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Screen Editors
eNEWS #75  - SEPTEMBER 2016

In This Issue

Welcome from the ASE
State Updates
Industry News
Meet the ASE Community
• Feature of the Month
Upcoming Events
• Sponsor Updates
Education and Training
Workspace of the Month

Find an Editor
Place a Job Ad

Join the ASE

The Kettering Incident: Edited by ASE Members Martin Connor, Henry Dangar ASE and Mark Perry

Dear Members,
How quickly our awards “season” is upon us!
We have had a mammoth amount of entries into this year’s Ellie’s Awards, and along with that, a surge in membership which is wonderful to see.
This has also meant that we needed a record number of judges, and so I want to give a really warm Thank-you! to the close to 60 members who have put themselves up for the task of judging this year’s awards. It has been a massive task for Margaret and our awards committee to go through all the entries and allocate films and judges to ensure that no one is overloaded, and the system is fair and impartial.
We will be having a change of venue for the Awards this year, time and place will be announced shortly, so stay tuned, it promises to be a fine event. This year is actually the ASE’s 21st birthday, combined with it being the 10th year of the Ellie’s, so we have good reason to celebrate.
For this reason I would like to put a call out for anyone who has any archive materials they can dig up from the early days of the ASE, and any significant photographs or filmed footage so that we can put together a small video for the evening. Also if there are any of you who have some spare time to edit the material which can be screened on the night, it would be great way to put your skills on show! Contact Margaret,
There has been a lot of activity with each of our committees around the country, thanks for your dedication and I hope you enjoy reading about their exploits in this month’s newsletter.
Happy Editing,

Fiona Strain ASE
ASE President 

State Updates


EDIT OFF 11 AUG 2016
The 11th of August marked the inaugural Edit Off here in QLD. This event saw four of the top commercial editors in Brisbane team up with four student editors. The teams were provided with rushes, a brief and a two-hour time limit to cut together a 30 second TVC.


      Tony McGrath

The event was held at the South Brisbane post-facility, Chop Shop Post. The night started with a casual meet and greet, where competitors and on-lookers were provided with drinks and a chance to mingle with fellow committee members.


                                                                                 Lav Bodnaruk (co-owner Chop Shop) and Axel Grigor

Once the crowd had settled, they were called together by Michael Mier and Lav Bodnaruk, the owners of Chop Shop Post, to learn the rules of the Edit Off and to kick-off the event. The rules were simple:

-       Contestants had two hours to edit
-       They had to source and work with a music track provided by the Audio Network, and;
-       Write and record a voice over

Finally, the teams had to face surprise editing obstacles every fifteen minutes. These speed-bumps ranged from having to edit one-handed or not being able to touch the mouse, to having 90's pop and death metal blasted into the suites.

At the sound of our referees' whistles, with the rules fresh in their minds, our competitors quickly manned their editing stations and began looking through the rushes. The pros took the time to spread their knowledge and explain their process to the students.

After half-time, a wild card was introduced to the competition: The Difficult Creatives. The job of these creatives was to disrupt the edit by throwing new ideas into the mix. This is when the event really kicked-up a notch. Some teams began slightly adjusting their original ideas, others were completely turned on their heads.

As the deadline loomed, the competitors still had to write and record a voice over. Once happy with the script, one student and one Voice Over artist from each team made their way to the recording booth. They then had ten minutes to record.

Lav Bodnaruk and Michael Mier introducing the 'Difficult Creatives'

As the final whistle blew, the competitors put down their pens/mouses and screened their projects one by one for the audience and the judging panel. It was a tough competition, with amazing work ranging from comedy to horror, but there could only be one winner. The judges awarded the night to the team consisting of Michelle McGilvray and Muhammad Yusuf.

Chop Shop were generous hosts of the event, facilitating, sponsoring and organising the Difficult Creatives, Voice Over Artists, sound recordist/mixer and judges. This event started off as a simple facility walk-through and evolved into an entertaining and informative look at the editor’s creative process thanks to Chop Shop.

A huge thanks goes out to our pros Sue Schweikert ASE, Tony McGrath, Steve Thomas & Michelle McGilvray, and our students Grant Dawson, Brooke Jensen, Muhammad Yusuf and Kai-Bin Wong. Thanks also to Charlotte Cutting, Jason Hargreaves and Marty Moynihan for providing the gorgeous rushes. We were also delighted by the support shown by the friendly team at Audio Network who gave us access to their vast online music library.

Winning team: Muhammad Yusuf and Michelle McGilvray

And finally, thanks to everyone who attended and Michael Sloane for jumping in at the last second to help referee the night. This was an incredibly fun night with over 50 people in attendance and the winning team walking away with the illustrious Edit Off Golden Scissors, and one lucky student gaining an internship at Chop Shop. 

Dan Rice, Queensland Committee


Last month Open channel hosted a conference and invited the ASE and other Guilds. They attracted over two hundred students and graduates who wanted to work in the industry. The plan by Daniel Schultheis was to have a one on one with representatives of each guild in between the lectures and demonstrations on all aspects of film making. Chris Hocking and I set up a room and were inundated with many students wanting to know all about every aspect of editing and many were very interested in joining the ASE.
Here is an excerpt from a letter received in thanks for our participation.

Dear Barrie and Chris,
We are writing to say thank you so very much for the ASE's contribution to Open Channel's Generation Next; Screen Creators' Conference.
The Conference was a great success, with over 270 registered attendees,
60 speakers and dozens of industry representatives from production companies,guilds and service companies.
Adding the new industry expo element, and having the participation of most local film schools, lifted the conference to a new level.
We have had nothing but positive feedback all round.
So, thank you again. We hope we can continue the relationship with you on
future events.

Daniel Schultheis
on behalf of Caroline Waters, CEO
Daniel Schultheis | Training Program Manager - part-time (days Monday, Thursdayand Friday) Open Channel Co-operative Limited Docklands Studios

Thanks to Chris Hocking who gave up his time to attend.

As chair of the ASE in Victoria I was invited by Jenni Tosi CEO of Film Victoria to participate with other guild members in an evaluation that Film Victoria was undertaking to examine how it can best support the needs of early career practitioners, which includes funding provided to Open Channel along with other industry bodies and organisations. I was identified as having particular knowledge and engagement with this area, which included direct experience working with Open Channel and other screen resource organisations.
The evaluation is part of Film Victoria’s ongoing commitment to support the growth and development of the Victorian screen industry.
Film Victoria is conducting targeted focus groups with stakeholders including industry bodies, screen organisations, education providers, and past and present users of Open Channel's services.  
They needed participation, so they can draw on past experiences and thoughts for future opportunities, which will help inform how Film Victoria can best meet the needs of the emerging screen practitioners into the future.
The focus group of industry bodies took place on Tuesday 30 August from 5-7pm at Film Victoria Level 3, 55 Collins St, Melbourne, VIC 3000 
At the conference we discussed the need for a bridge between students leaving and finding employment.
We identified the need for sponsorship to get these students into the industry that has fallen behind in offering training and mentoring programs.
We said that Industry Guilds such as the ASE could identify the needs of individuals
for funding while in unpaid attachments to the industry.
I will keep you updated with the results of the conference in the next couple of months.

Barrie Munro ASE
Chair Victorian Committee



“Woman With An Editing Bench"

     © The Physical TV Company

Last month WA’s annual CineFestOZ Film Festival was held in the “wine country” of the South West with events in Busselton, Bunbury and Margaret River.  
One of the highlights was the premiere screening of Karen Pearlman’s short film “Woman With An Editing Bench”. Karen and her producer, one of the stars of the film, Richard James Allen flew in from Sydney and drove three hours to attend the screening.
Karen is a former president of the ASE.  As well as being a multi-award winning producer, director and editor, Karen is a lecturer in Screen Production at Macquarie University and the author of a wonderful book  "Cutting Rhythms, Intuitive Film Editing" (Focal Press). 
“Woman With An Editing Bench” is inspired by the life and work of Elizaveta Svilova, the remarkable editor, wife and life-long collaborator of Dziga Vertov (“Man With A Movie Camera”, 1929).


Karen Pearlman directing Leeanna Walsman and Ivan Germano_Photo: Jonathan Grace © The Physical TV Company

In Karen’s words:  “Woman With An Editing Bench” is about the fight for creativity in the face of repression.  In the 1930s Soviet Union, Stalin has personal approval over all films and film scripts. He is threatened by Vertov’s and Svilova’s formal innovations and wants his henchmen to shut them down.  Vertov is inept at understanding how to work within the bureaucracy. Svilova is savvy and knows how to work the system laterally and from behind the scenes - like all great editors do.
I hadn’t seen “Man With The Movie Camera” since my student days.  In preparation for watching Karen’s film, I watched Vertov’s masterpiece again and was once more amazed at Svilova's remarkable editing technique that still feels so modern after nearly ninety years.  Along with Joris Ivens’ “New Earth” 1933, edited by another brilliant woman Helene van Dongen, it was one of the films that started my lifelong passion for film editing.


Richard James Allen and Leeanna Walsman_Photo: Kieran Fower © The Physical TV Company

“Woman With An Editing Bench” is a beautifully realised and brilliant homage to Svilova and a celebration of the art of film editing.  Karen has not only captured the spirit of the time but she’s recreated the look and feel of Vertov’s and Svilova’s work.  Indeed some shots I could have sworn were taken directly from their original films.  Every editor will identify with the themes she’s exploring. And there are some notable scenes in the film that made me want to punch the air and shout Yes!  
Watch out for it when it screens and read Karen’s book.
Watch “Man With A Movie Camera”
Watch “New Earth”

Lawrie Silvestrin ASE
WA Sub Committee


Andrew Taylor of the Sydney Morning Herald reports:

'The arts sector is facing more upheaval with a potential restructure of Arts NSW and Screen NSW. A new arts and culture agency, given the working title Create NSW, could be created within the Department of Justice, replacing the two policy and funding bodies'. Read the rest of this story on the SMH website.



Pedro Kos in conversation with Eileen Meyer on


Read his interview on AvidBlogs.



Meet Camille Van Wessem, the latest addition to the ASE Victorian Committee.  Camille is a full time Editor for WPP (in Advertising for a global brand).  She spends her spare time cutting short films, listening to all the live music she can and road tripping out of Melbourne.  Camille has won awards for her Editing from the Prague Film School, the Nikon European Film Festival, and closer to home, the Striking Film Festival in Melbourne.

When I start a project...
I always think about the music.  The soundtrack selection enhances the drama, and influences clip duration so much.  The first cut and soundtrack should compliment and enhance each other.. not one coming second to the other, as an afterthought.  

When I finish a project...
It would be very cool and Woody Allen of me to say I never watch it again.  But in reality I watch it a few times afterwards, if not immediately, still at some time down the track.  There are always things I'd alter if given the chance.  I think that's a good thing, knowing where one wants/ needs to improve and evolve.

It makes my day when...
I work with a collaborative Director/ Producer.  Somebody open to new ideas and the unique flavor and style an Editor will bring to their story.

I hide under my desk when...the Avid crashes.

I was inspired to join the ASE committee because... Editing is a special and niche career.  To bring together, promote and be inspired by such talented Editors via the guild is a positive thing.

I love the editing in... Jaws!  Verna Fields did a brilliant job of putting us in the heart of the action by intercutting between characters so quickly.  Also Warner Bros cartoons.  Seriously, the Road Runner & Coyote, or Bugs Bunny can give an editor a tremendous sense of comic timing.

The ASE is...  a great community for Australian Editors.  As you'd expect there are strong industry links and formal programs (eg: the Mentoring program which I'm currently lucky enough to be part of).  But on a more social side, the guild's members are all extremely approachable and supportive of one another.  We have had some fun times together... (laughs).

The future... I am headed towards drama/ feature editing.  To develop the characters and tell the story in longform.

I started in the film industry as an assistant Editor on "Flying Doctors" in 1989.....and cut my first series, "Halfway Across The Galaxy Then Turn Left", in 1993. I have continued cutting on range of TV dramas,comedies, Si-Fi's and features to this day, and still love what I do with a passion.

When I start a project I read the scripts at least twice so I feel fully prepared before the rushes start pouring in.
When I finish a project
I just hope that all departments involved…(that means everyone on the crew list), are happy with the end result. Then we can feel we’ve all done our jobs.
It makes my day when
a scene I’m struggling with, where I feel I’ve tried everything, forces me to take a 5 minute juggling break, and solutions then come flooding in.  Reminds me how important it is to get away from those screens once in a while to freshen the brain.
I hide under the desk
when my assistant tells me I have 7 1/2hrs of rushes for that day, and none of it is varied speed.  All at 25fps…all 7 1/2 hours of it!!!
I love the editing in
the British TV series “Sherlock”  Particularly their transitions…seamless!!!
The ASE has
opened up my postie world…meeting more people who understand the craziness of our workplace…and love it just the same.


If you would like to be featured on Meet The Member, please email

feature of the month


Sam Petty is an award winning Sound Designer and Film Composer know for his work on Sherpa, The Rover, The Rocket, Animal Kingdom, Balibo and The Grandmaster. He took a moment to talk with NSW committee member Bin Li about sound and coffee. 

Tell us the best and worst experience of receiving a turnover from the picture editing department. 
I've received some delicious apple & rhubarb turnovers in my time, ... Oh you mean in film?! I think I've been lucky, with mostly good experiences, but my recent time in the U.K. on "War Machine" (David Michod feature for Netflix, with Kaz Rassoulzadegan assisting editor Pete Sciberras) was pretty exceptional. Nothing was too much trouble, everything came very promptly - critical with tight turn-around temps - & all AAF's had been double-checked before being sent out. Watertight.  
Worst experience? Hmmm. I remember some time ago I was on a film where there had been no assistant editor budgeted for since rushes, and so a poor soul was brought on after lock-off, for one day, to generate all handover items without any knowledge of the film or access to the editor, who'd been gently led away for a well-deserved rest at Sunnyvale Home for the Bewildered. I joined them there about three months later.
What suggestions would you give picture assistant editors to ensure a successful turnover to sound? Setting up and encouraging good communication between picture and sound editorial, testing workflows at the start of every film (even if they're very familiar to you etc), sharing intel with sound on impending picture changes & new handovers etc. (this info will come to sound finally & officially from post supervisors and/or producers, but not habitually with as much warning as might be desired). There are a lot of demands made on picture assistants, and they come in pretty intense waves, so an adaptable and open system of prioritising can be a great thing. Similarly, it's good for sound crews to be mindful that nothing is instant, especially where care needs to be taken.
How do you deal with the constant picture changes during the sound edit and final mix?  
My crews & I have been lucky I think in that on films where picture changes have been ongoing, they've mostly been for a good reason, and when you can see significant improvement with each version it seriously helps us deal with the inconvenience - and occasional searing pain - of re-conforming.
What do you drink to maintain calm? Fair-trade coffee infused with nitrous-oxide



Coming up soon in Sydney will be a “Facilities crawl” where you will be invited to visit the facilities of our sponsors on the Fox lot. This will be an opportunity for you to have a look around the places which are instrumental in post-producing the fine features, television series, documentaries, commercials and clips that our editors are working on. It is as a great opportunity to have a nose around, ask some burning questions on equipment, codecs and post-paths, and investigate how others are working. I would like to thank Spectrum Films, Blue Post and Soundfirm for agreeing to open their doors for us.

Fiona Strain ASE




The first of a 7-part blog series  “Making the Cut” has gone live on Avid Blogs. These are from the Editor interviews at Editfest. One will go out each Thursday for 7 weeks.

With recent credits including The Missing, The Crown and Ripper Street, Úna Ní Dhonghaíle is one of the pre-eminent TV drama editors of the age. But she is also active in documentary and animation, and says that in particular her earlier work on “creative documentaries” helped to shape her subsequent dramatic work.

                                                                              AUDIO NETWORK BRINGS MUSIC TO ADOBE PREMIERE PRO CC
Real time, integrated panel allows editors to find and import music into workflow
Sydney, 6 September 2016 - Audio Network, the independent music company delivering authentic and creative music solutions to global content creators in every industry, today announced that Adobe® Premiere® Pro CC users will benefit from a new integrated panel providing direct access to its catalog of over 100,000 tracks. The solution creates a seamless workflow, enabling editors to find and purchase incredible music without leaving the Adobe Premiere Pro CC editing environment.
Users will have access to Audio Network’s extensive catalogue of high quality original music, made in collaboration with the world’s best composers, artists, musicians and studios. Users can audition tracks in their edit with unlimited trial MP3 tracks downloaded straight to their bin. Once they find the content they want, the full-quality licensed WAV track replaces the MP3.The new integration panel demonstrates Audio Network’s commitment to ease of use for Adobe Premiere Pro CC users, making it easy to select and edit tracks with no interruptions to their workflow.
 Matthew Hawn, Head of Product Development and Customer Experience at Audio Network, said, “We continue to listen to our clients and bring innovative solutions to the marketplace; enabling the communities we serve to expand their creative palette. Users of the new integration panel will experience a cutting edge range of features for searching, auditioning and editing music within Adobe Premiere Pro CC - saving valuable time for content creators in a demanding industry.”
“The open architecture of the Adobe video tools allow for integration both under the hood and within the application, providing a connected, creative environment,” said Sue Skidmore, head of partner relations for professional video at Adobe. “The new Audio Network integration panel for Adobe Premiere Pro CC illustrates what this means, giving users access to music content easily and efficiently, without interrupting the creative process.”


AFTRS Open has a range of short courses year-round, all taught by industry experts in AFTRS state-of-the-art facilities. Here are some highlights:

This two-day course is for video editors who understand the basics of the editing tools in Media Composer and are ready to move ahead and learn the fundamentals of creating effects within Avid Media Composer 8. (31 October)

The Australian TV industry is crying out for more trained and effective Assistant Editors. This 3-day, intensely practical course gives students a fast, but thorough, hands-on experience in the duties, technical skills and responsibilities of the Assistant Editor. No prior editing experience is required.(5 November)

To view all upcoming courses visit the AFTRS Open website .


Digistor has a range of trainers available for specialist tools such as Premiere Pro CC, Avid Media Composer, Autodesk 3ds Max, MAYA, Cinema 4D and DaVinci Resolve & Fusion plus The Foundry Nuke.  We specialise in short notice customised training to suit your requirements so if you have any specific training requests please let me know and we can organise a trainer to suit.
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:

Blackmagic DaVinci Resolve Training – Monday 31st October
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.

Adobe After Effects CC Training - Tuesday 1st and Wednesday 2nd November
Adobe After Effects CC for Compositing. Our instructors are experienced in editing and post-production pipelines and real-world use of the tools they teach. You and your team will receive the benefit of practical guidance from specialists who understand deadlines and workflow and are committed to staying up-to-date with developments and passing this information onto customers.

Blackmagic DaVinci Resolve Advanced - New dates coming soon
Digistor offers training discounts for members of industry organisations. For a discount code please contact

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