Advanced - New dates coming soon
We also supply custom training for many different applications including Cinema 4d, MAYA, 3ds Max and much more. If you would like to discuss your specific requirements please contact us. Digistor offers training discounts for members of industry organisations. For a discount code please contact training@digistor.com.au
|
|
|
|
| |
|
|
| |
|
|
|
|
