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eNEWS #102  -  February 2021
 

              In This Issue

               • Message from the President
               • State Updates
               • Meet the ASE Community
               • Interviews & Articles
               • Event Report
               • Tech Tips and Tricks
               • Industry News
               • Sponsors



 

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WELCOME TO THE ASE

Dear Members,

Hello, and welcome to the first edition of the eNews for 2021! 

As most of you will have heard, Fiona Strain ASE has stepped down from the presidency after five years at the helm, and we’re indebted to her for her incredible service. She’s shown extraordinary commitment, energy and passion for the industry, and the ASE has grown from strength to strength under her tenure. Her contributions are far too many to name, but some of the most enduring include her work with Jenny Hicks on the ASE Rates & Conditions document, connecting the ASE to International guilds and fostering relationships for the future, and the commitment of the ASE to ASIG (Australian Screen Industry Group), so that we can all work in unity on industrial matters.

Thank you, Fiona - they’re very large boots to fill. 

The Executive Committee also said goodbye to Andrew Brinsmead, Jordan Swioklo, Jessie Hildebrand and Jenny Hicks. Thank you to you all. You’ll be missed.

I’m delighted to be taking the reins as your new president and look forward to getting to know you better, representing your interests and concerns, and advocating as strongly as I can for the essential role of Editors in Australian storytelling. 

We have a talented and energetic Executive Committee once again this year. Our own recently accredited Orly Danon ASE, Alison Myers, Scott Walmsley, Adrian Barac, Roland Gallois ASE, Wayne C Blair, Simon Callow-Wright, Brianna Cook, Timothy Hadwen and Andy Finn are returning, along with Fiona, who’s stepping into the role of vice-president. And we welcome new committee members Lily Davis, Karen Joseph and Antoinette Ford. They make up a passionate team who are dedicated to continuing the good fight. Special thanks as always to the indefatigable Margaret Slarke, the administrative heart and institutional memory of the Guild, and the first port of call for so many of our Members. 

This month we’re very pleased to be joined by a new silver Sponsor! We’d like to thank Native Tongue for their enthusiastic support of the ASE, and look forward to working with them into the future. We’re incredibly grateful to have such wonderful support from all of our Sponsors, and appreciate you sticking with us during the mess of the past 12 months.

While we’re relieved to see the back of 2020, which was a tough year for so many screen creatives, we’re far from seeing the back of COVID-19. But rest assured that in 2021 we’ll continue with a strong program of engagement, bringing you events on Zoom, and looking forward to being able to see you all in person as soon as it’s safe to do so.

Already this year we've had The Reality of Reality - an online panel discussion providing an in-depth look at editing reality television, which was mediated by Karen Joseph. And in South Australia there was a joint Guild event into Everything Sound. Coming up soon are Screen Industry drinks in Victoria, and Meet the Winners! Part 1 on Zoom where 2020 Ellie and AACTA editing winners will talk their award-winning works.

Please don’t hesitate to get in touch with any ideas you want to share, events you’d like us to consider, or articles you’d like run in the newsletter. Don’t be shy – we’d love to hear from you.

Here’s to a happy and healthy year, and a renewed productivity for the industry and for us all.

Danielle Boesenberg
President, Australian Screen Editors
 

State Updates

QUEENSLAND


A big hello and Happy New Year from all of us here in Queensland!  

Every year the Qld ASE along with the Qld branches of the ADG, ACS, AWG and ASSG gather for a couple of joint events (any excuse for a party!). It was especially gratifying to be able to do an ‘in person’ Guild Christmas party event on the 17th of December last year at the Soapbox Beer brewery in Fortitude Valley.  It was a much needed get-together with a lot of fun catch-ups and connections through the night, with a focus on reuniting the community after a challenging year. Below is a picture from the evening.



(Photo: Stewart Tyrell.)

In early February we held our AGM, and I’m pleased to introduce our new 2021 Committee (Judy Yeh is missing from the photo).  We’re all excited to get things up and running again after a tough year of social distancing and uncertain futures that surrounded us all last year.  I’m very excited to be taking over the reins of Chairperson of our Qld Committee from Tony McGrath who has done a great job with our committee over the last couple of years. Also, I must send a big thanks to one of our Sponsors The Post Lounge who gave us the use of their fabulous bar area to hold our AGM in!























(Back Row L-R: Geoff Lamb ASE, Ahmad Halimi.
Front Row L-R: Matt Sawyer, Charlotte Cutting, Tony McGrath,
Navaz Illava, Lisa Domrow, Stewart Tyrell.)


Queensland has been incredibly lucky, and production in the state is busier than its ever been.  There’s a lot of optimism about town and it’s great to hear that not only are crews super-busy but post facilities and Editors are too. We also have our fingers crossed - we’ve all seen how quickly things can change.  For the moment, we will try and surf the waves of optimism and hopefully roll out a few events where we can all reconnect, support and inspire each other.  Watch this space!!

Charlotte Cutting
QLD Committee Chairperson

 
 


WESTERN AUSTRALIA


Joint Guilds Holiday Season Party

2020's ASE end of year party was conducted jointly with several other industry guilds (ADG, AWG, ACS, ASSG, SPAA, Screen Voice, WIF). Held on a sultry summer evening at Johnny Ma's studio in Maylands, around a hundred screen industry professionals from every department gathered to chat and enjoy drinks until late into the evening. 

We were lucky to have many returnees and visitors from interstate and overseas, who related their experiences of the long Victorian lockdown, the conditions in New York and Los Angeles and other places. Those who had spent the year in WA felt even luckier to have mostly avoided the worst social effects of the Coronavirus pandemic. 

There was a great sense of community and celebration and it looks like this joint End of Year party thing will happen again in 2021.
























Awards

In December, committe member Lawrie Silvestrin ASE was honoured the at the inaugural WA Screen Culture Awards with the Outstanding Achievement in Editing for the short drama 'Judas Collar'. Congratulations Lawrie!























(Lawrie Silvestrin ASE (far right) and the 'Judas Collar' team picked up five WA Screen Culture Awards in total.  L-R Composer Ash Gibson-Greig, DOP Michael McDermott, Writer/Director Alison James,
EP Aidan O'Bryan, Producer Brooke Silcox, Editor Lawrie Silvestrin ASE.) 


Studio Plans

As part of the State Election campaign the Labor Party announced their policy to construct a $100 million film studio in Fremantle. This idea, which has been gestating for years, has culminated in a plan from a consortium of developers and producers to repurpose underutilised land at Victoria Quay. The industry - including local ASE Members - has been constructively engaged with the planning. We are excited at the potential increase in scale and quantity of work this will attract to Western Australia.

Of course for this to happen, the Labor Party needs to win the election. (McGowan's approval rating is currently over 80%.)

Nick Dunlop
WA Committee Chairperson

 
 


SOUTH AUSTRALIA

 
On February 11 we hosted our “Everything Sound” event at the prestigious Michael Rowan Sound Mixing Theatre at Adelaide Studios. The event was a chance for members of the ASE and the Australian Screen Sound Guild (ASSG) to interact and learn from each other.















Following welcome drinks, we entered the theatre where Carlos Manrique Clavijo (ASSG SA rep) gave us a presentation which included a demonstration of sound design from '8 1/2' (1963). He also showed us an action sequence from 'Terminator 2' – five times – with isolated sound stems. Hearing the FX, foley, ADR, atmos and music separately from a Hollywood movie was amusing and informative!

David Scarborough (ASE SA) then presented the first of many questions submitted by participants upon registration. Before long, the Q&A became a friendly and free-flowing conversation across the room between picture editors and sound recordists / engineers (emerging and experienced), touching on most of the pre-submitted topics.














The conversation covered technical software questions through to creative approaches to our respective crafts. We happily ran overtime whilst everyone seemed to enjoy the opportunity to share their techniques and propose strategies for more efficient collaborations.

It was a thoroughly enjoyable evening that proved to strengthen post-production networks in our state. We’ll certainly seek opportunities to collaborate with the Sound Guild in the future.














The next ASE event for SA will be casual drinks in March, date TBA.

Lastly, a big congratulations must go out to one of our new Committee Members, Geoff Lamb ASE, on gaining his accreditation last year!

Veronica Buhagiar
SA Committee Chairperson

 
 


VICTORIA


We kicked off 2021 with our first meeting in February, in which we made some significant Committee changes. Barrie Munro-Erikson stepped down from the chair position after five years of service, but will remain active on the Committee. Thanks, Barrie, for all you've done! Grace Eyre has now taken on the role of chair. Right now we're actively seeking new Committee Members. Anyone with passion and curiosity, who would like to get more involved in the post-production community, will have a valued place with us. 

We have a slate of exciting events and workshops planned for this year, starting with a drinks night on March 11 which is open to all in the screen industry. From there, we're organising a series of workshops and events to support the needs of Members across the whole spectrum of experience levels, backgrounds, and genres. We're reaching out to other guilds and film organisations to collaborate and build stronger networks in Victoria. 

After a year of swiftly changing circumstances, job postponements and cancellations, we adapted and persevered. Now we believe the Melbourne screen industry is on the rebound and we're really excited for the year ahead!

Grace Eyre
Victoria Committee Chairperson
 

Meet the ASE Community


MEET THE MEMBER: CHRIS MILL (NSW)

 
Originally from Perth, I’ve worked for the last 20 years as an editor in Melbourne, London and now Sydney. I’ve edited across most genres including TVCs, news, factual, documentary and feature films. I was also on the ASE Executive Committee for nearly 10 years where I was mainly responsible for the eNews, the Awards night presentation and most importantly the NSW Sundowners with Mel Annan :) I’m currently working on the second series of the factual TV show 'Old People’s Home for 4 Year Olds'.

The secret to a good edit is...  time. It takes time to search the rushes, it takes time to find the story and it takes time to turn those moments into something that can go beyond just a collection of pictures and sound.

My favourite part of the process is...  the beginning. Looking through the rushes and finding the moments that will make your project sing… although I must admit seeing something you’ve laboured over finally on the big screen (or small screen) is also very satisfying.

My least favourite... feedback screenings. Obviously you need them for feedback and it can be invaluable to get fresh eyes on the edit BUT I also find it a very stressful experience putting your work on show for other people to comment on… and you can also get some very terrible and unhelpful notes on occasion :)

My dream job would be...  Well, it used to be editing the next 'Star Wars' film with George Lucas, now it’s become editing 'The Mandalorian'!

The best thing I’ve learned from a director or producer is...  was actually from my editing tutor at AFTRS, Bill Russo ASE. I was in the editing drama course and Bill told us our first project would be a short documentary. We all complained about not editing a short drama first. Bill replied, "If you can get drama out of a documentary, you can get drama out of anything.” It’s stuck with me ever since.

My advice to any Editor starting out is... practice. Do as much editing as you can when you start out. Sign up for everything. Help out on student short films, sizzle reels, dodgy corporate videos, anything to give you real editing experience. The more you edit, the more tricks and tips you will gain to help you overcome problems you’ll find in the future. Also, latch onto a mentor, or at the least don’t be afraid to ask your peers for advice. As they say, there are no stupid questions.
 
 


MEET THE COMMITTEE: ANTOINETTE FORD (NSW)

I started working as an Editor at SBS TV in the local production unit. When that department closed down I struck out as a freelance Editor. My first freelance job was cutting a music doco.  And many years later here I am cutting another music doco. In between I have cut all sorts of things teasers, reality, cooking. But, mainly I have stuck with docos,

The secret to a good edit is... succinct story telling, pacing and rhythm

My favourite part of the process is...  starting a new project is always exciting.

My least favourite... Last-minute changes when time poor.

My dream job would be... Any Interesting Documentary.

The best thing I’ve learned from a director or producer is... take a lunch break.

My advice to any Editor starting out is... jump in whenever the chance to edit arises. Be positive and enthusiastic it will get you a long way

I joined the ASE committee because... other Editors that I was working with at SBS encouraged me to join.
 
 


MEET THE ASE: ORLY DANON ASE (NSW)

Hi, I’m Orly, I’ve been an Editor for around 25 years and on three continents. 10 years ago I made the move to Australia and I am now a proud Australian. I have been a freelancer for the majority of my career, and I love the flexibility of choosing my projects and the people I work with, you can’t beat it.

What inspired you to apply for accreditation?
A colleague and friend in the UK, Darren Jonusas ASE, told me about the Editors Guild, and when I moved to Australia, I found it an invaluable place to meet fellow Editors and find out more about the Australian film industry, and more importantly, to learn about the stories Australians tell. It was a wonderful and inspiring community to join. Accreditation was always something I aspired to,  and after encouragement from my peers I made the leap, and I am absolutely thrilled and honoured to have received it.


How do you feel when you reflect on your career?
I feel incredibly lucky that I found my passion and was able to make a career out of it. After leaving South Africa and making a move to London, I met incredible people who trusted me and nurtured me as I grew as an Editor.  Reflecting back – it was tough in the beginning, making those connections, proving myself to people, but I was relentless with my networking, and I must have been very annoying to the people I kept pestering! But when I landed my first network job it all started paying dividends from there.  It literally was a dream come true when the first documentary I cut for the BBC was nominated for a BAFTA award, and I never looked back.  I have also loved learning about my adopted countries through the stories I was cutting in the edit room, from English castles and British wars, to the Australian outback and the refugee crisis. It’s a vocation where I’m always growing and learning - and I hope can match Thelma Schoonmaker’s stamina!

What do you think are good ways to support fellow Editors and Assistants?
Talk openly and share knowledge, discuss rates, tips, tricks, techniques and funny stories and angry stories! Give feedback kindly and accept it graciously. Mentor each other, we can all learn from each other. Join the guild, organise events that help and inspire other Editors, put up your hand for mentoring.

What do you feel are some good editing practices you have shared over time?
Follow your instinct, it’s usually right, but don’t be afraid to try new things. Work hard, but remember, at the end of the day, "It’s only telly," and it’s important to find time for yourself and your loved ones too. Don’t let people take advantage of you, know your worth. Have a sense of humour, it helps when things seem insurmountable.

Why should Editors apply for accreditation?
It’s lovely to be rewarded and recognised for all the hard work that you do by your peers – and it lets the industry know that you are at the top of your game. Accredited Editors do a lot for their fellow Editors too, and that’s something to be proud of.
 
 


MEET THE ASE: GEOFF LAMB ASE (QLD)

In grade 10 at school I chose Film and TV as a bludge subject. 35 years later I am still bludging.

What inspired you to apply for accreditation?
The Glory...and maybe a little pressure from some fellow Queenslanders.

How do you feel when you reflect on your career?
Double-edged sword really - happy on a day-to-day basis that I am doing a job that I really enjoy, however, disappointed that I have let the unpredictability of the work influence so many things along the way - financially and emotionally. 

What do you think are good ways to support fellow Editors and Assistants?
I guess just being prepared to talk about things honestly. We all have different processes and experiences, and I think discussing them can help us all benefit.

What do you feel are some good editing practices you have shared over time?
It is important to be comfortable...fight for your stand-up desk or comfy chair. Put some thought into how you can move a little more. Bigger monitors make a massive difference to eye strain. 

Why should Editors apply for accreditation?
ASE... it just looks cool after your name.... and it makes your mum proud.
 
 



MEET THE SPONSOR: DENISE SHARP, NATIVE TONGUE

Native Tongue Music Publishing is an independent music publishing company established in 2003.  We're one of Australasia's largest indie music publishers and the fastest growing independent representative of music rights in the territory.  Native Tongue’s roster of songwriters, artists & composers is extensive & includes releases & works from local & global established & emerging talent of all genre & profile. 
The Native Tongue website is a great resource for the latest news & releases.

Tell us about your role at Native Tongue Music Publishing.  

I am Native Tongue’s Sydney based Client Relations representative working in tandem with a hands-on creative & administrative Licensing team based in Melbourne & Auckland.  The team is tight, agile & focused on connecting Native Tongue’s music, artists & composers with the creative community in the Australasian screen sector at any stage of production, maximising opportunities for effective & affordable music placement in all media.

We do this with a studied familiarity of our music & clear communication when interpreting the requirements of audio visual music users.  A sizeable chunk of our day is dedicated to sourcing & supplying tracks to brief, working closely with screen production partners to facilitate access to the wide scope of commercially released music we represent.  By being selective with the audio we share with our clients we guarantee maximum appeal geared to the specific needs of the production & take the risk out of music clearance.  

I also work with our stable of screen composers, promoting their work & suitability to local film & TV producers & directors as they announce  new projects.

How does editing intersect with your business?

The NT Licensing team have great respect & recognition of an Editor’s many roles, particularly as drivers & catalysts in the initial selection, spotting & temping of music during the post-production process.  We’re aware the responsibility to source, interpret and introduce music to set mood, atmosphere, theme, purpose, brand, era, emotion, pace & so on is paramount to the edit & a highly specialised skill.  Our team are equally intuitive in identifying these visionary elements in the music we represent and can aid Editors by complimenting & intensifying the impact of their task.  We can continually supply fresh high quality music  to expand an Editor’s music library & creative choice.  This is a service that we also provide to the production’s music supervisor, producer & director along with the handling of relevant clearances & formalities at the appropriate time.  

How can our members connect with Native Tongue’s music.    

We distribute NT audio highlights on a monthly basis to a database of screen professionals.  Members can email creative@nativetongue.com.au to be added to this list.  

This month we are launching our customised Edit Suite project with the highly polished work of composer, Dale Cornelius.  Dale has a long & successful history composing for the Australian screen & a vast catalogue of film cues & audio grabs available to make easy work of temping. We have compiled highlights of Dale’s compositions in a number of purpose selected themes & moods specifically geared to the edit suite.  We felt the task of conceptualising a winning soundtrack could be simplified by using preexisting winning score as a template. For all Edit Suite projects, the composer behind the temp score will be accessible to update any of the resonating compositional elements if required. Members can find the EDIT SUITE SAMPLER here to download or stream the work of Dale Cornelius. 

Why do you sponsor the ASE?

Native Tongue are thrilled to support the ASE Members & endorse the significant contribution they make to the screen industry.  We see our music creators as co-contributors in the field & have a shared interest in the recognition, impact & protection of their role.

What’s the best thing to come out of this sponsorship for you and your business?

We’re looking forward to increased opportunities to integrate the creative talent of our songwriters with that of the ASE members & collaborate with Members in ways that extend beyond the edit suite.  Involvement in ASE showcases & events, education & training, cross promotion, complimentary creative services & more… we will be exploring ways to align our worlds to the reward & benefit of all interested & are excited to be building closer relationships with Australian Screen Editors.


If you would like to be featured on Meet The ASE Community, please email 
newsletter@screeneditors.com.au.
 

Interviews & articles


THE EDITING PROCESS FOR 'RUN'

By Richard Bullock - Director 



'RUN' is a feature-length documentary filmed over four years and across eight countries. It follows the journey of a small group of Sudanese refugees endeavouring to qualify for the Olympic Games in Tokyo, 2020. 

https://www.youtube.com/watch?v=X0arJe8DAtI&t=289s

Filming began in 2017, and the final shoot was due to culminate in a special selection trial in Doha, Qatar for refugee athletes in February of 2020. My flight to Doha was scheduled on the day the lockdown was called in Australia. This was also the planned ending of the film. 

My production company is based in London and I’m a resident of Sydney. It was always the plan to do the post-production in Sydney, and as it turned out, that decision was a wise one.

After convincing a wary Philip Horn to come on-board as the lead Editor, we met with a few different post facilities to discuss the project and find a home for it. The decision was made to work with The Editors in Newtown. They were very enthusiastic and passionate about the project. 

I’ve worked with Philip for many years on commercial projects so I had a lot of trust in him. His organisational abilities and depth of understanding of workflow even before any editing begins I find reassuring. He’s also an intelligent and sensitive creative person and he intuitively gets what I’m trying to do with my work.

We acquired a whiteboard and set up inside his home office, and I began to tell him the story of the film. We wrote the arc of the idea on the whiteboard and detailed important subjects and key scenes. Ultimately this was about writing a sort of pre-editing shorthand script. What was the film about? What was the story I wanted to tell? Obviously I had ideas before filming but those tend to morph over time, so this was a good chance to just chew over what the point of all this footage was.

Physically logging all the material from all my shoots over four years was a huge task. The team of Assistant Editors at The Editors did a magnificent job of working through it all and prepping the material. Philip suggested we work with Lily Davis as his Assembly Editor. She was invaluable in building the foundations of the film, and quickly became a key member of the team. In the end she knew the material better than any of us.

We then moved to The Editors and they gave us a permanent sort of war room/edit suite. I did a physical paper edit with Lily. It’s something I’ve done in the past and I think it works great to get away from an entirely digital approach. All the best shots, key scenes are screenshot and then printed as photographs. There are hundreds of images which I like to pin up on the wall and arrange in linear form. It means the room is totally surrounding us in all the images of the final film. I can scan it super quick throughout the process. We can move entire sections and begin to build the story. 

At this stage the ending of the film was still missing. Once we had a rough structure, Lily began blocking out the sequences of the film as per the walls. As she finished assembly of each section, Philip started to come in and sit in an adjacent room and edit from these rough assemblies. He prefers to work quietly on his own and then call me in when needed. It’s the way we’ve always worked. We had 16 scenes or chapters which make up the final film. 

We started our process in December 2019, and by February 2020 it was clear because of COVID we could no longer work from inside The Editors, and also I would not be getting on a plane to shoot the final scenes of the film. We had to pivot on all elements of the film-making process, and this put a lot extra pressure on the edit.

I started to shoot my key characters from my garage using screen capture software, and I taught the characters who were now spread around the world in different Refugee camps, how to shoot  footage with their phones. All the plans I had regarding filming and continuity with past material went out the window. The imposition of COVID became the story and it was extraordinary because it exposed all the resilience and positivity of the lead characters. 

By this time I could not meet any of the Editors face to face as they were working from home. It was difficult but not impossible. By this time we added Peter Barton to make a team of three. The three Editors took sections away and worked from home, and I reviewed independently and stayed in touch with them. Downloading and sharing big film files was not ideal but we made it work. I think on occasions I begged to come over to Philip’s house and look through his window at the edit. 

The three Editors also worked together sharing their chapters and getting notes from one another. Early on in the edit there was some concern that three Editors working remotely may make the edit somewhat disjointed. This concern soon proved to be unfounded as they took sections they felt affinity for and swapped and changed from time to time. It was organised but also a quite fluid process. 

The entire editing process took about six months from start to finish. Some periods were more intense than others. The film launched on World Refugee Day, the 20th of June, 2020. The target date also helped keep us moving forward.

Maybe the impediments of COVID helped the film. It totally transformed how I shot footage, the storyline and the editing process. But whether it’s a pandemic or not, there are always problems in making a film. How you overcome and solve them often produces the most interesting ideas.

For all of us the journey of the Refugee athletes was something we could vicariously live through during the most intense part of the lockdown. The film kept us focussed and pushed all of us to do things differently. The editing process was actually a really enjoyable experience which I can wholly attribute to the three Editors who worked openly and without ego of any kind. 
 
 

'RUN' EDITORIAL PERSPECTIVE

By Lily Davis - Co-Editor
 
I had the absolute joy of cutting Richard Bullock’s feature documentary 'RUN' through the first half of 2020 alongside lead Editor Philip Horn. The story was a chronological journey following its subjects, the members of the Athlete Refugee Team, through various running competitions all over the world leading up to the 2020 Olympic Games. Perhaps more-so, it was the story of various hardships they have faced, and continue to face. The edit was a constant re-examination and balancing act of these ideas.

At the suggestion of Philip I came on board towards the tail end of the selecting process for the first assembly (thanks Philip), and then Peter Barton not long after that as a third Editor. Avid was our preferred software for the project and we were all supported by the incredible team of Assistant Editors and producers at The Editors. Given the tight turnaround, and how much we were all chomping at the bit to get started, only a loose project prep was done. Instead, the majority of the organisation was in the selecting process. The rushes were split out by shoot location and date, then loosely compiled into sequences based on moments or activities. Finally there were various markers with descriptions and actions put on each clip. We were primarily relying on memory for finding things in the rushes! All the interviews were transcribed using an external service called Rev. The translations were where things got a bit tricky, but one of the athletes from the film was used to help translate large sections of dialogue for us. There was a bit of trial and error but it all worked out eventually.

Ordinarily we all would have been working within the one building on a shared server. Instead, in the early stages of the edit we had to move to remote set-ups, due to a little something called COVID-19. At that stage the film was already split out into a series of ‘scene’ bins. On a day-to-day basis we’d each select what we were drawn to working on for the day, then at the end of the day we’d transfer bins to each other. There were regular conference calls between the Editors and the director, plus a group chat on WhatsApp that was pinging most of the day.

Fortunately, all of the Editors had quite a similar vision for the film thematically. We were also aligned in our cutting style. I’d say 90% of the time we were in agreement with each other. Whenever someone raised a suggestion or concern it was usually followed by a chorus of “I agree”… “good point”. I believe having the three of us working simultaneously was nothing but an enormous benefit to the film - each bringing different insight, but ultimately quite strangely unified in approach.

 There were a few challenges that were unpicked through the edit. We had to navigate creative solutions to comprehension gaps. It was particularly difficult finding the best links between scenes, as there were a lot of movable parts. In this way the film underwent a huge transformation. From first assembly to fine cut it was almost unrecognisable. Then, a major challenge surfaced when it was confirmed that Richard would not be able to fly overseas for the final trials pre-Tokyo. This was closely followed by the news that the 2020 Olympic Games would be postponed altogether, which was the expected close of our film. During this whole period Richard continued shooting interviews via screen recording software called ScreenFlow, which was eventually our saving grace. I think as Editors we were all originally a little nervous about this turn of events and unsure if this series of interviews would provide us with any kind of emotional punch for the end of the film. Or a sense of closure at all. However these concerns proved unfounded. The extraordinary sentiments that arose from these interviews were a testament to Richard and the athletes themselves. It may not have been the ending that was expected, but in many ways it was even better. Just another hardship the team faced.

These challenges became some of my favourite things about the process in the end. Editorial collaboration with such likeminded people was the joy. It was thanks to Richard and the Athlete Refugee Team that we all stayed sane in 2020 for sure. Evidently we enjoyed ourselves, as Philip and I are now editing alongside each other again on Richard Bullock’s next documentary project. We couldn’t say yes to the proposition fast enough. 

(Lily Davis, Philip Horn and Peter Barton were nominated for the Best Editing in Documentary Feature Ellie for their work on 'RUN'. Philip was also nominated for the Open Content Ellie for his editing of the 'RUN' trailer.)

If you would like to write an article for the eNews, please email
newsletter@screeneditors.com.au.
 

EVENT REPORT

REALITY OF REALITY ZOOM EVENT

By Karen Joseph

The Reality of Reality Zoom event explored the less celebrated, but highly skilled genre of reality television. We showed clips and discussed the tropes and techniques used to turn the ordinary everyday into something that can captivate an audience night after night, season after season. The event kicked off on Sunday the 21st at 5pm. On the line-up - Karen Crespo, Ellie Hayward, Leanne Cole, Federico Felixberto, and Marcus Kjellberground, with the discussion moderated by Karen Joseph.

Karen Crespo spoke in-depth about her use of music to create drama and tension in the finale cook of  'MasterChef season' 7. In the clip shown, Billie McKay is struggling to create the sugar ball needed to complete the challenge, the result of which decides the winner of the whole series. This scene takes a moment which in reality was quite quick and turns it into 5 minutes of nail biting television.
The scene can be found here at around 1:23:00 (with your log in)
https://10play.com.au/masterchef/episodes/season-7/episode-62/tpv190613ukvio

With the post-producer’s assembly as a starting point, Karen breaks the scene down to specific moments, often lasting only 10-30 seconds at a time, and identifies what tone of music she is looking for each beat or moment of the scene. The music needs to build as the tension grows. She pays particular attention to finding the right cues to start and end the music, looking for an emotional reason rather than having music play from start to finish of a beat. Silence is also used to heighten the drama, when there is a big build and then the music drops away it can have the effect of sucking the air out of the room. With the music in place she then does her picture cut making sure specific movements and cuts correlate with the music.

There are now 13 series worth of composed music that comprises the music library for 'MasterChef' so that’s a lot of music at an Editor’s disposal, and it pays to be familiar with it all. Karen says she likes to get heavily into using the music stems and often blends six different instrumental stems to help manipulate a track for maximum effect.

Ellie Hayward described her role as a post-producer, and emphasised the importance of always having the lines of communication open with Editors and other prost-producers. The post-producer is the manager of the episode in a sense and must be aware of what is going on across the series in terms of character development and various story lines.

The post-producer usually comes on several weeks before an Editor and is tasked with scripting an episode in terms of voiceover and interview grabs and suggested use of actuality. Ellie creates fairly tight sequences that contain every word that she feels ought to be in the final product. She works just ahead of an Editor, and hands these sequences over and continues to collaborate with the Editor as the sequences evolve. There is obviously room for things to change in the edit but the intention is to give the Editor a strong starting point so they can then bring their craft to bear creating the emotion within the scenes through overlay, timing, scoring. 

In terms of footage, a single dinner party on 'MAFS' ('Married at First Sight') usually comes in at around 20 hours of grouped clips (with multiple cameras and separate radio mics multiplying this), a wedding episode, which includes two weddings, will have approximately 52 hours of footage including backstory rushes (again with multicam for the ceremony). A Honeymoon, shot by a single camera across five days will account for about 120 hours of footage. It’s a lot to get through, even with two producers to a single episode. Field producer notes play a vital role because a post-producer is simply unable to watch all the rushes and so has to rely on what moments the field producer has highlighted on the day.

Leanne Cole showed the infamous scene in 'MAFS' series 6 when Martha throws a glass of red wine over Cyrel during a dinner party.  The scene can be found at around 51 minutes (with your log in) 
https://www.9now.com.au/married-at-first-sight/season-6/episode-40

Dinner party scenes have a lot going on and it is impossible to hear everything with all the audio channels playing back at once both in the field or in the edit suite. Often there are hidden gems buried that nobody was able to catch on the day. Leanne emphasized the importance of going through all the mics of a particular scene to uncover those moments - a painstaking process but valuable. She also explained that often cutaways need to be cheated to show reactions from cast members and build the tension of a moment. In this case an hour of drama was condensed into 5 minutes.

Leanne spoke in-depth about the importance of music builds, music pauses, and the use of sound effects to effectively create tone and emotion. She also spoke about her own experience from editing feature films, and how she came to reality TV when she moved from Perth to Sydney. She feels editing reality TV is a great place to rapidly pick up and enhance your storytelling skills as an Editor, and revealed there’s no shortage of work in the genre.

Federico Felixberto, aka Riccy, is often tasked with editing the first episode of a new show, whether it be an original or an established international format. He talked us through the challenges of creating a local version of a successful international format with Australian audiences often expecting an upsized version, and how during the shooting of the first episodes of 'Survivor Australia' season 1 there was a lot of discussion and feedback between post and the team in the field to establish what was needed. He showed us an early challenge scene from Survivor Australia and took us through the thinking behind it. 
https://10play.com.au/australian-survivor/episodes/season-1/episode-1/tpv190915msaxc,
about 9 minutes in.

Cutting a challenge isn’t just about vision switching a “game”. There are a lot more subtle things going on. Characters are set up during these moments, we see specific personality traits which will have an impact on the overall game, and events that happen multiple episodes on are foreshadowed. During this challenge the two characters that end up battling it out at tribal council later are focused on. Riccy detailed how specific sound effects and music could highlight key moments, similar to using full stops and punctuation in sentences, and how he layers over 40 tracks of sound to achieve this. Riccy also shared some editing advice - watch a lot of TV, not just good TV, but also bad TV as sometimes it's from the bad that you learn the most.

Marcus Kjellberg decided at age 10 that he wanted to watch TV for a living, that or eat pizza. TV won. For Marcus there is a lot of freedom to be had in unscripted TV, and this is what drew him to it. The Editor often decides the story and approach in a way that is not always possible when cutting other genres. 

Marcus took us through one of the many methods he uses to create comedy in reality TV. He will often look for  a particular quirk that a person has, and then zero in on it, to create both a memorable character and entertaining moments. He pointed out that in doing this the audience often ends up finding these idiosyncrasies endearing. Using an example from MAFS we saw this method in action. https://www.9now.com.au/married-at-first-sight/season-5/episode-14, at about 30:30 

There are two parts to this scene, a tennis match followed by the loser giving the winner a massage. Troy begins the scene convinced he is going to win, which of course he doesn’t. The tennis match was filmed in a fairly conventional way and it wasn’t immediately obvious what could be made of it. Marcus noticed that Troy grunts to great effect during the match at various pitches, so a piece of music was found and the key to a comedic moment unlocked, Beethoven’s 'Ode to Joy' became an Ode to Troy.

Overall, the talk highlighted the great amount of skill that goes into making these moments of television so memorable, and explained some of the decisions and techniques used in the process. Thanks again to the panel for their involvement, and to ASE Gold Sponsor Endemol Shine Australia for providing clips to play on the day. 
 

TECH TIPS AND TRICKS

THE WACOM BUTTONS

By Timothy Hadwen

One of my most used tools in the past 12 months has been the Wacom Intuos Pro S tablet. However, only a few months ago, I discovered its use far beyond the benefits of precision and mitigating the wrist strain that some might get from using a mouse.































I was aware that the tablet had the function to add keyboard shortcuts to the buttons, but if you are like me, you rarely click the buttons as anything you need is often accessible through the keyboard.


























My opinion (and workflow) changed when I discovered that you could use each button as a shortcut to a combination of keys in a chain. The function as of early 2021 is labelled ExpressKey.

Editors and Assistants use keyboard shortcuts or a combination in succession every day, so it’s always nice to find a way to work smarter instead of harder to give more focus to other areas of the job...

To read the rest of the article, go to the website.

Timothy Hadwen
t.hadwen@outlook.com


If you have any technical tips, tricks or advice you'd like to share, please email
newsletter@screeneditors.com.au.
 
 

INDUSTRY NEWS


WHERE TO WATCH THE ELLIES WINNERS

By Antoinette Ford.

THE AVID AWARD FOR BEST EDITING IN FEATURE DRAMA
ANDY CANNY – 'The Invisible Man' –    AMAZON PRIME


THE BLUE POST AWARD FOR BEST EDITING IN DRAMA
GEOFF LAMB – 'The Commons'  - Episode 1 -  STAN


THE AUSTRALIAN FILM TELEVISION & RADIO AWARD BEST EDITING IN SHORT DRAMA
MICHAEL SHANKS, KEVIN LUK & CHRIS HOCKING – 'Rebooted' -  YOUTUBE
 
https://www.youtube.com/watch?v=1Rkn6rnsgc4&ab_channel=timtimfed


THE SOLID STATE AWARD FOR BEST EDITING IN COMEDY
DEBORAH PEART ASE – 'Upright' - Episode 5 –  BINGE/FOXTEL


THE AUDIO NETWORK AWARD FOR BEST EDITING IN DOCUMENTARY FEATURE
 LINDI HARRISON ASE – 'The Leadership'  -  DOCPLAY


THE VIDEOCRAFT AWARD FOR BEST EDITING IN DOCUMENTARY AND SERIES
PHILIPPA ROWLANDS ASE – 'Revelation' - Episode 3 "Goliath" –  ABC IVIEW
https://iview.abc.net.au/show/revelation?gclsrc=aw.ds&&gclid=EAIaIQobChMIu4-8pt6G7wIVin0rCh0MVQqTEAAYASAAEgLp-vD_BwE


THE ADOBE AWARD FOR BEST EDITING IN FACTUAL ENTERTAINMENT
SIMON CALLOW-WRIGHT & RACHEL GRIERSON-JOHNS
'Love on the Spectrum'  - Episode 1 – Winner    ABC IVIEW 
https://iview.abc.net.au/show/love-on-the-spectrum?gclsrc=aw.ds&&gclid=EAIaIQobChMIyq6xwN6G7wIV2JVLBR26PgfdEAAYASAAEgLdlPD_BwE


THE ENDEMOL SHINE AUSTRALIA AWARD FOR BEST EDITING IN REALITY
JEREMY MOORE & DAN HART – 'Australian Survivor'  - Season 5, Episode 3 –  YOUTUBE
'Australian Survivor' - Season 5 Episode 03 - Part 01/02
 https://www.dailymotion.com/video/x6t2h7w
'Australian Survivor' - Season 5 Episode 03 - Part 02/02
https://www.dailymotion.com/video/x6t2h7v


THE ASE AWARD FOR BEST EDITING IN CURRENT AFFAIRS
JOSH McATAMNEY – 'Dateline' - "Human Cargo" –   SBS ON DEMAND
https://www.sbs.com.au/ondemand/video/1628721219951/dateline-s2019-ep26-human-cargo


THE BLACKMAGIC AWARD FOR BEST EDITING IN A COMMERCIAL
ALEXANDRE DE FRANCESCHI ASE – NRMA ‘Pavlova’ –  YOUTUBE
https://www.youtube.com/watch?v=i7mYiOtq14I&ab_channel=NRMAInsurance


THE ASE AWARD FOR BEST EDITING IN CORPORATE AND BRANDED
CHRIS WARD – TAC -  'Towards Zero' –
https://campaignbrief.com/1000-vic-sporting-clubs-wear-their-support-for-tacs-towards-zero-round-campaign-via-sdwm/


THE POST LOUNGE AWARD FOR BEST EDITING IN A MUSIC VIDEO
KRIS ROWE – Mick Flannery - 'Wasteland' – YOUTUBE
https://www.youtube.com/watch?v=zGp-ktso84M 


THE DIGISTOR AWARD FOR BEST EDITING IN OPEN CONTENT
DAVID SCARBOROUGH – 'Ice Ball'
Ice Ball is presently on a festival circuit, follow the 'Ice Ball' Facebook page to keep updated on where to see the film.
 
 
 

MEET THE WINNERS! PART 1

































Meet the Winners! is back, and it's on Zoom so that ASE Members from around Australia can attend.
Log in to hear 2020 Ellie Award winners chat about their award-winning projects and their careers so far.

The line-up for Part 1 is:
Deborah Peart ASE - Best Editing in Comedy winner for 'Upright'.
Simon Callow-Wright - Best Editing in Factual Entertainment co-winner for 'Love on the Spectrum'.
Rachel Grierson-Johns - Best Editing in Factual Entertainment co-winner for 'Love on the Spectrum'.
David Scarborough - Best Editing in Open Content winner for 'Ice Ball'.
Jeremy Moore - Best Editing in Reality co-winner for 'Australian Survivor'.

The session will be hosted by South Australian Committee Chairperson Veronica Buhagiar.

Part 1 will be held Wednesday March 10, 7:30pm AEST

RSVP to office@australianscreeneditors.com.au by Monday March 8 to receive the Zoom link.

 
 
 


SCREEN INDUSTRY DRINKS NIGHT - VICTORIA













































 
 
 

Helping the Australian Entertainment Industry through Free Mental Health Support Videos

 
 

The free mental health support videos available online through Entertainment Assist are being accessed by more than 60 people seeking help every day.

“These videos are available 24/7 and have already provided important support for people in the Australian Entertainment Industry which has been absolutely devastated by the COVID-19 crisis,” said Julia Edwards, General Manager of Entertainment Assist.

The videos were specifically produced by Entertainment Assist to address the key issues causing anxiety for members of the entertainment industry – Finance, Sleep, Healthy Habits and Staying Connected.

“The short support videos focus on self-care to help people through these very stressful times. Importantly the videos provide details for direct access to agencies which provide professional support in mental health and financial assistance.

“If we help one person, we can be very pleased with the project, ” Julia added.
Everyone in the industry, can access the videos for free online through the Entertainment Assist website at www.entertainmentassist.org.au.

To access the free mental health video series, visit here

Entertainment Assist is a national health promotion charity supporting the mental health and wellbeing of the Australian Entertainment Industry. Working with peak bodies, industry leaders, organisations, educators and individuals, our resources are directed towards continued research and education.

For further information and to arrange interviews with Entertainment Assist and/or people from the Entertainment Industry impacted by the crisis:

Julia Edwards
General Manager, Entertainment Assist
0419 382 762
www.entertainmentassist.org.au

 
 

 

USEFUL LINKS

 
 
 
 
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newsletter@screeneditors.com.au
 
 
 

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