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Congratulations to the 2016 Ellie Awards winners! - See full list here
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Dear Members,
Here we are, finishing the year with a fabulous Ellie's Award evening. Jan Preston MC’d spinning the “Elephant Walk” in live, her band joining her in a specially penned song for the post production community to finish the Awards presentation. We rolled into the party with DJ Tom Studdy, provided by Audio Network for some yum food and heaps of catching up. 2 of our members were lucky to win great door prizes, a pair of Sennheiser Headphones presented by Wayne Hyatt from City Post, and a Red Giant Product Set valued at over $6,000 – presented by Mark Richards from Digistor. I would like to give a massive thanks to Sophia Habib who was instrumental in pulling together the whole evening, making it all run smoothly from start to finish (and when I say start, she began work on the Ellie’s in July!). Those who were unable to make it will get a taster soon as Videocraft provided a fabulous set-up for us to film the evening.
 
Lucky door prize winners sponsored by City Post and Digistor.
It has been wonderful to celebrate the extraordinary range of films in competition for our 21st year as the ASE, induct two new ASE Acreditees, Daniel Mitchell ASE and Nathan Wild ASE, and welcome Jenny Ward, one of the ASE’s founders as a life member.
I want to give a big thank-you to our Sponsors who have been working hand-in-hand with the ASE this year, providing facilities, resources and personnel to help us run a huge range of events that have been technical, creative and fun. They have helped our members build their knowledge, and supported the mentorship scheme.
I also want to give a profound and heartfelt thank you to the committee, who have given so much time, passion and brilliant ideas to help the members and support me. And that includes our vital interstate Committees and Chairs. Of course nothing would be achieved without the incredible work of our Administrator Margaret Slarke who has kept all of us in line and on time. She has been an essential personal contact for all our members and events.
This year had a sad beginning, with the death of Editor Surresh Ayyar, who was involved from the beginning of the ASE, we lost Max Lemon, Editor of The Last Wave and Picnic at Hanging Rock, and more recently Sound Editor and Supervisor Julius Chan.
We had reason to celebrate with Margaret Sixel achieving an Oscar for Mad Max IV, and ASE member, Jason Jamieson won an Emmy Award this year in the Engineering & Technology category, see an interview with him in this newsletter.
We have worked strongly this year to progress rates and conditions. We have seen our members dominate the Awards lists in festivals all around Australia, including the AACTA Awards. With sixty judges viewing and considering the Ellie entries, many have commented on what an honour, privilege and pleasure it has been to be involved in this complex and challenging task.
Here is one email: "On the judges behalf, I would like to extend congratulations to all the editors including those who miss out. I know how that feels, as often awards are weird. Their work is unique, and it is my humble feeling that they are all brilliant in being able to work in a world with reduced budgets and schedules. Please keep achieving great work. Please keep supporting the Australian Screen Editors Guild.”
There were categories where the Judges had great difficulty in fining it down to one winner, and expressed the wish that we could give two Awards for some categories. I think this is a reflection of the uniqueness of each editor’s approach, the different style and the sensibility each Editor brings to the craft.
In 1995, there was a meeting before the ASE's very 1st birthday party at the Harold Park Pub, to discuss progress and the future. Everyone received a voucher to redeem at the bar to the value of $4 on their drink order, meals they had to buy themselves.
Celebrating this Year’s Ellie’s was testament to that future they discussed in 1995.
I wish you all a safe and happy Christmas season, and a successful New Year.
Fiona Strain ASE
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All of the States have had a bumper year of events, screenings, meet and greets, and general hobnobbing! See below for a summary of all that the ASE has achieved countrywide this year.
VICTORIA
The committee would like to thank Chris Hocking for arranging Late Night Films facility to host the committee meetings. I would like to thank all the committee for giving up their evenings and tireless participation in planning events and screenings.
In The Shadow of the Hill
A preview screening of the documentary “In the shadow of the Hill” at Shebeen, an obscure little bar downstairs in a make-shift theatre in Melbourne. A work in progress screening.
Tanna Screening Q&A with ACS
A screening of the spectacular film Tanna held at Backlot cinema. We were joined by the DP and co-director of the film, Bentley Dean at the Q&A.
New Editors Night 30 March 2016
Graeme Pereira organized this social event and screening on 30 March at the Long Play Bar in Fitzroy North. It was great to have an event in Fitzroy as more work seems to be found on the north side of the Yarra.
St Kilda Festival 19-28 May 2016
The ASE ran two workshops organised by Andrew Brinsmead and Chris Hocking. “Post like a Pro” with Roar Digital, a workshop on post work flows and “Focus on Editing”. The ASE also set up an information booth with ASE members available to answer questions and sign up new members.
Accreditation Anniversary Tony Stevens ASE
Annual “Class of 2006” Steve gave an entertaining account of Tony’s work and acknowledgments from people he worked with. Tony had edited a list of doco’s and features and an amazing number of music clips the most popular being “Living in a Land Down Under” by Men at Work.
OPEN CHANNEL EXPO 2016
Over two days, the ASE took part in this year’s Generation Next: Conference held In partnership with Victorian film schools, targeting students and recent graduates. Students were invited to discuss the role of editors in the production process. Many were keen to sign up as ASE members
Film Victoria Focus Group Conference 31 August 2016
I attended this with representatives of other guilds, discussing how to best fund creative film making in Victoria. The focus group is part of Film Victoria’s evaluation of support for early career practitioners and there will be more next year.
Miff “Bad Girl” Screening Q&A
The ASE in association with the Melbourne International Film Festival invited Simon Njoo to speak about the craft of editing using the MIFF Premier Fund Film “Bad Girls”. Held at the Ian Potter Theatrette, NGVA. Simon who edited Babadook and Spear showed sequences during the Q&A
Our thanks to Cindy who organised and hosted the event.
Good luck with your events and thanks for all your help and support during the year.
Barrie Munro ASE
Chair Victorian Committee
WESTERN AUSTRALIA
2016 has been a busy year for the ASE in WA. All of the committee have found gainful employment, primarily in the documentary sector.
Our push in late 2015 for improvement in the freelance pay rate is beginning to pay small dividends with a reluctant acceptance by producers that a rate increase is justified. There is still some resistance but the rates are edging higher.
We have run a few Sundowners which have been well supported and more recently our focus has been to invite young non-ASE editors to the events to meet and network with established editors. Providing ready access to an established network of experienced editors is a strong incentive for these new graduates to consider joining the ASE. This initiative has been well received and we are exploring options for these young editors to get access to broadcast projects either as editors or attachments to the editor.
We have run a couple of industry events this year – a one day Post Production Supervisor workshop with Marc Van Buuren and a Da Vinci Resolve Workshop run by Charlie Collin.
Further workshops are in the pipeline for 2017.
Documentary projects continue to provide the mainstay for WA editors heading into 2017.
David Fosdick ASE Chair - WA Committee
SOUTH AUSTRALIA
The ASE in South Australia has had a busy year with several events co-hosted with the other guilds, such as the ACS and AWG. This has been an important strategy as the ASE has a small membership base in South Australia and this allows us to draw larger attendance than independent events. By working with the other guilds the ASE has managed to increase its profile as demonstrated through both our “Girl Asleep’ and “A Month of Sundays" Q&A Screening events. These projects drew larger audiences and were well attended by many students from the tertiary institutions. By targeting a wider audience and focusing on tertiary students we are aiming to increase our membership with newly developing industry members. The committee has also been working to improve the profile of the ASE through individual contact with other editors and post production staff in Adelaide, hoping to spread awareness through word of mouth. Increasing our industry events in SA is something we will be working towards next year and can only lead towards improving the profile of the ASE.
One of our major initiatives this year has been our involvement with the Next Generation program which has been spearheaded by the SA Film Corporation. Consisting of representatives from the SA tertiary institutions such as Flinders University, Adelaide University, University of South Australia and MAPS Film School, multiple industry groups and employers such as Rising Sun Pictures and several other guilds beyond the ASE. The aim is address the shortfall of film specialists in the state by attempting to bridge the gap between graduates and the realistic career paths to provide a wider range of skills available in the state. Ensuring our specialist crew members remain in SA with work opportunities rather than drawn to the larger markets of the eastern states is a priority, creating positive feedback loops that enables the SAFC to attract films to SA without having to crew from interstate. Post production particularly has been severely impacted by this practice of crewing from interstate in previous productions which is why the South Australian ASE is actively working within this project to support our members and improve opportunities.
Karen McKay Chair South Australia Committee
QUEENSLAND
2016 has been another bumper year for ASE in Qld. Our committee (Axel Grigor - chair, Charlotte Cutting, Simon Smith and Dan Rice) organised and participated in a mix of events that helped shine a light on Queensland’s thriving and diverse editing & post community.
By building on our established association with with leading screen organisations and screen culture events in our state - such as Screen Queensland, Gold Coast Film Festival, Queensland Film Festival and other local screen guilds - ASE has also become more visible and has attracted new members to our guild’s ranks.
Notable events:
MARCH: PosterInsiders event at BREEDER, one of Australia’s leading motion graphics studios (opening sequences for HBO’s TRUE DETECTIVE season 1, SyFy’s THE EXPANSE). Editor Alex Gee and Technical Lead Chris Morris treated to our members to an exclusive look at how they devise and execute their award-winning work.
APRIL: Inside The Edit industry session at Gold Coast Film Festival featuring ASE members Ahmad Halimi (Assist Editor/Editor on H20), Geoff Lamb (Editor, EARLY WINTER, ALI’S WEDDING), Tony McGrath (senior editor, Cutting Edge) and Axel Grigor (Editor, ELLA, FRACKMAN).
JULY: Art and Craft of Editing session at Queensland Film Festival, led by ASE President Fiona Strain ASE and John MacArthur, University of Queensland Professor in Architecture.
AUG: EDITOFF - a well attended, fun-filled event at Brisbane’s boutique post facility CHOP SHOP POST that saw 3 edit teams (consisting of an edit pro and an editing student) compete for the evening’s Golden Scissors Award.
NOV: Qld Screen Guilds’ 2016 Xmas Party - a cross-guild effort with AWG, ACS and ASSG, led by ASE.
Axel Grigor - Chair, Queensland Committee
We bid a sad farewell to Axel Grigor who is leaving Queensland to take up a prestigious role as “Artistic Lecturer in Film Editing” at Dalarna University in Sweden. We wish him well and will be proud to have him continue as an ASE member.
NSW
NSW enjoyed many events this year:
- Joint Guild event with the APDG and ASSG to celebrate the eight Oscars won by Mad Max Fury Road, including Best Editor award for Margaret Sixel. Sponsored by Avid and Audio Network
- Videocraft presentations on the Avid Media Composer and Nexis storage systems in both Sydney and Melbourne, with food, drinks and great information. The Sydney event was Live streamed.
- Sundowners at the Wayward Brewery in Camperdown, testing out Sunday afternoons with kids and dogs, and at PJ Gallagher’s at the Entertainment Quarter
- Focus group with AFTRS to help guide their training into the future and ensure it is relevant to the needs of the industry for Assistants and Editors.
- Freelance Business Skills Training for Editors, This year’s standout event that we hope to expand with more courses and hopefully interstate. A four week course facilitated by TAFE NSW to upskill Editors to help build their profile, wage and business management skills. This course also counts towards a TAFE Cert IV.
- Joint Guild Event with the Writers Guild, exploring the process of writing and editing of the series ‘Rake’ with Writer and Director Peter Duncan, and Editors’ Henry Dangar ASE and Mark Perry. Sponsored by Two Dogs TV.
- Our Annual “Class of 2006” Celebrating the Accreditation of Andrew Macneil ASE, Jane St Vincent-Welch ASE, Nick Meyers ASE and Drew Thompson ASE at the Lord Dudley Hotel with Karen Pearlman Moderating.
- Our Inaugural Facilities Crawl, a behind the scenes peek on the Fox Lot, touring through Spectrum, Blue Post and Soundfirm followed by drinks at the Bavarian Bier Café.
- The Ellie’s Awards, this year in a new venue, with Jan Preston, Film composer as our “Boogie Woogie MC”, followed by a cocktail party afterwards in the Hoyts Lux Cinema and Lounge
As President, there are a vast number of tasks to be done and things to be considered through the year, the majority of which run past our incredibly dedicated and enthusiastic Executive Committee, so here I wish to give them a massive thank you for their help, and give you an idea of what they do.
Thank you so much to my VP Jenny Hicks who has kept me in line, and the committee focused as we waded through our major tasks such as the Ellie’s Awards categories and the industrial minefield of wages and conditions, to Scott Walmsley who has kept you updated and entertained throughout the year with his postings on Facebook, and was the driver behind the Awards going online.
Jane St Vincent-Welch ASE whose hand has never dropped when we have asked for help, being our MC, helping research new venues for the Awards, pumping out fliers and wrangling the Awards and judging committees. I would also like to thank Andrea Lang ASE who has also flung her support far and wide, also helping with Awards, venues, wages and conditions, creating fliers and having a strong voice advocating for editors. Thank you to Christine Cheung and Andrew Cooke for working quietly behind the scenes, keeping our mentorship scheme strong and Andrew for also helping with the Awards categories.
I want give a big thank you to Orly Danon, who kept the Newsletter coming out with amazing content each month, assisted by Bin Li who made it special by including his interviews with members. At this time of the year a massive load is borne by Adrian Barac who put together the presentation for the Ellie’s Awards, and he is the one behind many of the photographs of our events through the year, as well as recording the “Class of 2006” in Sydney.
Also many thanks to Matt Villa ASE who was instrumental in wrangling the Rake event, Brianna Cook who has been working throughout the year keeping our web page up and running, Fiona Macintosh who has the fun job of transcribing the many conversations flying around the committee table and turning them into minutes, and Scott Gray ASE our treasurer.
And of course many thanks to our administrator Margaret Slarke, who has been a constant through many years of the ASE, who has kept us toeing a straight line, dealing with a constant flow of emails from all our committee members as well as the members. She has been unflagging as she has dealt with questions, organisation, planning and of course feeding us her homemade delicious food at committee meetings.
I would like to say a final thank you, and sad farewells to those who are departing the committee: Orly Danon who will be welcoming a new baby, Brianna Cook, Matt Villa ASE, Christine Cheung and Scott Gray ASE who have each been dedicated to the ASE for many years, and Bin Li.
A big welcome to our new committee members Danielle Boesenberg, Stephanie Tighe, Sally Moran and Luke Richards (you are in for a fun ride!).
And to all the rest of you who have the fortitude to stay on one more year! I am truly thankful and grateful.
Fiona Strain ASE
President
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AACTA MEET THE NOMINEES
The day after the Ellies, a distinguished group of AACTA editing nominees, pictured above: Mark Perry, Andrew Cooke, Karryn de Cinque, Ben Joss, Steven Robinson ASE and Veronika Jenet ASE - gathered at AFTRS to exchange editing war stories with Jane St Vincent Welch ASE. As there was a mix of feature, documentary and television editors, the discussion ranged far and wide. Each editor showed a favourite scene (from their nominated film) which revealed some great insights on the minutiae of editing challenges. This lead to a wider discussion about how each films' unique style is created. But everyone agreed that while technological advances in film have definite advantages for editors, they also throw up considerable challenges, particularly in terms of ever-increasing shooting ratios and ever-shrinking schedules. The nominees also discussed the limited opportunities for assistant editors to see editors at work, especially their collaborations with directors and producers. You can view this session on the AFTRS facebook page: https://www.facebook.com/aftrs/videos/1203367039717330/
AACTA AWARDS
The awards luncheon was held on the 5th of December, and a hearty congratulations to all the nominees and winners.
Film editing
The Daughter: Veronika Jenet ASE
Girl Asleep: Karryn de Cinque
Goldstone: Ivan Sen
Winner: Hacksaw Ridge: John Gilbert
Documentary editing
Hitting Home, Ep1: Andrew Cooke
Winner: In The Shadow of the Hill: Steven Robinson ASE , Dan Jackson
Remembering the Man: Nickolas Bird, Tony Stevens ASE , Eleanor Sharpe
Snow Monkey: Nick Meyers ASE
TV editing
The Beautiful Lie, Ep6: Denise Haratzis ASE
Janet King – The Invisible Wound – Ep6: Nicole La Macchia
Rake, Ep7: Mark Perry
Winner: Wentworth, Ep3: Ben Joss
VICTORIA 'RUIN' SCREENING
The ASE and ACMI had a screening of Ruin on Sunday 26 November 2016.
After the film Cindy Clarkson hosted a Q&A with editors Sally Blenheim and Luca Cappelli, and director Ameil Courtin Wilson.
Cindy Clarkson ASE introduced the editors to a large crowd in one of ACMI’s bigger theatres. This was a chance for the audience to gain an insight into the post process which actually ended up with three editors.
Both editors discussed at length how they shape a scene, how you work on an edit until is right and the positives of working together.
This was a chance for the audience to gain an insight into a long form edit. The film took over six months to edit with the three editors working together.
The director Ameil also answered a number of questions. His inspiration for the film came after a chance discussion with an eighty year old woman on the life of a sex worker. It was a raw film, confronting and unconventional.
The ASE thanks Cindy for giving up her time and presenting a fascinating discussion. We look forward to bringing you more screenings and Q&A’s next year.
Barrie Munro ASE
Chair Victorian Committee
9TH ELLIE AWARDS 2016
The awards this year took place at the HOYTS Broadway Cinema and Bar... it's not often you have so many editors in one place, and it was a fantastic night of celebration, catching up, networking, and getting out of the edit suite!
Attendees were an eclectic mix of feature film stalwarts, commercial, documentary, drama and corporate editors, right through to graduate students .
THE AUSTRALIAN SCREEN EDITORS GUILD PROUDLY CONGRATULATES THE WINNERS OF THE 2016 ASE GUILD ‘ELLIE’ AWARDS, OUR NEW ACCREDITEES AND LIFETIME MEMBER:
Best Editing in a Drama Feature
Tania Michel Nehme - Tanna
Ken Sallows ASE - A Month of Sundays
Karryn de Cinque - Girl Asleep
Veronika Jenet ASE - The Daughter
Best Editing in a Drama non-feature
Julie-Anne De Ruvo - The Beautiful Lie – Episode 3
Angie Higgins - Molly – Part 1
Cindy Clarkson - Restoration
Deborah Peart ASE - Peter Allen: Not the Boy Next Door – Part 1
Best Editing in a Drama – Short Film
Karen Pearlman - Woman With an Editing Bench
Daniel Rice - Heathen
Sue Schweikert ASE - The Bogabilla Bus
Lara Kose - Crush
Best Editing in a Comedy
Julie-Anne De Ruvo - Please Like Me, Season 3 – Episode 10
Dylan Behan - The Letdown
Gabe Dowrick - Soul Mates, Season 2 – Episode 4
Amelia Ford - No Activity - Episode 1
Best Editing in a Documentary Feature
Nickolas Bird, Eleanor Sharpe and Tony Stevens ASE - Remembering the Man
Steven Robinson ASE & Dan Jackson - In the Shadow of the Hill
Andrew Arestides ASE - Monsieur Mayonnaise
Denise Haslem ASE - Constance on the Edge
Best Editing in a Documentary non-Feature
Andrew Cooke & Philippa Rowlands ASE Changing Minds, Season 2 – Episode 2
Zac Grant - Revolution School – Episode 1
Orly Danon - Keeping Australia Alive- Episode 4
Andrew Cooke - Hitting Home – Episode 1
Best Editing in Factual Entertainment
Matthew Walker - Kebab Kings – Episode 2
Simon Callow-Wright, Andrew Scott & Hayden Guppy - Luke Warm Sex – Episode 1
Simon Ryan - Destination Flavour Scandinavia – Episode 6
Steven Robinson ASE - DNA Nation – Episode 1
Best Editing in Reality
Adam Druce & Federico Felixberto - Australian Survivor – Episode 1
Simon Callow-Wright & Tess Jenner - The Bachelor Australia, Season 4 – Episode 1
Karen Crespo & Robin Crago - Masterchef Australia, Season 8 – Episode 62 (The Grand Finale)
Josh Wedd & Duncan Balmain - The Recruit – Episode 2
Best Editing in Current Affairs
Roger Carter - Australian Story: Out of the Water
Garth Thomas - Foreign Correspondent: Doctor Dim Dim
Matthew Walker - Foreign Correspondent: War on Children
Steven-Baras Miller & Corina McCaffer Australian Story: When the Call Comes
Best Editing in a Commercial
Ryan Boucher - Samsung ‘Netball’
Scott Walmsley - *Lastminute.com.au* – ‘Flames’
Drew Thompson ASE - The Line ‘You can’t undo violence. Know where to draw the line.’
Bernard Garry ASE - Air Force ‘What is Up’
Best Editing in a Music Video
Ariel Shaw - Slum Sociable – All Night
Brad Hurt - Sioux City – Different Drum
Alison Myers - L-FRESH the LION – 1 in 100,000
Rocky Amaranto - Fire to the Stars – Made of Fire
Best Editing in Open Content
David Whittaker - Jessica Ashwood
Adrian Chiarella - The Kettering Incident Trailer
Matt Osborne - Anta ’ Breakthrough’
Nicholas Lever - We Will
2016 ACCREDITEES
Daniel Mitchell ASE
Nathan Wild ASE
LIFETIME MEMBERSHIP
Jenny Ward
SCREEN AUSTRALIA RELEASES 'SCREEN CURRENCY'
LANDMARK REPORT SHOWS AUSTRALIAN SCREEN STORIES WORTH $3 BILLION.
The report was launched at Screen Forever and is the first time the economic and cultural value of the Australian screen sector has ever been measured.
The report is the first comprehensive assessment of the economic, social and cultural worth of the nation’s screen sector, and comes amid discussion around regulatory reform to better support the industry into the future.
The report, commissioned by Screen Australia, shows that the creation of Australian screen content and talent provides around $3 billion annually to the local economy, generating in excess of 25,000 jobs. Australian feature films, TV dramas and documentaries earn at least $252 million annually through exports.
Approximately 230,000 international tourists visit Australia or extend their stay each year as a consequence of Australian screen content, spending an estimated $725 million. The report also found the value the Australian public place on locally made screen content is $17 billion annually.
Read more here.
Watch this video for an entertaining summary of the report findings.
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MEET THE COMMITTEE: DANIELLE BOESENBERG (NSW)
 Danielle began her career in advertising, working in-house for Singleton Ogilvy & Mather and then Plush Films. From there, she worked freelance in short film and TV before heading to AFTRS. These days she cuts a variety of things - short film and doco, music video and web content, and is working towards a feature.
When I start a project... I’m equal parts nervous and excited. I can’t wait to watch through the rushes and start having sequences form in my head.
When I finish a project...I feel really connected to it, like I’m sending my baby into the world.
It makes my day when... people respond emotionally to the material.
I hide under my desk when... I’m asked to make changes I don’t believe in.
I love the editing in... Dallas Buyers Club, Cracker Bag (short), 52 Tuesdays, Candy.
I was inspired to join the ASE because... editors tend to be lone wolves, and sometimes we all need the pack.
The ASE has… passion in its pants, and it ain’t afraid to show it.
MEET THE MEMBER: JASON 'JJ' JAMIESON (NSW) - EMMY AWARD WINNER
 JJ Jamieson found himself an overnight sensation when he turned one of his editing bugbears into an innovative solution that is transforming post production around the world. NSW member Bin Li asked him a few questions:
Tell us about the frustrations you found with multicam footage.
Having worked as an Assistant Editor on a variety of shows from Big Rich Atlanta/Texas, The Bachelor, and House Rules, one of my main roles was the grouping of the volumes of media that came in from the field. The nature of reality TV is that there are multiple recording devices to cover all the various cast members in the show, so you have all of these recording devices "buttoning on and off" hundreds of times spontaneously throughout the day (a show like House Rules, has 10 teams of 2 people - each team with a camera crew and each person with a microphone... this provides 30 streams of media). The result is thousands of clips needing to be processed and grouped which is a tedious, time-consuming task that takes hours and hours of time.
What did you do about it?
I was hired as a night-shift Assistant Editor and I remember sitting at my desk at 3am in the morning (or convulsing in the corner is probably a more accurate description) thinking the tedious "key-stroking" nature of this task does not need to be a manual process. If you can get this metadata out of the NLE and if the NLE allows you to import the "grouped" version of this metadata back in - then you could very well develop an algorithm that automates this process. I did a few initial proofs of this concept, and as it happens - I was right!! What came from that was a piece of software that turned this task that takes hundreds of hours of work into a task that now takes 5-10 seconds. I was a professional software developer before I decided to pursue my post-production goals and so this gave me a very unique skillset to actualise this idea.
What happened after you released it?
I really only built Group It For Me! to address the issue for myself - but then naturally the people I worked with started getting curious. Then as we all went off into our respective next gigs, we took Group It For Me! with us, and then into the next gig and it really just spread like wildfire all over the world. Now Group It For Me! is being used in post-production facilities in the United States, the United Kingdom, New Zealand and Australia. In August I received a phone call from the National Academy of Television Arts & Sciences saying that they had enquired with industry about how Group It For Me! has revolutionised workflows and were happy to advise that I was being awarded an Engineering & Technology Primetime Emmy Award for my contributions to the way Television is being made. Needless to say - it was a HUGE honour!
What are you doing now?
Right now we are implementing a variety of other functionality into Group It For Me! to cater to even more specific workflow intricacies. We are also looking into integrating Group It For Me! into Avid's MediaCentral platform so more users are able to have access to this vital resource. And we are currently looking to start branching into the Asian and South American markets too as these industries would also be able to utilise the unprecedented expedition of the grouping process that Group It For Me! provides.
Tell us something funny about this experience:
I have endearingly named the Emmy Award "EMMA" and trying to get Emma through airport security was an interesting experience - I put the travel box on the conveyor belt X-ray thingie then when the Emmy-shaped X-ray came up on the security screens I was pulled aside for questioning. The TSA struggled to believe that the Emmy belonged to me - I imagine they thought I must have stolen it. But once he was convinced, he called all his TSA buddies over and said, "Hey guys - this guy won an Emmy!!" and they're all like, "NO WAY!!!!" lol!
http://groupitforme.com
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THE PRODUCTION BOOK
The Production Book has had a makeover. Now even easier to use!
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.
Order here: http://www.productionbook.com.au/Subscription1.aspx
GETTING STARTED FAST WITH MEDIA COMPOSER FOR ADOBE USERS
Avid is pleased to share Part One of a five part blog series entitled, ‘ Getting Started Fast with Media Composer for Adobe Users’.
YouTube video: https://www.youtube.com/watch?v=pyZvMVd-xdc&t=1s
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AFTRS OPEN: 
GOT A QUESTION: study@aftrs.edu.au
AFTRS 2017 DIPLOMAS, MASTERS & GRAD CERTS
Want to join AFTRS award winning Alumni and work at the highest level of the screen industry? Second round applications for AFTRS career accelerating 2017 MASTERS in ANIMATION & VFX and EDITING plus GRADUATE CERTIFICATE: EDITING are now open plus DIPLOMAS and ADVANCED DIPLOMAS in Editing, VFX and Grading. Take your craft and storytelling skills to the next level and forge life-long creative partnerships.
MA SCREEN: EDITING
Learn by deep immersion. By the end of the course, you will be equipped with the skills and confidence to edit high-level professional screen projects and pitch for professional work. Maximum of 6 places per discipline, one-to-one mentorship and a 4 week placement. Scholarships available.
2 years. Applications close 15 Jan 2017// details: https://goo.gl/G7n5TL
MA SCREEN: ANIMATION & VFX
Learn more than just the tools of the trade. Join a community of professional artists who contribute to the richness of our craft. Maximum of 6 places per discipline, one-to-one industry mentorship and a 4 week placement. Scholarships available.
2 years. Applications close 15 Jan 2017// details: https://goo.gl/kxi6Fx
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 15 Jan 2017 // details: https://goo.gl/z86zAo
ADVANCED DIPLOMA IN EDITING
Strengthen your editing skills so that you can confidently enter the industry as an assistant editor with the know how to fast track your career progression within the post production department.
1 year part time, Applications close 15 Jan 2017 // details: https://goo.gl/PjtRbi
ADVANCED DIPLOMA IN VISUAL EFFECTS
Immerse yourself in the craft of visual effects, learn industry best practice and develop the core skills and techniques to create.
1 year part time, Applications close 15 Jan 2017 // details: https://goo.gl/hqn7LG
DIPLOMA IN EDITING
Develop the creative and technical editing skills to confidently and efficiently use the industry standard, non-linear editing software, Avid Media Composer.
16 weeks, part time, Applications close 15 Jan 2017 // details: https://goo.gl/ALzckH
DIPLOMA IN GRADING
Gain the fundamental skill-set of a colourist to manipulate colour and contrast to bring about desired effects on story and narrative.
16 weeks, part time, Applications close 15 Jan 2017 // details: https://goo.gl/TLdvUL
AFTRS OPEN Industry discounts of 10% apply to all ASE members. Upcoming short courses include: After Effects, Premiere Pro and More.
MORE https://goo.gl/PXeQc9
Make the most of the quiet time during the festive season break and train with Digistor.
Digistor has a range of trainers available for specialist tools such as Premiere Pro CC, Avid Media Composer, 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 contact us and we can organise a trainer to suit.
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
Adobe After Effects CC Training – Thursday 5th & Friday 6th January
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.
MAXON Cinema 4D Express – Tuesday 31st January
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 – Dates TBA
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
Blackmagic DaVinci Resolve Training – Dates TBA
Train in DaVinci Resolve, the world’s most advanced color grading system. With DaVinci you get the system that’s used on more feature films and television programming worldwide. DaVinci Resolve is also perfect for episodic television production, high-end feature film work, commercials, independent films, music videos and more! 1 day course will get you up and running.
Blackmagic DaVinci Resolve Advanced - New dates coming soon
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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