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eNEWS #103  -  April 2021

              In This Issue

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


Join the ASE


Dear Members,

Hello, and welcome to the April edition of our eNews.

It’s been a busy start to the year for our committees across Australia, with many events already under our collective belt.

We’ve had two Meet the Winners! events – the first hosted by Veronica Buhagiar in South Australia, and the second by Nick Dunlop in WA. It was great to hear from Deb Peart ASE, Simon Callow-Wright and Rachel Grierson-Johns, David Scarborough, Jeremy Moore, Andy Canny, Mark Atkin ASE, Kris Rowe and Josh McAtamney about their successful work.

Queensland recently held an axe throwing event – taking the idea of ‘cutting’ to new lengths – and they, together with the Australian Directors Guild and with support from the Queensland Screen Collective, have also held an ‘In Conversation’ event with Karen Pearlman about her trilogy of award-winning short films.

Melbourne Screen Industry drinks were a raging success - and more joint events are planned for later in the year.

Coming up next is an Assistant Editor Round Table, hosted by Andy Finn, Melissa McLeary and Nick Prior. Using real-world examples, they’ll talk through various problems they’ve encountered and the solutions that were used to deal with them. Sharing of funny anecdotes, well-earned scars and embarrassing mishaps will be greatly encouraged.

We’re also gearing up for the Ellies 2021 and eyeing, dare I say it, a live event, where we can finally catch up in person after such a long wait. Stay tuned for more details in the coming months.

In Industry news, the Australian Screen Industries Group has had an enormous win, with the Producer Offset for feature films remaining at 40%, after a government proposal to reduce it to 30%. The AWG, ADG, SPA and MEAA sent a delegation to Canberra to fight for the vitality of our industry and, with support from David Littleproud and Arts Minister Paul Fletcher, secured no change to the offset, which is excellent news for us all.

As of July this year, the ASE will be a member of the Screen Diversity Inclusion Network! The SDIN is a network of broadcasters, screen funding agencies, business associations, guilds and industry-aligned education and training organisations who have committed to working together towards an inclusive and diverse screen industry. With that in mind, we’ll soon be circulating a survey designed to help us get to know you, and your needs, better. I encourage you all to approach it with as much candour as possible. We want to be representing you as best we can, and knowledge is power!

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!

Stay safe and well,

Danielle Boesenberg
President, Australian Screen Editors

State Updates


Meet the Winners!

One of the huge advantages of Zoom is being able to make events national, with Editors from all over Australia as participants and audience members. 

In the case of Meet the Winners! this has meant we've needed to run two events as more of the Ellies and AACTA winners are able to attend. They are always such great conversations. Alas, attendance this year was very low so we might not hold the event again for a while. This is a pity as the discussions are always fantastic. 

Meet the Winners! Part 1

In Meet the Winners! Part 1, SA Chairperson Veronica Buhagiar chatted with Deb Peart ASE - winner of Best Editing in Comedy winner for 'Upright'; Simon Callow-Wright and Rachel Grierson-Johns, co-winners of Best Editing in Factual Entertainment for 'Love on the Spectrum'; David Scarborough, winner of Best Editing in Open Content for 'Ice Ball'; and Jeremy Moore, co-winner of Best Editing in Reality for 'Australian Survivor'. 

It was a wonderful far-ranging discussion, and there’s only space to provide a very brief summary. Fortunately, the video is available to ASE Members on the website, so check out the full thing there - Meet the Winners! Part 1 video

Deb was drawn to ‘Upright’ as she had never really worked in ‘dramedy’ before, and found riding the fine line balancing the comedy and serious drama elements a major challenge in editing the series.  Deb had worked with the production company before, and appreciates their willingness to work on a cut until it’s right. The scripts were really well-developed by the time production had started, and in post they had time to really examine the episodes and also to film any pickups required. Deb also told a cautionary tale about the dangers of “fix it in post”, in this case shooting green screen without consulting the post supervisor, which threw up major challenges for budget and the edit.

Jeremy said for the winning episode of Australian Survivor they got really lucky in what played out during the shoot - they had a great story, and central character, an experienced post-producer to shape the story and plenty of time for the edit, allowing them to make the edit flow and do all the things there usually isn’t time for in the big reality shows that have tight schedules and budgets. They try to be faithful to what happened, but also keep the story comprehensible to the audience. ‘Australian Survivor’ has a massive amount of rushes, so Jeremy relies on the story producers to watch them all. 

David Scarborough’s short documentary ‘Ice Ball’ was a no-budget job that he worked on in gaps around other jobs, which meant he could take his time with it. The director had shot a whole lot of beautiful footage but wasn’t quite sure what to do with it, so he and David carved out a story.  There were many extraordinary characters and while they opted to focus on one character, they wanted to include the others, and did this by finding character moments that resonated and worked well together. The first-time director found the edit process confusing, especially the first cut. Fortunately, David had the backing of the producers. The director knew the footage really well, and had certain sequences in mind so was invaluable in finding relevant footage.

Simon and Rachel have worked together on ‘Employable Me’ as well as ‘Love on the Spectrum’, and have developed a shorthand so could be honest with each other. Once again, they were given the time to keep working on the edit until it was right. They felt a duty of care towards the participants and worked hard to ensure they were treated respectfully, eg, show the comedy in the often uncomfortable situations without making fun of the participants. Another challenge was selecting the participants for each episode - figuring out which stories worked best together, only to then have to rejig everything when participants dropped out. Simon and Rachel made sure to watch  everything as the moments before action often gave them a better sense of the characters.

Thank you to Veronica and all the winners, and also Lily Davis for helping organise the event. It really was a fantastic discussion, and Veronica was a bubbly vibrant moderator. It is impossible to do it justice here so I really do recommend Members go to the website and watch it for themselves - here.

Alison Myers
Executive Committee Member

Meet the Winners! Part 2

On Sunday 28th March, we had the opportunity to gather winners of the 2020 Ellie and AACTA awards from all across Australia, for Meet the Winners! Part 2.

Josh McAtamney, who joined us from Sydney, won the Ellie for Best Editing in Current Affairs for the 'Dateline' story 'Human Cargo'. Andy Canny, joining us on his last days of hotel quarantine, won both the Ellie and AACTA for Best Editing in a Feature Drama for 'The Invisible Man'. Kris Rowe won the Ellie for Best Editing in a Music Video for Mick Flannery’s ‘Wasteland’, and tuned in from the Blue Mountains. Mark Atkin ASE, who joined us from an edit suite in Melbourne, won the AACTA Winner for Best Editing in Drama for 'Stateless'. The event was hosted by our Western Australian Chairperson Nick Dunlop.

To kick things off, we heard a little on how each panelist first became Editors. 

Kris Rowe studied piano and 21st century composition at the Conservatorium of Music in Melbourne. It wasn’t until she had the experience of cutting pictures to music that she had her self-professed “revelation”, prompting her continued exploration of cutting rhythms. After completing her course, she approached all of the post houses in Melbourne, before finding a home at Mike Reed’s. She started working there as an Assistant, where within her first year she was editing and received her first editing award. A seminal moment was getting the opportunity to work with Jill Bilcock ASE on Moulin Rouge. From there she moved to Sydney, and the rest is history.

With a background in writing, editing and post production, Josh McAtamney made the move from Brisbane to Sydney, where he worked as a reality TV producer for 10 years. He worked on big Australian shows like 'MasterChef', 'My Kitchen Rules', and 'The Farmer Wants a Wife’, wearing various hats as a post, field and series producer. After deciding he wanted a life change, Josh moved into factual television, creating and reimagining formats for the ABC. He joked that when he was a post-producer, he “recognised where the real talent was in the room” and was determined to get back on the tools. In 2019 Josh had the opportunity to join SBS’s 'Dateline', working as a Producer/Editor on weekly, international current affairs documentaries - and hasn’t looked back.

Mark Atkin ASE studied at Swinburne University in the '80s, and loved editing during his time there, but didn’t necessarily think of it as a career. Straight out of university, his first jobs were as an Assistant Editor. He assisted on 'Moving Out', Vince Colosimo’s first film, and received on the job training with people like Tony Paterson ('Mad Max', 'Phar Lap'). Mark became a "jack of all trades" also doing writing and sound recording. This all ultimately coalesced into a decision between pursuing either the writing or editing path. He was offered an editing job on Virginia Rouse’s feature film 'Seeing Red', and discovered he loved editing for other people, writing for himself. The decision was made. Maybe a bit by accident, maybe serendipitous, he focused on editing. During his career, Mark has always oscillated between drama and documentary.

Andy Canny started out studying art and design in Melbourne. He had always loved the combination of technology and creative, getting the opportunity to exercise both parts of your brain. Editing was the perfect example of that crossover. Finishing his course, he volunteered on film and TV sets, after whatever experience he could gain. A freelance camera operator he was working with bought a Media 100 system and Andy started to teach himself how to use it, often going in to practice at night. Gradually, he moved into the edit suite, primarily working on commercials. He worked at Mike Reed’s in the late '90s, where we discovered there was a crossover with Kris. He really wanted to move into drama and documentary, but was finding it difficult to get the opportunity, so went back to study at AFTRS in 2000. He was there for a year, using it as an opportunity to hit the reset button. Afterwards he helped set up a small production company that produced short films, music videos and commercials. One of the first drama opportunities Andy had was working on 'The Secret Life of Us' with Cate Shortland. Then 'The Slap', alongside Mark, was his big drama break. Since then it has been more and more features. 

Nick then delved into the intricacies of the Editor/director relationship, asking about their personal philosophies. Is it better to be agreeable or confrontational?

Mark said it comes down to a bit of both. In the past, he learned from making some mistakes, accidentally saying something indelicate and getting people offside. He said once you get to know the people you’re working with you gradually find a way to navigate through everything. You have to know when to listen, take stuff on board, and redirect your own ego. Also know when to give people a reality check when things aren’t working. Ultimately, he said, good Editors are like psychologists. 

Kris agreed whole-heartedly, adding that as well as being psychologists we are translators. She expressed her changing view on this over the years. She confessed that early in her career she was more confrontational, so passionate in her viewpoints. She then went through a period of being more passive, and ultimately has developed her own voice when it comes to relationships with directors. It’s about humility and the art of letting go.

Josh added to what both Kris and Mark had to say with one of his more significant lessons learned; “listen to someone’s problems, not their solutions.” Meaning, listen to the root cause of someone’s feedback or problem, not necessarily what they’ve suggested to do about it. This adage resounded with everyone.

Nick then delved into the specifics of each award-winning project. He commented on the controlled visual style and pace of 'The Invisible Man'. Nick was interested to know if the film was heavily storyboarded, and if so what effect did that have on the edit? Andy revealed that some sequences were, but in fact not a lot. Director Leigh Whannell and cinematographer Stefan Duscio went to a lot of the locations and lensed up to get a feel for everything before the shoot. They would then send things to Andy to talk through the coverage. Whannell wanted to cover a lot of things in one shot, therefore pre-vis was extremely important to check that all the story points were comprehended. The three had previously worked together on Whannell’s first feature film 'Upgrade' (2018). This was significant, as there was trust already established, and also meant Andy was involved in the early stages of development. 

Nick wanted to hone in on a particular scene in the 'Dateline' episode ‘Human Cargo’. He was interested to hear about the process of cutting the first rescue scene, which seemed to consist of few cutting points. Josh told us that there was only one Go-Pro shooting coverage for the entire first scene. The single shot was 45 minutes long. He had to think of a way to tell the entire rescue story in only 6 cuts. He utilised titles in between the shots, which also had the benefit of doing some heavy lifting for the story. He said of all the scenes in the episode, the most work went into that sequence. It was the very first thing he cut, then came back to again and again, revisiting it for an hour a day over the course of the 3-week edit. Overall, there was a staggering 150-200 hours worth of footage, with no shooting script, so he had to develop the story through watching his rushes. He described the difficulties of the writing process, the enormous task of trying to condense such a huge geo-political humanitarian crisis.

Kris explained that early on she had the idea to cut the music video for ‘Wasteland’ by Mick Flannery like a short film. It was almost an anti-music video in many respects; forgetting about the rhythm of the music track, and utilising really long takes. She wanted to push the narrative and use strong sound design throughout in order to break the form. She said sometimes in low-budget or free projects, you get the opportunity to explore more. You have a lot of creative licence, which was the case with this project. The proof is in the end result.

Nick was interested to hear about the process of cutting the Eisteddfod scene in 'Stateless'. It was a complicated scene in terms of both story and technique. Mark explained how there were a lot of complex emotions going on for all the characters in the scene. He revealed that he started assembling the scene as a performance piece, trying to get the coverage working. It was from there that he decided who needed to be focused on strategically at what point. The sense of connections between the looks wasn’t working at first, so he gradually built that in more and more. He spoke of the joys of cutting such extraordinary performance and deciding where to pepper reactions throughout. Ultimately, the scene itself didn’t change that much from his first assembly.

With time nearing, we moved onto final questions. Nick asked if any of the panelists would give their younger selves a piece of advice. Kris said to get your ego out of the way. As her level of emotional maturity has developed, her editing has been strengthened. 

Timothy Hadwen from the audience asked if any of guests had experiences with audience test screenings. Did they shape the edit in any way? Mark said that during the edit for 'Stateless' they shared the cut with the "inner sanctum". It was only once he started to notice cross-overs in opinion that he thought it was worthwhile investigating. He remarked that during a test screening for episode 1, someone commented that the structure was "too confusing", which was something that had been playing on his own mind. As a result, they made the story more linear and did some simplifying. It was a full-circle moment as everyone once again found relevance in Josh’s comment; “listen to the problem, not the solution.”

A huge thank you to Nick Dunlop for his thoughtful questions, which allowed for a fascinating session. Thank you to Alison Myers for organising, and Andy Canny, Mark Atkin ASE, Josh McAtamney and Kris Rowe for participating. It was an insightful event enjoyed by all. 

(The video for Meet the Winners! Part 2 will be online soon. Keep an eye on the website. It will also be well worth watching.)
Lily Davis
Executive Committee Member



We’ve had a busy few months here at the Queensland branch. In an effort to try and encourage and inspire Editors back into the guild, the committee wanted to hold a social activity that was a bit different from the norm and an information event about editing.  The result was our Axe Throwing social event and our In Conversation with Dr Karen Pearlman seminar.

Our committee member, Ahmad Halimi has the wrap up on our axe throwing fun.

MANIAX: Axe Throwing

On a rainy Sunday in March, ASE Queensland hosted its first event of the year - a casual day of throwing axes at MANIAX. We hosted a great mix of Editors, Assistant Editors and aspiring students. 

(L-R Stewart, Heidi, Steph, Ahmad, Curtis, Kristina, Matt
Front row: Geoff Lamb ASE, Tony McGrath, Charlotte Cutting.)

(Kristina Dobrowolny and Geoff Lamb ASE preparing for their go.)

What began as a casual day quickly became quite competitive. After an incredible knockout stage, the two finalists were Tony McGrath and Geoff Lamb ASE. One could not write a better script for the final. Tony’s consistency looked to have secured him the championship and it came to the last shot. Tony goes first. He gets 3 points, which puts him ahead of Geoff by 6 points.

Now, in Axe throwing, there is only one way for a player to get 7 points, and it can only be done on the final shot of a round. So, up steps Geoff. He takes a sip of his Young Henry as he eyes his target - a circle with a mere radius of 5cm. There is a deafening silence as Geoff pulls back his axe, followed by an ecstatic cheer as Geoff makes the shot and hits his target. And thus, our axe throwing champion is Geoff Lamb ASE. 

Afterwards, we all headed across the road to Newstead Brewery for some dinner, drinks and a bit of harmless networking.

(Photos by Stewart Tyrell.)

Ahmad Halimi
Qld Committee Member


In Conversation with Dr Karen Pearlman

On Wednesday 14 April, the last day of Brisbane’s COVID lock down, the ASE partnered with the ADG and Griffith Film School to present an In Conversation with Dr Karen Pearlman event.

Griffith University gave us the use of their large central theatre, which allowed our 50 registered  participants to socially distance (one chair apart) and enjoy the presentation sans face masks.

(Mairi Cameron, Karen Pearlman, Charlotte Cutting.)

Karen screened her trilogy of short films in one go, which was a first for Karen, and then Mairi Cameron (the Qld head of the ADG) and myself (Qld head of the ASE) moderated the questions /conversation session.

It was a really fantastic session, with lots of great questions after the films. Our session went for for about 90 mins and after that we continued ‘the conversation’ at the nearby pub, The Ship Inn.

We’re so thankful that Karen was able to drop into Brisbane and deliver this event for us.

(Judy Yeh, Karen Pearlman,                                                     (Karen Pearlman, Charlotte Cutting)
Charlotte Cutting, Stewart Tyrell.)

(All photos by Stewart Tyrell.)

Charlotte Cutting
QLD Committee Chairperson



Drinks at the Emerald Peacock Hotel, 11 March 2021

After over twelve months in isolation it was great opportunity for Editors in Victoria to get together for drinks and a well-earned catch-up.

(Grace Eyre & Jon Barrie with Members. Photo by Barrie  Munro ASE.)

It was a buzzing hub of conversation upstairs at the Emerald Peacock Hotel, 233 Lonsdale St, Melbourne. Members were again discussing what they had been up to throughout last year, and most work had been done remotely.  This has resulted in a lot of people working from home and, judging from a lot of positive comments, it’s likely to continue in the future.

(A mix of new and familiar Members. Photo by Barrie Munro ASE.)


(Grace Eyre, with Jaimie Gough and Matt Tanner from the ASE's new sponsors Native Tongue. 
Photo by Barrie Munro ASE.)

Thanks to Grace for choosing and organising this event. Grace has been working hard over the last few months getting to know the local post communities and guilds, as a result we have now opened up many more opportunities for our Members.

We have a great line-up of events this year beginning with another Belinda Fithie freelance lecture at RMIT next month, the St Kilda Film festival, Big Picture Event and Avid and Adobe Premier workshops. 

Barrie Munro ASE
Victoria Committee Member 


Meet the ASE Community


My editing addiction began many many years ago in Wellington, New Zealand. A friend of mine worked at a news channel and offered me an opportunity to cut together a news clip, tape to tape! Soon I was cutting stories that were going to air, hooked to the fast-paced turn around and the buzz of “am I going to make it to air in time?”  I loved the pressure, the adrenaline rush and the fact that at 6pm each evening the story had to get to air.

After mastering the speed of news editing, I realised there was much more to editing than making sure there were no black holes.  And so I moved into longer-form editing. I have been lucky enough to edit all sorts of content, including drama, documentary and comedy. 

For the last five years I have been Sydney-based and happily flying back to NZ for the odd contract.  In mid-2020 I was offered a 4-month gig on New Zealand drama 'The Gulf', and was super excited about this opportunity, as I loved the show!
With the world in the midst of COVID-19, there was no flying back and forth, it was a case of travelling Auckland for who knows how long. This was a career opportunity I couldn’t turn down and so my partner and I packed up, said our goodbyes and decided to navigate international travel mid pandemic and make the move from Sydney to Auckland.

I convinced 'The Gulf' producers to allow me to edit my first week from my laptop in hotel quarantine - I was terrified I would go insane with the boredom of having nothing to do during two weeks mandatory hotel quarantine, otherwise.
After a little bit of back and forth about how I would get the daily rushes they agreed that everyday the runner would deliver them to me on a flash drive to the hotel reception. It was something to look forward to.

As it turns out mandatory hotel quarantine is not too bad, in fact it felt very much like how I’d imagine it to be as someone’s pet; you are fed, walked, cared for and someone checks up on you daily making sure you are doing OK I was also very thankful to be able to get stuck into work.

In February 2021 I was due to fly back to Sydney to start my most recent show 'Going Country' for the ABC.  Was all set to travel when Auckland went into a snap lockdown, flights were cancelled and we were stuck! This time around the production couriered me a drive from Sydney to Auckland. For a week I cut at my Mum’s kitchen table, having moved out of our apartment and finding ourselves homeless, before finally managing to board a flight from Auckland back to Sydney.

The secret to a good edit is... timing. Timing. Timing.

My favourite part of the process is... when you get in the zone, the cuts start to work and you can feel the story start to shape through the footage.

My least favourite... the beginning, the hours of footage and the “Am I ever going to be able to find the story?” feeling.

My dream job would be... editing features, either doco or drama collaborating with good people.

The best thing I’ve learned from a director or producer is... patience, and notes mostly do improve the edit.
My advice to any Editor starting out is... be curious, be bold, watch all of the rushes as there can be hidden nuggets of gold.


I was lucky enough to get my first industry job at The Editors in Newtown the day after walking out of AFTRS. Almost five years later I’ve edited commercials, short films, and music videos, as well as my first documentary feature last year. I feel like I’ve well and truly found my happy place in the edit suite.

The secret to a good edit is... walking away. It’s a well-used tip for a reason. Your edit will always benefit from fresh eyes.

My favourite part of the process is... when you start to feel something watching the cut back. The very first time I get an emotional response is always pretty exciting.

My least favourite... when there’s simply not enough time in the schedule to do your best job.

My dream job would be... crime drama maybe… It’s a guilty obsession of mine, so I’d love to be in on the creation. I have so many answers to this question though, it’s impossible to choose!

The best thing I’ve learned from a director or producer is... be open to any and all ideas. Often when I imagine a suggestion won’t work, I’m surprised to find the edit is actually better for it. It’s exciting to crack something in an unexpected way. Also, everyone in the suite will only appreciate your open-mindedness.  

My advice to any Editor starting out is... say yes to anything (within reason). Someone gave me that piece of advice, and I’ve found it extremely valuable. It really doesn’t matter what you’re editing, you learn something from absolutely every project. The more you can practise and hone your skills, the better you’ll become. It’s a no brainer! Plus you never know what project might lead to a great opportunity.

I joined the ASE committee because... of the sense of community. I so enjoyed participating in more ASE events last year and wanted the chance to get more involved.


Hi everyone, I’m Karin, I’ve been an Editor for around 30 years. I started my career in the UK, editing music videos and commercials  on one of the first Lightworks systems (remember the shark?) I then made the jump to AVID and cut my first feature doco on a system with what I thought was a massive 12 gigs of hard drive.  

I’ve since been really lucky in my career and have worked on some amazing award winning projects, including 'Anne Frank Remembered' which won an Oscar and an Emmy for Best Feature Doco, and the BAFTA-nominated 'Cold War' series exploring the tensions of the nuclear age,  and more recently 'The Living Universe', a mind-bending series searching for life. I love editing documentary and the mix of big ideas and human stories.

What inspired you to apply for accreditation?
Being recognised by my peers means a great deal to me. It’s really only other Editors who can assess one’s work and career, No-one else really gets it – why it has to be That Shot and not another, and also how all of the elements of the story come together for the greatest impact. And those letters ASE are so pretty, seeing them up on the screen after an Editor’s name is a mark of appreciation for high standards and dedication to the craft.

How do you feel when you reflect on your career?
It’s interesting to look back over the years and reflect on the mix of luck and opportunities that has come my way. I have been very lucky to have worked on some amazing projects and with fantastic directors and fellow Editors. It’s also been tough, to be honest, especially the past year when much wished-for projects simply evaporated. But that’s the reality of a creative/freelance life – it can be feast or famine, and keeping a sense of balance during both is something I need to remember: But that said, I wouldn’t trade it for anything. The euphoria of being in the flow, with all the components coming together, wrangling chaos, to produce something that connects with the audience – there’s nothing like it.

What do you feel are some good editing practices you have shared over time?
When I was an Assistant I would spend my entire day in the cutting room with my Editor, this doesn’t happen anymore but still, one of our roles as Editors is to mentor the next generation. So as much as I can I try to involve them in the creative process, showing edits and sharing tips about why a cut went a certain way. And offering scenes to assemble and welcoming their input in viewings.

With fellow Editors, it's about passing on work and encouraging them to go for it. It’s also being transparent about rates and conditions. Even though our industry is highly competitive, working together and supporting each other is vital.

What do you feel are some good editing practices you have shared over time?
To just begin. It can be daunting at first to know where to start, so really the best way is to just begin. Editing is a process of building and sculpting, putting one’s ego aside and listening to the material, the story is in there. It just takes time to find it.  
Why should Editors apply for accreditation?
Because it’s a real honour for an individual Editor. It also strengthens us collectively as a Guild - it increases our profile and supports high standards, raising the bar of editing as a craft.

(Editor's note: Yes, everyone is from NSW this edition - no-one from the other states replied!)


The Solid State is an award-winning Film Marketing Agency for distributors, sales agents and film-makers.

Founded in 2007, The Solid State has earned its reputation as the most reliable and experienced film marketing agency in Australia. They have worked on over 200 campaigns over the last 14 years, and developed marketing campaign materials for every stage of production - pre-sales to theatrical to home entertainment and web.

The Solid State takes a bespoke, tailored approach to every project.  Simply put, we help filmmakers excite audiences and get films sold.

Tell us about your role at The Solid State.  
I was always a kid that had a lot of questions… I was desperate for context, a rule-book that framed the game of life, so I could knuckle down and start getting good at it.  But all roads led nowhere, it didn’t seem to matter what anyone thought, said or believed in, life continued to be a mystery.  I realized I lacked mentors, leaders and inspiration, and years later I knew it was really a father.

I wanted something that answered the call I had inside me, that fed the thirst I had for answers but also for my hopes and fears to be recognised.  And finally, one rainy day, on a beaten-up VHS tape we punched into the cassette player round my best mate’s house, I found the answer.


I could disappear into a movie because they always had an end.  Something that made sense of the world and where actions had reason.  An ordinary person, called to an adventure and managing by some miracle to overcome impossible odds to stand finally as a hero.  I wanted to be a hero in my own life - like Luke, Indiana, Rambo and Ripley, because I wanted to feel life deeply, but I also wanted to live a life of purpose.

Movies are simply stories, and great stories can give you experiences and teach you things that might change the direction of your life.  Like a great poem or work of art, they can sit inside your consciousness for decades. They provide a bridge to a deeper understanding of the world.

It has always been a thrill to decipher the puzzles of these movies and that’s what I do now for a living.  Shatter them into a thousand pieces to see what they’re made of.  Decipher their DNA, see what makes them tick and, like a messenger, interpret their messages into movie trailers for the general public. I'm looking for the answers to the riddles of the universe and I don’t think that’s a problem you can tackle head-on… I feel like somehow they’re to be found in the stories we tell each other.

How does editing intersect with your business?
Editing is our business. It is the means by which we communicate our vision.  It’s our voice.
Why do you sponsor the ASE?
You guys asked me to.  My therapist has asked me to take part in life - join in a little more.

What’s the best thing to come out of this sponsorship for you and your business?
I think the best thing is yet to come.  

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





If you've missed out on some Zoom events over the past year or so, the videos might be available on the ASE website. They can be found under 'news & events', have 'video' in the title, and will usually be for Members only so you will have to log in. There is a wide variety of videos covering all sorts of topics, technical advice, tips and tricks, and some seriously good conversations about editing by some of the top Editors in the country. Check them out. 

The Reality of Reality

Meet the Winners! Part 1
(Keep an eye out for Part 2)

Edit Royale

'Machine' Q&A

Legends of 2010

Jill Bilcock ASE Masterclass

Edit Suite Audio

Avid & Premiere Tips and Tricks - videos 1 & 2

Dany Cooper ASE - In Conversation



By Timothy Hadwen

In this edition of ASE Newsletter Tech Tips, we’re taking a look at how to collect and navigate sound effect files. Most interestingly, Pro Sound Effects has launched a new software package for navigating these files: SoundQ.

SoundQ is essentially a large database which links to your existing sound effect folders and allows you to search and add necessary metadata across a wide collection of sounds (plus more online when connected to the internet).

It’s reasonable for me to assume that most members have an extensive sound library of effects and music. In the unlikely event you don’t, I would say it’s relatively easy to begin a sound library and there’s plenty of useful websites which give you access to free effects. An Avid Media Composer | First and Media Composer license usually provides codes to download effects and also websites such as Pro Sound Effects, Videomaker and Boom Library are good starting points...

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

Timothy Hadwen
Executive Committee Member

If you have any technical tips, tricks or advice you'd like to share, please email



We are excited to announce that Sydney's first in person event in over a year is coming. Join us on May 23rd at the Erskinville Bowling club for a catchup to share how all those Covid Babies/Beards/Sourdough Starters are going.

The theme is the classic Australian Comedy 'Crackerjack' (which you can watch on Netflix) and there will be a quiz so make sure you brush up your knowledge on the movie beforehand. The ASE is also providing barefoot bowls to 10 members for free so make sure you get there on time to secure your spot.

This is your chance to hang out with your fellow post crew to network, mingle, and crush them at bowls.

Erskinville Bowling Club
1 Fox Avenue Erskineville, NSW 2043
3pm, 23rd May
Look for the blue balloons.



Congratulations to Krystle Penhall for winning Best Editor at WIFT V-FEST, held live and online from Queensland. Krystle won a year of ASE Membership.

And thank you to the editing judges - Charlotte Cutting, Jill Bilcock ASE & Sue Schweikert ASE. The online chat during the presentation was quite excited about this all-star lineup.

Congratulations also to Karen Pearlman who was nominated for Best Editor and won Best Director for 'I Want to Make a Film About Women'.

Alison Myers' film 'Lobster' was nominated for Best Sound Design or Composition. 


The Graduating Class of 2020
After an unprecedented year, national and state lockdowns, moving to remote and online learning for performance degrees, cancelled grad plays and national grad tours of their delayed final showcases - our top drama institutions and graduates of 2020 had to quickly adapt and navigate a never seen before landscape.

This initiative is designed to provide an additional platform to industry, when many of the normal avenues to meet, interact and network have been impossible... 

For more information and a list of participating drama institutions and their graduates, click here.

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

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




If you have news or an event that you would like to be included in the eNews, please email

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