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eNEWS #104  -  June 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 June edition of our eNews!

Firstly, I want to give a shout out to our Victorian members who have had to endure yet another lock down recently. We’re sending you all a communal hug for hanging in there - again. Here’s hoping we’ve seen the last lockdown anyone has to endure…

Everyone will by now have seen the Call for Entries for the 2021 Ellie Awards, and this kicks off a busy time for the ASE. We’re looking forward to seeing all of your fabulous work later in the year, and we’ve found an exciting new venue for the awards celebration. At this stage, we’re planning an in-person event and and our fingers are tightly crossed that we’ll be able to talk and laugh and drink together at the end of the year. More details to follow soon.

Speaking of the Ellies, there’s been a slight change to the awards guidelines due to the change of date for this year’s Sydney Film Festival. Films selected for SFF 2021 will be eligible for this year’s awards, so get those entries in and take advantage of the Earlybird Rate!

Accreditation applications are also now open. Find out more information here.

You will also have received a link to our Member survey. We appreciate how busy you all are, but we urge you to take the time to let us know more about you and what you want from your guild. We’re eager to know how we can support you best. 

In industry news, the ASE has joined with other guilds and associations in the Australian Screen Industry Group to make a joint submission to oppose changes to the New Eligible Drama Expenditure scheme (NEDE). Under the NEDE, subscription broadcasting licensees (primarily Foxtel) are required to spend at least 10% of total program expenditure for each drama channel on new Australian drama programs. The Broadcasting Legislation Amendment (2021 Measures No. 1) Bill 2021, will reduce the rate to 5%.

You can view the joint submission here:

We thank our Guild and Industry partners for their ongoing work on this.

In May, we welcomed the return of the Sydney Sundowners, with a 'Crackerjack' themed bowls event in Erskineville. The attendees were so busy chatting and sharing stories, they ran out of time to actually bowl! It’s really important at times like these to stay strong as a community, so you’ll be seeing more Sundowner events as the year goes on. 

Last week we also had a chat to the Editors of the critically acclaimed new series 'Wakefield'. Anyone who caught this incredible series on the ABC or iView will agree, the editing was a huge part of the success of the show. Nick Holmes ASE and Gabe Dowrick talked to us about their experiences, and anyone who missed the event can check out the article below.

Our Queensland Committee joined with the sound guild to present an in-person event about sound post. “Stop. Go. Start. Everything an Editor needs to know about post sound”, and our Melbourne Committee joined forces with Power of Post to hold a Freelance Survival Workshop at RMIT, which you can also read about below.

We’re thrilled to welcome two new sponsors – Beatbox and Cobox – and we look forward to working together. 

Thanks, as always, to Alison Myers for putting the newsletter together for us; thanks to the Executive and State committees for their tireless work and energy; and of course, thanks to Margaret Slarke for everything she does for us, especially as things start to ramp up with awards planning!

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


Hello from Queensland! Winter has certainly arrived here in the sunshine state - everyone rugged up in scarves and puffer jackets as soon as the morning temperatures dropped below 20 degrees.  Thankfully the toasty warm edit suites shelter us from the elements!

On Sunday May 16, we held a really fantastic seminar in partnership with the Australian Screen Sound Guild (ASSG) called STOP. GO. START: Everything an Editor Needs to Know About Post Sound.

Jenn Leonforte took us through a typical post sound workflow and actually showed us all the things that can go wrong once a project comes into sound.  Jenn used actual examples from television series she’s worked on, showing us not only all of the things that can go wrong but also best practice scenarios. Our Assistant Editor, Josh Atterton-Evans joined the discussion and stepped us through his workflow and how he approaches turn overs to sound. It was helpful that a number of (thankfully best practice) examples Jenn used were shows that Josh had actually worked on! We also had the valuable input of Tfer Newsome who guided the discussion and drilled down further into any topic that may have required further explanation.  She asked all the questions, everyone else might have been too afraid to ask.

(Tfer Newsome, Jenn Leonforte (middle), Josh Atterton-Evans. Before the session started.)

The seminar was supported by Unison Sound who were very kind in giving us the use of their facility to run the seminar from.  We set out to (ambitiously) do something different with this event, in that we wanted to offer the seminar nationally whilst also offering it in person locally in Brisbane.  We enlisted the amazing technical expertise of Michael Mader to set up a video conferencing scenario and  we live streamed the entire session via zoom.  We had around 20 people in attendance at the studio that we split between 2 rooms (social distancing etc) so we also had the video zoom feed streaming into the overflow/ break out room.  We also had a similar number of people who joined us via Zoom for the session.  We were SO SO lucky to have Michael come on board and volunteer his time and gear to make all of this possible.  I think our only small tech glitch throughout the whole seminar was a bit of delay at the beginning that he sorted out pretty quickly.

(Attendees in the overflow room at Unison Sound.)

There was some really great information shared and great take aways from the session.  From the importance of file naming and metadata through to track layout, conforms and the realisation that Pro Tools doesn’t play well with H264 MP4s.  What was interesting was how much we each (Editors and Post Sound) don’t know about the others' workflow and how and why we do things or need things done in a particular way.  All in all, if in doubt - reach out and have a quick chat with your friendly post sound team.
(The seminar in action.)

Also at the end of the seminar we sent out a feedback form to everyone who attended, which gave us a good idea of what worked and what sorts of things people would like to hear about in the future.  Thankfully the results indicated we all did pretty well and people enjoyed the seminar.

Again I want to extend a huge thanks to Jenn Leonforte, Josh Atterton-Evans, Tfer Newsome for sharing their expertise with us all. Also a big thanks to the ASSG, Unison Sound and of cause our tech guru Michael Mader.

(Our panel and some of the attendees and ASE Committee Members.)

Next Up: Christmas in July - a joint Guild event.  Membership is important, so be sure to renew your membership or sign up now!

Charlotte Cutting
QLD Committee Chairperson



 Presented by ASE and  POWER of POST  

Our first event for this year in Victoria was held at RMIT University Melbourne on Saturday 15 May 2021. Belinda Fithie, ASE Member and committee member from Power of Post, hosted the event that was held in partnership with the ASE. Margarita Ivanovsky from Power of Post and Grace Eyre, ASE Chair Victoria, organised the workshop. This was a great opportunity for any one starting out or working in post to get invaluable information to continuing their career in the film & TV industry. 

(Belinda Fithie, ASE Member, Committee Member Power of Post and host at RMIT University Theatre. Photo by Margarita Ivanovsky, POP.)

An eager-to-get-out-and-about audience of around 35 assorted post practitioners ranging from Assistant Editors to Editors, directors and writers filled the RMIT lecture theatre to listen to Belinda Fithie give advice and recommendations gained by her 25 plus years of working freelance in the post field as an Editor and post-production supervisor.

Cindy Clarkson, Committee chairperson of Power of Post, started up the lecture with a rousing warm up and introductions. Mark Atkin ASE then briefly spoke about the Australian Screen Editors Guild and all the advantages of joining. We were all keen for tips and tricks on how to survive in the industry when you are supporting yourself, and especially with COVID-19 restrictions in Victoria.

First up there was good advice regarding people who are starting out by themselves to get organised with the basics, such as ABN and finding an industry specific accountant who knows what can be correctly deducted from work expenses at tax time. 

Also noted was that you do not need to charge GST if your business doesn’t have a certain level of income. Quoting was covered, namely know how much time and overheads you will have to spend doing the work. This also meant you can charge if your gear was being hired out or used for work. This also includes charging for internet upload and download time that you stipulate on your terms and conditions.

Quoting discussions also covered asking if there’s any additional budget room for equipment support, travel, meal allowances or anything that might be in there that isn’t immediately apparent. Finding a way to probe how much companies have in their budgets (if at all) is a fine art and usually is up for negotiations.

There has been a parliamentary enquiry into the sustainability of the industry and its wages, and the ASE has released its new and improved rate sheet. One big shift in the industry is a readjustment to how much we are getting paid. The ASE has now published pay rates on our website and it’s recommended that this be taken into consideration when negotiating.

Additional advice was adding into your quotes a way to support things such as super and holiday pay as you would usually get these if you were hired by a company under the PAYG system. Getting paid was brought up and so were tips on how to get paid on time. Everyone agreed that a 14 day minimum grace was the recommended amount of time before you started to chase up your pay. When you make that call, some tact was recommended beyond “Where’s my money?” and a good tip was to start off a call as a conversation of something other than work. Granted, this can go both ways as alerting someone you owe money to that they have been paid is a nice habit to get into. Keep an eye on things such as checking pay slips and bank transfers.

Getting started and taking the step to cold call post houses does apparently work, There’s a fair bit of work out there for Editors at the moment, and getting your name out there is one way to get picked up. Working for free or less money was suggested as one way to get a foot in the door but must be used very wisely to have a benefit.

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

Showreels (keep them short) were brought up, with the  suggestion of creating a portfolio of key moments for people to peruse. This is best kept under password lock and key. If you are using broadcast material, rights issues may come into play. CVs appear to be slowly replaced by LinkedIn, and often can provide more details. IMDB are mostly for American-based companies. 

You can keep up with software by learning new programs. However nothing can beat getting hands-on experience from working on a project. For freelancers who are looking to skill up, applying for Assistant Editor roles or a transcoding job was a good way to gain this. Other general tips included was on troubleshooting. When working by yourself, especially from home, and you have a problem, Google it to death before calling up someone as 99% of problems are usually very common. For Assistants, never be afraid to ask a question, and while your Editor may be busy or look busy, they often are eager for a small break so open the opportunity for one. Offer them a coffee and ask at the kitchen as opposed to in the middle of something important.  Timing is a crucial thing, so ask if you can be seen in a few minutes instead of “right now". Finally, one great bit of advice was to get out there and attend trade shows when they visit locally if you can. It will put you in direct touch with the people who create the software, and they are more than happy to show off or help you on particular problems.

(Front Row - Margarita Ivanovsky, Power of Post; Cindy Clarkson, Chair Power of Post; Patrick McCabe, ASE, Belinda Fithie, Committee Member Power of Post ;and Dee McClelland. Photo By Barrie Munro ASE)

Also using the ASE’s mentor scheme to get a foot in the door is a great start for people transitioning from post-grad. All the details are on the ASE’s website.
Overall, the afternoon was a great success and proved to be very informative for all.

Thanks to Grace and Margarita for organising this event and to Belinda who again gave her time and professional skills, for which we are all in her debt. 

Finally, our next event is an Adobe Premier workshop planned in July. We have a great line-up of events this year even if Covid 19 has forced us into a stage 4 lock down for a few weeks.  Watch this space.

Barrie Munro ASE
Victoria Committee Member 


Event:  The St Kilda Film Festival
Date: 20 May 2021
Location:  The Astor & JMC Academy South Melbourne

Presented by the City of Port Phillip, the St Kilda Film Festival is one of Australia’s largest and longest running short film festivals. Opening night was at the Astor Theatre on 20 May 2021. Last year was COVID-19, the lockdown year. This year again  between lockdowns the festival provided a platform for short films and big ideas. The festival is in its 38th year and is now an annual celebration of the past present and future of Australian film.

(Photo: Barrie Munro ASE.)

A Filmaker Program ran over the weekend on 22 May at JMC Academy in South Melbourne. This offered a fantastic opportunity for aspiring filmmakers to connect and learn at one of Melbourne’s major film industry academies. The program covered most things you need to know about making a short film, from inception, to production and distribution. The Australian Screen Editors Guild were there again this year with an information centre set up in the JMC Academy South Melbourne.

(Committee Members Lissie Mary Geyer, Philip Mitchel, Angus Attwood and Barrie Munro ASE. 
Photo: Jon Barrie.)

On Saturday afternoon 22 May the ASE teamed up with the St Kilda Film Festival and JMC Academy to present Behind Closed Doors: True Confessions of an Editor. The event showcased four short films selected by festival director Richard Sowada and was mediated by Dave Redman ASE. Three of the four films were edited on Adobe Premiere Pro.

The panel were:
Eddie  Diamandi Editor & Director  - 'The Wake'; 
Sarah Jane Woolahan Director & Editing Collaborator - 'Objects of My Disaffection';
Jeremiah Nickols Editor & Director - 'The Nearing of Jordyn Simmons';
Georgina Taylor Editor and Brenda Hait Director - 'Hayat'.

(Photo: Barrie Munro ASE.)

Dave had spent the previous week watching all the films and came prepared. He hosted the session and did a fantastic job formulating the questions to get the most from the panel of three Editors and two directors. They opened up and discussed what had inspired them. We had an insight into how they constructed and edited their films and what challenges they faced, how they overcame post production obstacles, and what they learnt in the process. Dave then was bombarded by questions from the audience, and the Editors and directors enjoyed going over the answers in great detail. Most stayed to chat after the event was over. Dave had an impressive list of questions he asked about their filmmaking journeys.

We thank you all for your dedication to the ASE and giving up your valuable time to make this day such a successful event.

(Photo: Barrie Munro ASE.)

(Left to Right: Festival Director Richard Sowada, Eddie Diamandi, Brenda Hait Georgina Taylor, Sarah Jane Woulahan, Dave Redman ASE, Jeremiah Nickols. Photo: Barrie Munro ASE.)

The St Kilda Festival awards night unfortunately had to be again cancelled this year due to Melbourne’s fourth wave. It was conducted by a frantic behind-the-scenes Zoom hook-up which all worked well.

Navzad Dabu won the Best Achievement in Editing award, sponsored by the ASE    for his film 'Peaks'. Congratulations to you from the Australian Screen Editors Guild.

Thanks to Amber Harris, team leader from the City of Port Phillip, and to Richard Sowada, director of the St Kilda Film Festival who helped facilitate and co-ordinate such a successful event.

Looking forward to seeing you at our next workshop.  

Barrie Munro ASE
Victoria Committee Member 




Assistant Editor Round Table

On a lovely Sunday afternoon at the start of May, a whole swathe of Assistant Editors (and Assistant Editor friends) joined a Zoom call from all over Australia in order to chat about everything Assisty. This year joining me on the panel were Melissa McLeary and Nick Prior, both with extensive industry experience, allowing a free ranging and meandering conversation covering workflows from indie films, animation, drama, ob-doc and reality TV. A lot of questions and discussion came to us through Zoom chat, and we had Tim Hadwen on hand to help us wrangle the questions as they were coming in.

We started off walking through a daily work checklist from a low budget indie film, before moving through into a more conversational chat about different workloads and different production expectations. We talked about the career benefits of moving overseas, and the difference in opportunities afforded to those who make the move. 

We touched on rates, work hours, and fair compensation. We expounded the virtues of being adaptable and complained about night-shift. We discussed the difficulties and benefits of working from home, and enthused about the ease of the Resolve proxy workflow.

Assistant Editors often work alone, so it’s great to get together to hear other people’s experiences and tribulations. We had a really enthusiastic response to this event, and the ASE is looking forward to continuing the Round Table next year.

(Assistant Editor Round Table attendees.)

 Andy Finn
Executive Committee Member


On Sunday 23rd of May Sydney held its first in person event since COVID. With the theme of the Australian film 'Crackerjack' we caught up at the Erskineville bowls club to talk editing, life, and did a quiz where the last question had an error; turns out Edit Box was indeed a real editing system from Qantal. 

We were also joined by our friends at Native Tounge Music who generously donated prizes for our quiz. 

It was a great afternoon, and we plan to do these more frequently so keep an eye out for our next one. 

Executive Committee Member

Meet the ASE Community


Hey ASE,

I’m a television producer, writer and picture editor and have been with 'Dateline' SBS since 2019.

For long enough to make me feel old, I’ve made factual, reality, children’s, science and current affairs programs for all of Australia’s commercial networks and public broadcasters along with a bunch of international networks.

I’ve worked on and off the tools on shows people loved ('MasterChef', 'MKR', 'Farmer Wants a Wife', 'Restoration Australia')… some they loathed ('The Shire', 'The Big Adventure') and was an occasional hand double for Adam Savage on blue print pickups for 'MythBusters'.

'Dateline' has been a highlight of my career, allowing me to produce, write and cut documentaries in collaboration with filmmakers from around the world. My first film for 'Dateline', 'Human Cargo', won the 2020 Ellie for editing in News and Current Affairs and 2021’s 'Born Small' was recently nominated for a Walkley Award.  

I’m happiest working on jobs that both enlighten AND entertain and don’t involve maths.

The secret to a good edit is... knowing when NOT to cut.

My favourite part of the process is... completing an edit.

My least favourite... watching it go to air, knowing I can’t make any more tweaks.

My dream job would be... re-writing the 'Star Wars' sequels.

The best thing I’ve learned from a director or producer... came from an Editor I was producing - “Always listen to a client’s problems, not necessarily their solutions.”
My advice to any Editor starting out is... when you’re hired on a job, work like it‘s your baby. When the client/director/exec asks you to change it, remember it’s not your baby.


Established in 1987, Beatbox Music is now the largest and one of the last Australian owned and independently operated companies specialising in providing the highest quality production music. We represent the world's top indie labels and distribute more than 600,000 tracks via our innovative search systems available in either online,, or offline solutions.  Our extensive music collection is used daily in network television shows, theatrical trailers, TV promos, TVCs, online social videos, radio and corporate productions.

Tell us about your role at Beatbox Music.  
I am the Managing Director and started the company in response to demand from independent music libraries who were seeking independent representation.  Over the years we’ve grown and responded to the many changes in technology – we first distributed music on vinyl LPs and CDs, then DVDs and eventually online and hard drives. We were the first to introduce the portable hard drives including our innovative search engine.  We introduced Hollywood Trailer music and sound design to the Australian market.  In 1998 we also started to produced our own Beatbox catalogue following specific requests from local TV Editors and producers for more Australian music.   Recently we launched two other labels - DramaBox for reality and CAF use, and Black Knight Music for promo and trailer use.  Our Beatbox team have also grown in numbers over the years, and their commitment and expertise has greatly contributed to the longevity and ongoing success of the company.  We hope to continue working closely with the broadcast media and aim to provide the best quality, selection of music and service at all times. 

How does editing intersect with your business?
Our business exists for Editors. We’ve been one of the main production music companies they rely on for over 30 years. Our offline and online search engines were built with input from Editors so that they work the way they want them to. By 2006 there were just too many CDs being released for Editors to be able to listen to them all and remember the music. We found that Editors needed a solution to finding music fast and so we created the Beatbox drive which most Editors will have used or seen over the years.  This was a big change from using CDs and DVDs because you could plug it in and find music and then drag and drop tracks straight to your timeline.

 Why do you sponsor the ASE?
We were invited to do so by one of the Editors associated with the ASE.  We discovered that the aim of the organisation extended far beyond supporting movie production and includes all broadcast media.  As we have had a long- standing association with TV and News and Current Affairs Editors, the decision to sponsor the ASE was an easy one.  We are very happy to add our support to this important organisation.

What’s the best thing to come out of this sponsorship for you and your business?
Participating in an event which helps recognise the valuable creative input of Editors and their role in facilitating informative and powerful storytelling.   Building even closer ties to the professional Editors who use our music in order for Beatbox to continue to improve and respond to their music requirements which will enhance this. 

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



“'Wakefield' is at once a riveting psychological thriller, a study of the human condition, and a light Aussie comedy. It's unlike anything we've seen on our screens before and hopefully it's an indicator of where Australian TV is heading.” Mamma Mia

"One of the finest Australian TV productions this century. A masterpiece. ✭✭✭✭✭" The Guardian 

Two of the key creatives responsible for bringing this remarkable show to our screens are Gabe Dowrick and Nick Holmes ASE, and I had the good fortune to talk to them about their experiences cutting 'Wakefield'. And for the uninitiated, spoilers below!

After reading the pilot, Gabe actively pursued the job because it combined so many different styles and tones, which is unusual for Australian television. He was drawn to the audacity of the end of the first episode, where a young mum appears to push her daughter’s pram into the path of an oncoming train, and then breaks into a joyful tap dance. 

He went on to talk about his approach to scripts generally, asserting that he doesn’t read scripts with a fine-tooth comb; rather he takes a general impression and waits to see how it comes alive in the rushes. 

Nick had meetings with the showrunners and was offered the job before he’d had the chance to read any of the scripts. In fact, he ended up reading the entire series on an iPad during a return flight to the U.S. Initially worried about the repetition seen in the crossovers in the script, he (and Gabe) were able to reveal something new in each crossover during the edit process.

There were of course challenges combining all the elements - comedy, drama, mystery, dance, flashbacks - but the greatest challenge was in finding an overall tone that made the piece cohesive. The chance to experiment with a piece as tonally and structurally atypical was one they welcomed.

Both Nick and Gabe went on to comment that music really helped tie things together… Which was quite synchronistic as we were lucky enough to have 'Wakefield' co-composer and musical director Maria Alphonsine in attendance, and promptly brought her into the conversation. 

Early on in the process, they worked with score from 'Moonlight'as temp, along with having some pieces from Maria to work with. She provided stems, which allowed great flexibility. And it should be said that Gabe and Nick’s expectations of the score were vastly exceeded by the incredible work of the composers – Maria and Caitlin Yeo.

The fun and challenge of finding an editorial style or tone when starting a new series is something that greatly appealed to Gabe. He enjoyed having the opportunity for editing imprimatur before the network got involved. The tone was also obviously informed by the shooting style and performance. 'Wakefield'  has a large cast and the actors made interesting offers all along the way, which was great to play around with.

In terms of process, Nick and Gabe have very different approaches to rushes and continuity – with Gabe taking a more of a improvisational approach, where Nick favours writing notes on scripts as he watches rushes. 

One of the most important – but also tricky – elements of the show to manage was the flashbacks. The intrigue that drives the show is contained within and they were shot over a period of a few weeks by director Kim Mordaunt. There was a wealth of material to work with and scatter through the series. Both Editors were conscious of neither overdoing nor underdoing them and although the scripts were very carefully structured and adhered to, it was a delicate balancing act that required massaging throughout the cutting of all eight episodes. They were conscious of keeping the mystery alive, while not annoying the audience by teasing it out too far, losing their interest or confusing them. Or by giving away too much and letting the audience get ahead of the narrative.

The actor playing the central character of Nik, Rudi Dharmalingam, provided great range in performance, capable of giving something big when required, but also subtler options where appropriate. Gabe and Nick kept his performance restrained in order to earn the more emotional moments.

Throughout the process, Gabe tended to use the bigger takes to start, the nto strip back, and he talked about how tough that can be at assembly stage. Often the weighting of a performance only becomes clear when you see the whole episode. 

Coming back to the crossover moments in the narrative, the tough part was making it clear you were seeing the same moment again from a new perspective, rather than having them appear to be new separate scenes. 

Gabe was particularly conscious of this in the set-up of episode 1. In fact, the success or failure of the structure depended on it.

Consequently, he used different shot styles or lensing choices to illustrate small differences between perspectives in different chapters. He, set-up director Jocelyn Moorehouse, and showrunners Kristen Dunphy and Sam Meikle talked a lot during the post process about subjectivity and finding balance by staying with one character. 

Nick’s episodes tended to have a different approach to the crossovers, where rather than a new perspective being illustrated, more information was revealed. Scenes might start later and reveal what happened after we left the previous crossover.

As mentioned, sound and music are essential to the show, and unusually Maria was involved in development. During the writing process, she came up with different iterations of ‘Come on Eileen’ to show how varied the track could be. She developed ‘Nik’s theme’ during early the pre-production workshops, and this informed the cut of the opening of the series. She was also musical director, so she was on set for all the musical numbers. 

Director of episodes 4, 5 & 6, Kim Mordaunt, asked for some musical textures during the edit, so they created a library of textures and themes with different variations of the melodies. After the COVID lockdown, Maria also provided what Gabe called "torn out snatches" of music which were a little more abstract and allowed freedom of expression in the cut. Both Nick and Gabe talked about how incredibly useful it was to have access to all these tracks, stems and elements. It was mutually beneficial to work this way.

Both the composers and the choreographer, Chris Horsey, would see cuts of the dance sequences and feedback when the dancers were off beat. Gabe talked about wanting everyone’s work to look great, and how helpful it was to have someone looking at that detail. They all talked about the extraordinary sound design for the show from Sam Petty, and how it elevated both the vision and the score. Gabe really felt the final product was so much better than he anticipated – he was surprised and delighted by the design.

An unintended benefit that presented itself was the COVID shutdown. Wakefield was two weeks into the shooting the second block when everyone was sent home… Including the Editors. And Gabe for one enjoyed ‘bediting’ - cutting from bed.

Ultimately, it also allowed more time to interrogate the material, and a show of this complexity benefited as a result. Including being able to pick up some material for the first block once production resumed.

We discussed how the show’s content - and the COVID lockdown - might impact the crew’s own mental health, and Nick and Gabe related that seeing actors making people laugh as soon as the scene finished, the joyfulness of the dance sequences, and the comedy elements all helped mitigate against the impact of the darker material.

Any difficulty during this period came through the challenges of communication. It meant a lot of emailing and uploading, but creative conversations are so much better when you’re in the room together and can spitball solutions in the moment. A lot of time was spent writing emails and deciphering tone. We agreed that it’s hard to write good notes that make everyone feel creatively engaged. Nick points out that there’s an art to writing notes that don’t crush the recipient!

'Wakefield' has been the highlight of Gabe’s career thus far. The last episode, in particular, was expansive and interesting, with the flooding bathroom sequence being "an Editor’s scene" to play with. 

Despite some initial fear from the ABC around the dance sequences and structures within the scripts, once they saw the edits, they were on board. In the end, they said it was the best last episode of anything they’ve ever commissioned.

Huge thanks to Gabe and Nick for their time and insight. I really enjoyed the conversation and the company and I know our small but dedicated audience were thoroughly engaged. 

Thanks also to Maria Alphonsine for her impromptu contribution. And to Simon Callow-Wright for his wrangling of the clips. 

Danielle Boesenberg
President, Australian Screen Editors



By Timothy Hadwen

It’s no secret that many offline Editors chose to ignore titles in their offline edit given the difficulty (and speed) of the tools that some of the non-linear editing systems offer. Yes, it’s true that often you can get away with a simple “Insert Title/Card Here” or put the information down in a Marker for an Assistant to do later. However, there are uses in being able to test something quickly on-the-spot. This article will investigate how you can do this in Avid across the older and newer versions.

Firstly, there’s nothing wrong with the direction both Avid (and Premiere) are heading in with their titles. I believe what Avid are doing with the removal of the legacy title tool was the right thing to do. Adobe/Premiere Pro’s removal of their legacy tool (although still accessible via a dropdown menu) is the correct choice given the new motion graphics templates among other quick-text decisions.

This quick technical guide will focus more on Avid, noting that Media Composer has recently removed the ability to use the legacy title tool once loved (and hated) by many. More, frequently Editors and Assistants transitioning between software versions choose to use an effect tool: SubCap.

SubCap is an effect you can insert into filler on your timeline, which is supposed to work as a captions tool but works very well as a Title Tool for anything. Most importantly, like their new (and slowly improving) Avid Titler+ it does not need to “Generate” or “Render” any media and has no requirement for you to select a “Bin” for the title to go to, it sits on the timeline, like any other effect would. As with any effect, you can create an IN and OUT point on a blank section on the timeline and drag the effect into that range to fill the selected area with the effect (or in this case, title).,,,

Read the rest of the article on the website. 

Timothy Hadwen
Executive Committee Member

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



Ellies Earlybird Discount closes 4 July!





Don't forget that your ASE Membership qualifies you for Industry concession tickets to both the Sydney Film Festival and Melbourne International Film Festival. (And possibly others - it can't hurt to ask!)

Find out more about the benefits on our Membership Benefits webpage.



Love audio books? And podcasts? Heard of audio films? Not so much? Let's change that! Audio Drama – aka audio description, or AD – is an audio version of film and TV that frees us from screens so we can enjoy film and TV while out and about, travelling, gardening, working or doing other things. Join us at Vivid Sydney for a showcase of Audio Drama clips from popular films and TV shows followed by a panel discussion with AD experts, fans and filmmakers. Discover how AD can change our perspective on screen-based entertainment. This free Vivid Sydney event is also part of the Arts Activated conference - Australia’s leading arts and disability forum - and is presented in collaboration with the ABC, SBS, Accessible Arts, Blind Citizens Australia, Guide Dogs NSW/ACT, The Fred Hollows Foundation and The SubStation.

Find out more at and 
@vividsydney and #vividsydney

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




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