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2016 Ellie Awards - Tickets on Sale!
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Dear Members,
This month has been a busy one for so many of you. I want to give my warmest thanks to the tireless crowd who have been enjoying mini film festivals as you judge this year’s mountain of entries for the “Ellies”.
There has been much discussion as the judges complete the process. There is great admiration for the incredible work presented, the diversity of films and editing styles, the wonderful storytelling and emotional journeys generated. Our judges have had their work cut out for them!
And of course this is all leading to our big Ellie’s Awards evening which is being held in a great new venue with a new format which is very exciting and I am sure you will enjoy! Tickets are now available, so I very much hope to see you there.
We wish to thank all of our Sponsors who play a big part in helping us present the night, including providing us with those amazing lucky door prizes. I’d like to give special thanks in advance to Video Craft who will be filming the Awards this year and Audio Network who are providing a DJ for the evening, - so get your requests ready! (and not just your latest Production Music faves...)
Don’t forget the AGM coming up on 6th November, your support for the ASE is important and valued. There has been a huge amount of work going on behind the scenes this year so this is a good time to get together, discuss the issues that are important to you and your work, and find ways to help push those issues forward. The AGM is also your opportunity to join the committee, so if you wish to join our group of skilled and diverse editors, we would love you to nominate NOW. The ASE would be thrilled to have you and your skill set join us. Our executive meets on the first Tuesday of the month for some lively discussions and planning sessions. We would love to have your ideas and suggestions on what is important for the editing community and our ongoing events. More details, and to download a nomination form (you can and are encouraged to nominate yourself!), visit http://www.screeneditors.com.au/event-sydney-november-6th-ase-agm/.
If you wish to help by nominating to be on the committee, do it NOW, we would be thrilled to have your skill set join us.
In Sydney we had a very successful inaugural Facilities Crawl, so many thanks to Spectrum, Blue Post and Soundfirm for opening their doors for us. We have had enthusiasm for similar events around the traps, so stay posted!
Fiona Strain ASE
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WESTERN AUSTRALIA
The WA branch of the ASE hosted a sundowner at a Perth bar “Lot Twenty” on Saturday 15th Oct.
We invited some recent graduates of the WA Screen Academy’s Masters program to network with the larger editing community. It was a great opportunity for WA editors to get together and compare notes and share a beer or three.
 
WA Chair David Fosdick ASE and Melanie Annan
David Fosdick ASE Chair - WA Committee
SOUTH AUSTRALIA
On Thursday 20 October, the ASE, along with the ACS and AWG, hosted another great screening and Q&A session for the wonderful film, Girl Asleep. Shot in South Australia, the film is based on a play developed by Windmill Theatre. We had a fantastic turn out with an estimated crowd of about 80 guests at the SA Film Corporation.
The Q&A session was composed of Production Designer Jonathon Oxlade, Writer/Director Rosemary Myers, Cinematographer Andrew Commis ACS, and Editor Karryn de Cinque.
Our guest speakers recounted an amazing journey of adapting a successful children’s theatre production for the screen. They described how the script evolved and changed to support a filmic format and the restrictions and opportunities this provided to such a unique storyline. Many questions were asked about the design process, the restrictions of budget, the constraints of a studio, and also the interesting stylistic techniques used. Andrew and Karryn discussed the interesting choice of 4:3 aspect ratio and dramatic changes to scene order to create the opening sequence. The group described the techniques used to create several otherworldly scenes. The audience eagerly asked their questions and we were forced to call an end as the night pushed on. Each guild was especially pleased at the amount of young media students who attended.
 The ASE in South Australia has been working as a vital part of the Next Gen initiative, along with tertiary educational institutes and several other guilds. This initiative has been spearheaded by the SAFC with the aim to develop the next generation of filmmakers and create supportive pathways to enter the film industry. The plan to connect educational institutions with working artists will help not only the new developing filmmakers but will also strengthen the South Australian industry. This connection with industry will hopefully show students the skills needed to succeed and create diversity by broadening the understanding of the different roles available to them.
 
Developed from this initiative the SAFC is hosting an upcoming industry seminar day in late November. Guest speakers will discuss different aspects and roles within industry, including in post-production opportunities, and a special focus on Entrepreneurship as well as production models. Look for our next post to find out how this event went.
Karen McKay Chair South Australia Committee
QUEENSLAND
Mark your calendars! We’re holding our 2nd Annual Christmas party at 6pm on Thursday November 17 at The Fringe Bar in Fortitude Valley. See invite below.
Once again we are thrilled that this is a collaboration between four local guilds: ASE, ACS, AWG and ASSG. Don’t miss what’s bound to be a fun and top notch opportunity to meet and network with some of the finest screen practitioners in Queensland. Entry fee: $5 for guild members, $10 for non-members. Make sure to RSVP by Nov 14!!
I look forward to seeing you all there!
Axel Grigor - Chair, Queensland Committee
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AACTA EDITING NOMINEES ANNOUNCED
Congratulations to all the editors nominated for the AACTA Awards 2016!
Film editing
The Daughter: Veronika Jenet ASE
Girl Asleep: Karryn de Cinque
Goldstone: Ivan Sen
Hacksaw Ridge: John Gilbert
Documentary editing
Hitting Home, Ep1: Andrew Cooke
In The Shadow of the Hill: Steven Robinson ASE (Victoria), Dan Jackson (Victoria)
Remembering the Man: Nickolas Bird (Victoria), Tony Stevens ASE (Victoria), Eleanor Sharpe (Victoria)
Snow Monkey: Nick Meyers ASE
TV editing
The Beautiful Lie, Ep6: Denise Haratzis ASE (Victoria)
Janet King – The Invisible Wound – Ep6: Nicole La Macchia
Rake, Ep7: Mark Perry
Wentworth, Ep3: Ben Joss (Victoria)
QUEER SCREEN OPPORTUNITIES
MY QUEER CAREER/MARDI GRAS FILM FESTIVAL
 Calling all AUSTRALIAN FILMMAKERS who are queer or have made a queer short film. The 2017 My Queer Career competition is open for entries! Go in the running for great prizes in Queer Screen's prestigious annual award for locally produced queer shorts!
Submissions close 14 November. INFO HERE: bit.ly/2dGOLvK
QUEER SCREEN FILM FUND
Are you an Australian LGBTIQ filmmaker who needs support to finish your feature film, documentary or web series? Applications for Round 2 of Queer Screen's Completion Fund are now open! Grants of up to $10,000 are available to eligible applicants.
Submission deadline is Mon 14 November. INFO HERE: bit.ly/2dCpakw
ASE MENTORSHIP
The ASE Mentor Scheme was created in 2004 as a way to provide Mentorship for members of the guild who may be starting a new career in the editorial world, or seeking to change their genre. It aims to pair a more experienced editor who can advise and guide a 'Mentee' in their work as an Editor or Assistant Editor. Our mentors work in the fields of Commercials, Television Drama, Feature Films Documentary and Factual TV.
Here is some feedback from Mentors and Mentees who engaged in the program this year.
Being mentored by Dan has been great because I've been able to get a picture of what working professionally in post-production would look like. It's been invaluable to be taken through the process of Assistant Editing from the beginning with significant aspects of each step being pointed out. Being able to sit in for one of the weekly screenings with the director and sound and VFX department was also a really interesting and valuable experience, being able to see the process that is undergone in making creative decisions which culminate in the film's final form.
Susan Ni
Mentoring has been an excellent opportunity to pass on the experience and information I often sought out when I first started. Sharing knowledge and getting to know Susan has been a pleasure, and hopefully encourages others to be involved in more Australian productions.
Dan Lê - Mentor
After achieving a rough cut of my film, I came to the stage, where my objectivity towards the material was becoming less clear. Karen Johnson, my ASE mentor, empowered me to see new possibilities, that were merely surfacing in my subconscious. She gave me the new perspective I needed, a pair of eyes, who understood the type of story I was telling and offered me invaluable advice that improved the story without trying to change it.
Agnes Baginska
“I thoroughly enjoyed my mentor time with Agnes, its such a wonderful treat to actually have perspective on a cut because you haven’t been the person slogging through rushes, she is a very talented woman.”
Karen Johnson - Mentor
Rodrigo Balart has been able to provide me with the confidence and experience I needed in taking my first steps from being a film student at university to making a career within the industry. I have had the wonderful opportunity to shadow Rodrigo in his work whilst he cuts his latest project, and have felt comfortable asking questions and engaging in insightful conversations with him throughout the process. The experience has also allowed me to step into actual assistant editor tasks on the project.
Courtney Broad
The ASE mentor scheme is really fantastic. They picked the perfect mentor for me in terms of the next steps of my career. I have been lucky enough to be able to sit in edits and observe my mentor working, which was a awesome experience! Having a mentor definitely has increased my confidence to take the next steps in my career and expand my portfolio - the advice of someone in the position you would like to be in yourself, is truly invaluable.
Elizabeth Elston
Speaking with Elizabeth, her career aspirations matched to where I am with my career now. I provided Elizabeth guidance the best I could, drawing from my career and what i’ve learnt over the years. I recommend to any editor in a position to become a mentor, to do so with the ASE. Since the roles of Editor and Assistant Editor are no longer as intertwined as they were back in the film days, the avenues for mentoring and career development have narrowed considerably. We need to encourage up and comers and maintain some kind of mentoring system within the editing community.
Peter Crombie - Mentor
Having a mentor provided me much needed guidance. Nothing beats having someone experienced who you can honestly confide in, and that’s what my mentor has been. She supported me in making important decisions - I was free to ask advice about career choices and even daily work issues - a sum of choices I made which has helped me grow as an assistant editor and advance in my career. The other great thing about the mentorship program is that I was paired with someone that I looked up to, she was where I hoped to one day be.
Stephanie Tighe
Applications for the mentorship scheme are available to full financial members only, apply here.
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MEET THE MEMBER: LORETTA MCGEE FARRELL (NSW)
 Loretta started at the ABC in film and offline editing. It was a time when assistants gained valuable experience, working alongside session editors learning the craft of story-telling, pacing and breathing. She moved into producing and directing and has spent the past 20 years working across most genres and formats.
Her credits include hours of long form factual content, lifestyle stories, reality field producing, cutting promos and IDs, and she produced Australia’s first live cable variety show for Channel [V]. She moved to London and continued to shoot and post-produce lifestyle and studio programming before starting her own business creating content for charities and branded content.
Returning to Australia she slipped back in to field-producing lifestyle and reality before polishing up her Avid technical skills and now has come full circle - off line editing.
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ANNUAL GENERAL MEETING
NOTICE OF ANNUAL GENERAL MEETING OF AUSTRALIAN SCREEN EDITORS GUILD INC.
to be held at:
The Seminar Room,
Paddington Woollahra RSL
220-232 Oxford Street, Paddington, NSW
on Sunday 6th November, 2016 at 4:00pm
for full details of agenda and Nomination and Proxy forms
please go to:
http://www.screeneditors.com.au/event-sydney-november-6th-ase-agm/
AUSTRALIAN SCREEN EDITORS EDITING AWARDS 'THE ELLIES' 2016
 Celebrate and recognise this year's outstanding screen editing achievements at the Australian Screen Editors Guild annual awards night.
'The Ellies', hosted by film composer and Boogie Woogie Queen - Jan Preston, will be a great opportunity for editors to come together to celebrate their craft and the work of their peers.
The winners of twelve categories will be announced - including comedy, current affairs and feature film - recipients of the prestigious ASE Accreditation will be revealed and a Lifetime Member acknowledged.
Ticket price for our new theatre style event includes popcorn, canapes and a 2-hour drinks package. Please indicate any special dietary requirements through the booking process (late requests cannot be guaranteed).
The Australian Screen Editors Guild - dedicated to the pursuit and recognition of excellence in screen editing across all its forms.
For enquiries related to the event and ticketing, please contact sophia.habib@screeneditors.com.au.
For enquiries related to the Awards and Awards submissions, please contact awards@screeneditors.com.au.
Buy tickets for the event at http://www.moshtix.com.au/v2/event/the-ellies-2016-the-australian-screen-editors-guild-awards-night/91065#UfypOgIRfGxLDvOt.99
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FACILITIES CRAWL
Our Inaugural Facilities Crawl through the Fox Lot was a resounding success with a fabulous turnout to have a look through Soundfirm, Blue Post and Spectrum.
Each and every one of the facilities were incredibly generous sharing their knowledge and having their experts stay back for us. We were presented with a dazzling array of Colourists, VFX artists, Online Editors, Foley Artists, ADR specialists, Mixers and Sound Designers, not to mention the wonderful Facilities Managers and Post Producers who organized the whole shebang and helped guide us through..
The tour started at Soundfirm, where we were ushered into ADR and Foley suites, hearing tales of how our great talent approach ADR. Mel Gibson and Russell Crowe very efficiently extracting the performances they want, Cate Blanchett reclining on a bed to get the right voice for ADR. The Foley suite was an eye opener, it looked like a junkyard had been emptied with neat precision into the studio, with Hacksaw Ridge ropes at the fore.
 
Soundfirm's Alex Francis in Foley, and Diego Ruiz shows the punters the ADR suite.
On to the Grading suite where we had a quick demonstration and run down of the grade process, then into the Mix Suite where the Grand Piano was dwarfed by the immense studio. This is where the two groups rejoined and spent time discussing the benefits of mixing in Dolby Atmos.
We then wandered through the Fox Lot to Spectrum and Blue Post, which was fun for those who had not been inside the Professional area before - there were many comments along the lines of “so this is what is behind the fence!”.
Spectrum is in its third building since it began around fifty years ago and is ever expanding with flexible spaces that can change to house the various sized productions that come through. With views across the grounds and verandahs to escape to fresh air, the area is very comfortable.
We wandered past multiple edit suites (of course with some crazy people still working on into the evening.) We checked out the Mystika Grade suite and wandered past the sound suites to the Mixing Facility. Here we found out about the 64 hidden speakers, discussed the flow of picture to sound post, and ways to ensure the whole post process can be made painless.
 
The Sound Suite at Spectrum, and the Lounge.
At Blue Post we were treated to a demonstration of the Visual Effects process, seeing the very quick banishment of a Camera Operator who was brazenly sharing the mirror space with the the actor.
In the edit rooms there was much admiration of the stand-up desks, and casement windows looking out onto the Lot. In amongst it all was discussion on terrabytes and storage, data flow and customizing the process and suites to suit.
 
Bluepost VFX Suite, and Bluepost's Rachel Knowles showing off the Grade Space
Some comments from the participants:
“Excellent to get behind the doors of these three very worthy post houses and "talk shop".
Also encouraging to see such keen, savvy people at the helm. I think we all picked up a few things about their various facilities and workflows, with an eye to doing business and helping each other out in times to come...”
Adrian Barac
“I appreciated the unity in bringing freelancers together to connect with not only the post facilities but the people who run them as well.”
Margi Hoy
“We were generously welcomed & shown around these comprehensively equipped, great facilities. I was particularly pleased to see some familiar faces, & very happy that many edit suites have windows & height adjustable ‘standing’ desks'. "
Lindi Harrison ASE
"The tour helped give me a sense of perspective on post-production, expanding my horizons and showing me how much time and energy goes into a range of productions".
Charles Broad
“Was great to see the world-class post-production capabilities available right here in Sydney that cater for projects of all sizes. I would be interested in seeing a more detailed demonstration of the steps in a post production process e.g. the approaches and steps in colour grading”
Chris Ramos
It was a privilege to see the actual edit suites, grading setups, sound facilities and amenities (kitchens/social areas) of these leading post houses. Normally I only see the inside of a facility after my client has already chosen to go there. The staff were excellent, helpful and informative and it’s great to be able to offer 3 new informed suggestions to directors/producers who are looking to post their projects.
Simon Ryan
“It was a stimulating night - interesting that long form editor’s preoccupation continues to be windows preferably opening rather than the details of gear. Both Spectrum and Blue Post can set up gear where ever you like - even your bedroom. Heartening to see that the big facilities are busy - always nice to work somewhere buzzy and collegial. Then to the Bavarian where much swapping of war stories and gratuitous advice kept us layering on. Nice to see keen young faces in the biz.”
Andrea Lang ASE
The Facilities Crawl was great! I'm so glad it happened. It was really interesting to visit the different facilities and see how they are run. I especially enjoyed hearing about each person's workflow for example for the Colourist and Sound Mixer, and the workflow between the post-production staff in different roles for example, between the Editor and Colourist at Blue Post. I also just really enjoyed being afforded the privilege of peeking behind the scenes at all the facilities, it was incredible seeing the mixing room and foley room at Soundfirm. And of course discussing the highlights and challenges of post-production with other ASE members from a range of disciplines over drinks and food was a thoroughly delightful end to the evening.
Susan Ni
So thank you so much to Soundfirm, Spectrum and Blue Post for having us through, and for being willing to share your knowledge now and into the future.
Spectrum: https://www.spectrumfilms.com.au/
Catherine Armstrong and Josh Pomeranz
Adam Scott – General Manager
Angus Robertson- Head of Sound
Blue Post: http://bluepost.com.au/
Rachel Knowles and Peter Millington
Adam Archer - Online/VFX Artist
Troy Fleming - Online/Conform Editor
And behind the scenes:
Annelie Chapple - Colourist
Vince Brant - QC Supervisor
Charlie Ferrier - Post Production Assistant
Soundfirm: http://www.soundfirm.com/
Michelle Kaszai and Roger Savage
Bruce Emery-Technical Director
Andy Wright-Sound Mixer and Designer
Diego Ruiz – Dialogue and Mix
Christopher Reig – Digital Image Supervisor
Alex Francis - Foley
Fiona Strain ASE
THE PRODUCTION BOOK
The Production Book has had a makeover. Now even easier to use!
Pre-order the 2017 Production Book
- Receive a FREE 12 month subscription to IF Magazine worth $43.50
- PLUS WIN 1 of 3 GoPro Hero 5 4K Video Cameras (valued at $570*)
Now the ONLY resource of its kind in Australia...
The 2017 Production Book
(released early December) is the most comprehensive and reliable resource directory for the film, television, advertising and multimedia industries in Australia and overseas.
With more than 18,000 listings across 245 categories, the Production Book covers a diverse range of categories from Accountants, Directors, Certified Drone Operators, DOPs, Grips, Wranglers and even Florists and Ice.
It includes useful information such as sunrise and sunset times, digital media explained, public holidays, distances between cities plus location contracts etc. It covers all of the personnel and service issues required for film shoots and events to run efficiently and on budget.
Pre-order here: is http://www.productionbook.com.au/Subscription1.aspx
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AFTRS OPEN: 
GOT A QUESTION: study@aftrs.edu.au
AFTRS 2017 DIPLOMAS, GRAD CERTS & MASTERS - APPLICATIONS OPEN!
Applications are now open for AFTRS expanded new program of 2017 Undergraduate and Postgraduate courses in Editing, Animation and VFX.
MA SCREEN: ANIMATION & VFX
Unique in its structure, AFTRS’ Masters program offers more than just learning about the tools of the trade, it provides an entry into a community of professional artists who contribute to the richness of our craft. AFTRS’ graduates work includes: the Oscar-nominated short animation, Birthday Boy by Sejong Park and VES Award winning short VFX film Plastic by Sandy Widyanata. Maximum of 6 places per discipline (11 disciplines total) and includes one-to-one industry mentorship.
2 years. Applications close 18 Nov 2016 - details: https://goo.gl/kxi6Fx
MA SCREEN: EDITING
AFTRS Masters in Editing provides you with the opportunity to learn by deep immersion in the craft of editing for 2 years, giving you genuine experience of the pressures and rewards of being a full time picture editor. By the end of the course, you will be equipped with the skills to edit high-level professional screen projects and have the confidence to approach directors and producers to pitch for professional work. Maximum of 6 places per discipline (11 disciplines total) and includes one-to-one mentorship.
2 years. Applications close 18 Nov 2016 // details: https://goo.gl/G7n5TL
GRADUATE CERTIFICATE SCREEN: EDITING
Strengthen your voice as a storyteller and deepen your creative and technical skills, professional knowledge and practices in editing. Includes cross discipline collaboration.
1 year part time, Applications close 18 Nov 2016 - details: https://goo.gl/z86zAo
ADVANCED DIPLOMA IN EDITING
1 year part time, Applications close 15 Jan 2017 - details: https://goo.gl/PjtRbi
ADVANCED DIPLOMA IN VISUAL EFFECTS
1 year part time, Applications close 15 Jan 2017 - details: https://goo.gl/hqn7LG
DIPLOMA IN EDITING
16 weeks, part time, Applications close 15 Jan 2017 - details: https://goo.gl/ALzckH
DIPLOMA IN GRADING
16 weeks, part time, Applications close 15 Jan 2017 - details: https://goo.gl/TLdvUL
SHORT COURSES @ AFTRS OPEN
AFTRS OPEN Industry discounts of 10% apply to all ASE members.
Upcoming short courses include: Colour Grading with Da Vinci Resolve, Avid 110 Video Effects, Get Cutting with Avid, After Effects with Broadcast Graphics, TV Assistant Editor, Premiere Pro for FCP Editors, Intro to Premiere Pro, TV Editing Intensive & More!
MORE https://goo.gl/PXeQc9
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.
MAXON Cinema 4D Express – Tuesday 22nd November
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
https://www.eventbrite.com.au/e/maxon-cinema-4d-express-training-registration-27767695926
MAXON Cinema 4D Extension – Wednesday 23rd November
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
https://www.eventbrite.com.au/e/maxon-cinema-4d-extension-training-tickets-26401651049
Adobe Premiere Pro CC Training – Thursday 1st and Friday 2nd December
Learn how to navigate Adobe Premiere Pro while utilising Adobe Premiere Pro within the Creative Cloud workflow. This 2 day class is specially designed for editor’s who wish to increase their skill set and come up to speed on Premiere Pro. We also offer Premiere Pro customised training to suit your requirements. Let us know what you want to achieve and we will design the course content to suit your individual requirements
https://www.eventbrite.com.au/e/adobe-premiere-pro-2-day-course-registration-26870558564
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
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Send us a picture of your workspace and win an Australian classic DVD.
Tell us what you love (or hate) about your workspace.
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