Copy
Is this email not displaying correctly?  View it in your browser.
Please ensure you have images enabled.

eNEWS #49  -  APRIL 2014
 

In This Issue

Welcome from the ASE
State Updates
Meet the ASE Community
Meet the Sponsor
Event Report
Upcoming Events
Sponsor Updates
On the Web
eNEWS Archive
Sponsors

Find an Editor
Place a Job Ad
Forum

Join the ASE
Facebook
Twitter
 
The Turning
GRAVITY Q&A (SA) - See Upcoming Events for details!
Greetings Editing Friends,
 
This month we would like to introduce, THE ASSEMBLY, the new interactive digital Magazine from Gordon Burkell, founder of the Art of Guillotine. Download the app here: aotg.com/assembly and view on your mobile phone or iPad. This fantastic first issue includes an ongoing section by the ASE, featuring articles by Cindy Clarkson.

If anyone wants to contribute please let us know.  It is an amazing vehicle to share ideas within the global post-production and film communities.

A couple of days ago we sent you a survey to assess how you feel about potential new awards categories, (thanks to Deb Peart and Daniel Jesus Vignolle de Mello). Please fill it in and let us know your thoughts.

Events wise it’s been busy.

The Rocket was screened on March 7th at Soundfirm, Sydney, with a great turn out — about 40 people attended to hear Nick Meyers ASE speak about his work, his life, and all things esoteric. Post Work – Post Drinks, was held at the Bavarian Beer Cafe in Bent Street Fox Studios and was a huge success - Big thanks to Cutting Edge for buying the food — wonderfully generous and a great surprise — we hope to hold more of these in future.  Adobe and Paul Murphy have done another successful Premiere/Red Obsession workshop at the ACS headquarters, April 1. Laura Zusters writes a short piece about this further down the page.

There was a “joint guild” meeting last week to discuss the ongoing problem of AACTA funding and to support the ABC. In attendance were the Australian Directors Guild, The Australian Cinematographers Society, Australian Production Designers Guild, Australian Screen Composers Guild, Australian Screen Editors Guild, Australian Sound Editors Guild and WIFT. 

Jenny Hicks who represented us on that stage says —

“Damien Trewhella from AACTA received unanimous support and guild endorsement for AACTA fundraising efforts for the annual awards.  There was considerable brain storming regarding potential sponsors.  

Jo Smith of the AGSC has written a letter asking the Federal Government to spare the ABC from funding cuts in the next budget, all guild presidents will sign and the letter will be mailed to all federal members of parliament.

It was agreed to keep these collective guilds meetings informal and that meetings will be organised when a group / guild has an issue or an.
idea they are passionate about. The meetings are to provide an open forum for all of us to discuss issues and/or to garner support.”


On the awards circuit, Alexandre de Franchesci ASE, has been nominated for a BAFTA nomination in Television Craft/Editing - Fiction for Top of the Lake Episode 6, (yep, that is a BAFTA people, and an amazing achievement), and Lindi Harrison ASE and Kenny Ang have won the WOW award for Best Editing for A Life Exposed.

Huge Congratulations to you all.

And finally, I want to thank all of you who volunteered to be a mentor after our last call out. Anyone else who would be interested in sharing their knowledge please email mentorship@screeneditors.com.au
 
Regards,
Dany Cooper ASE
ASE President 
 

State Updates

VICTORIA

The year is well underway now for the Victorian section of the guild and we have a lot coming up in the next few months.

On May 4 we present a screening of Canopy with former ASE Victorian Chairperson Cindy Clarkson taking us through her edit of this new independent film. The screening will be our second event at Backlot studios following our recent highly successful screening of Mad Max, and Q and A with editors Tony Paterson and Cliff Hayes.

We are currently working with the St. Kilda Film Festival on an event to be held as part of the festival and in early June we will be heading back to Backlot for a screening and Q and A of Wolf Creek 2 with editor Sean Lahiff and the rest of the post production team on the Australian box office smash.

We are also pleased to announce we will be holding a series of events every month between June and October on all aspects of post production in television. These will be held on the second Wednesday of every month at VCA and will cover News and Current Affairs, Documentaries and Drama.

We also continue to build our close relationship with other guilds and ASE members will continue to enjoy five free tickets to screenings held by the ACS at Backlot studios so watch out for more offers in the very near future.

Stay tuned for more announcements as the year continues to build to one of our biggest ever.


Steven Baras-Miller
Chairperson

Victorian Committee
 
 

QUEENSLAND

We've all been a little sad this month to see our Screen Resource Centre, QPIX close its doors and disappear from the Queensland production landscape. On a positive note though, one of its short films - The Landing (directed by Josh Tanner, edited by Derryn Watts) has been currently touring the international festival circuit and picking up a swag of awards in the process - the latest being 'Best International Short Film Award' at the Cleveland International Film Festival.

Speaking of awards, a big congratulations has to go out to the creative team at Breeder, who won the Jury Award for Excellence in Title Design at this year's SXSW for the opening titles on HBO's smash hit series True Detective. Also around town, filming has just wrapped on Director Chris Fitchett and Producer Mark Overett's supernatural thriller The Fear of Darkness. Cutting Edge are handling all of the post/VFX work and editor Brett McCauley is busy cutting away as we speak. Cutting Edge also delivered 116 VFX shots on the Sci-Fi Fantasy I, Frankenstein that hit the cinemas earlier this year. Cathy Henkel's latest documentary Rise of the Eco-Warriors, edited by Scott Walton is touring nationally at various cinemas.

We're also combining our AGM and a Sundowner (social drink) event on Sunday April 27, the location is TBC.  It's an open invitation to everyone working in post production, so feel free to come along - it'll be a great afternoon and you'll get to meet lots of like-minded local post peeps. To RSVP email: axel.grigor@screeneditors.com.au

Charlotte Cutting
ASE QLD Committee Member

 
 

Meet the ASE Community

 

Meet The Member: David Scarborough

I've been editing in Adelaide and Sydney since graduating from Flinders University in 2007. My most recent project of note was Hannah Gadsby'z Oz, an ABC Artscape series that aired throughout March. I love all forms of editing but particularly documentary that challenges peoples views and understanding of the world.

I knew I wanted to work in post when… I'd written and directed my first short film at uni. I got my first real taste of the power of post and that you can basically retell and fix your story through creatively approaching your edit. It was a good way to find out my skills were certainly not in writing and directing!

My first break in the industry came when… I left Adelaide for Sydney in 2009 to work as an editor for The Salvation Army in their media department. It was an all rounder job and I was shooting as much as I was cutting and it sent me around the world to film through Africa, South America and Eastern Europe - as far as corporate gigs go it was pretty sweet! My break into the broadcast world came in 2012 when I moved back to Adelaide and landed a job editing the ABC Opening Shot documentary Meatwork.

The thing I love most about editing is… When I work with a director who wants me to help them rewrite their film through the edit, rather than just cut their film to the script, then I find the whole edit process a wonderful experience as I can take ownership of that film with them and know I've helped craft something unique.

The best tip I’ve got for aspiring editors is... When I first started out I got caught out thinking all producers and clients would understand what an "assembly edit" or "rough cut" was, yet I've come to realise you need to apply a polish to every edit before you screen it to anyone. All the little things you know you can fix later will jump out and distract them from the bigger picture you're wanting feedback on, so always allow some time to watch through your work and make those small fixes where you can.

If I wasn’t in post-production I’d be… Under the sun, out in the fresh air, shifting dirt or some sort of manual labour - just for a nice change from the usual!

 

Meet The Member: Matt Wigg

I knew I wanted to work in post when… It had just gone past 2am in the dark university edit suites as I was working on cutting my film work, I knew right then I was destined to never see sunlight again. What seemed like the most revolutionary and amazing work I’ve ever done at the time would also never see daylight again and all evidence was destroyed. Lets put it down to the learning experience. 
 
My first break in the industry was… As a vfx assistant editor at Rising Sun Pictures in Adelaide which then lead to a move to Sydney working with the wonderful Alexandre de Franceschi ASE at Guillotine as assistant editor. I strongly believe I did most of my growing through Guillotine and all those around me at the time. Something I look back on fondly and was able to take away so much.

The thing I love most about editing is… The sense of adventure as you sit down to edit, how that choice effects others and where that takes your work next is always fun to figure out.

The best tip I’ve got for aspiring editors is... Learn how it gets to you and where its going next. It will make you better at what you do. 

If I wasn’t in post-production I’d be…  lost.  (*Que the violins*)
 
 

MEET THE SPONSOR

Meet The Sponsor: Blue Post

It’s been a huge 12 months since we last caught up with ASE Gold Sponsor, Blue Post. We spoke to Managing Director Peter Millington about what the company has been up to, and his thoughts on the bigger issues of Post.

Blue Post contributed around 150 VFX shots to Power Games – The Murdoch/Packer Story

Tell us what you’ve been up to since we touched base last year.
It's been an amazing year for us as we opened our Sydney facility around 12 months ago and it feels like we've been able to have an impact. We had to hit the ground running as there was a lot of great projects from about May onwards. Early on, Rachel Knowles (Blue Post Sydney GM) and I sat down with a whiteboard and mapped out all the shows that were about to go into production and we both felt it was kind of unprecedented to have that many things all kicking off nearly at once. It certainly made for a very busy second half of the year. The quality of the projects also stand out; shows like Puberty Blues, Love Child, Power Games and INXS are all really high-end productions that have both critical acclaim and a great connection with audiences. It bodes well that the TV viewing public are embracing the current crop of Australian drama. 

The company has a solid slate in long form drama, how do you generally approach such productions from shoot to deliverables?
Well, each project is different and we're always careful not apply a "cookie cutter" approach. Even though digital acquisition has standardised a lot of things in the workflow, the many different camera formats ensures that not every pathway is the same. The Arri Alexa has been used on the majority of projects we've worked on in the last few years and the workflow with that camera is reasonably straightforward. However, the RED Epic and the Sony F55 are also popular and they require a slightly different approach, particularly as the storage requirements are higher. You then add a couple of more consumer-type cameras, like the Canon 5D or the GoPro, which need handling in a different way and it all contributes to the need for a tailor-made approach.

We like to be involved very closely with the productions and will often supply Avid and ISIS systems for offline editing. The trend there has been to setup in the production offices themselves, so fine cutting and producer screenings can happen in the same space as the main offices. We can also deploy a rushes station alongside the editorial department to handle all the data backups and transcoding, but equally, many shows are happy to bring the rushes back to either Artarmon or South Melbourne, for processing in the facility. It's good to be able to provide that choice.

Beyond the shoot, there's all the great creative stuff that goes into working with DOPs, directors and producers to establish the "look" of a show and to bring VFX and online editing into the mix. Again, every show is different and the requirements vary enormously, so our main aim is to be flexible and to suggest the best possible way that things can be achieved given the budget.

Tell us about a recent job that was challenging and/or different to the usual?
Well, Power Games - The Murdoch/Packer Story was great for us as we supplied around 150 VFX shots across the 2 tele-movies. There was huge amount of work required to integrate the live action shoot with archival footage from the 50's through to the '70's, as well as set extensions, skyline replacements and all sorts of clean-ups to remove the modern day traces to place us in the right period  (number plates!). Bryn Farrelly (VFX Supervisor) and Jo Spillane (online editor) did some beautiful work to complement Bruce Young's cinematography and Annelie Chapple's grade. So that was a challenge, but a really fun one.

What do you think the biggest issue/s are in the post production industry at the moment?
I think the biggest issue facing the whole content industry is how providers will be able to afford to make shows as the audience splinters and people time shift their viewing. From my own perspective, I know that I hardly ever watch shows as they go to air, but will either record them, buy them from iTunes or watch them on a catch-up service. The ratings system doesn't always record or acknowledge this type of viewing, so it's going to require some changes to audience analytics so that networks know how many eyeballs they are reaching. You can't necessarily guarantee people are going to watch the ads if they view the content this way, so that poses a challenge too.

This feeds into the need for a strong ABC going forward. If the commercial networks lose their appetite for making expensive drama content, the need for a well-funded public broadcaster becomes ever more important. Let's hope that the levels of ABC production we are seeing at the moment continue, but it's going to be difficult.
 

Event report

DATELINE: Tuesday 1st of April 2014
THE MAIN EVENT: Paul Murphy Q&A: Red Obsession
VENUE: ACS HQ, North Sydney

Editors keen to learn more about Adobe Premiere Pro came to hear ASE Member Paul Murphy give a presentation on his workflow when editing Red Obsession, the 2014 AACTA Best Feature Length Documentary. Narrated by Russell Crowe, Red Obsession focuses on the wine producers of Bordeaux struggling to accommodate wealthy Chinese collectors taking over this lucrative market.
  
The presentation was organised by Adobe, in association with ACS and ASE, at the Australian Cinematographers Society headquarters in North Sydney. In the audience there was a good mixture of editors using a different variety of editing platforms and some DOPs, looking to make the jump to a new platform or keen to see if Premiere could be a smart replacement for Final Cut 7.

To edit Red Obsession, Paul had 100 hours of footage to wrangle, in many formats like Sony F3, Arri Alexa, 5D, 7D and P2, to name a few. Although Premiere handles different formats in the timeline well without transcoding, Paul preferred to keep speed and storage requirements down by working with Pro Res proxies. “It was my first experience of totally tapeless workflow, plus I’d never dealt with Arri RAW files on a large project before. There are so many options, you can set up your own workflow.”



Editor Paul Murphy (Left) with Jon Barrie, Pro Video Solutions Adobe.
DATELINE: Tuesday 1st of April 2014
THE MAIN EVENT: KidzFlicks 2014 Award Ceremony
VENUE: Event Cinemas Bondi NSW

On Tuesday 1st April, I had the distinct honour of representing the ASE in presenting an award at the 2014 KidzFlicks Award ceremony. 

KidzFlicks is an International Film Festival that showcases the work of kids under 13 and culminates in an awards evening, this year held at in the Event Cinemas in Bondi.

I must confess to never having heard of KidzFlicks until I was invited to attend this years' ceremony but having now been exposed to the talent that exists in that age bracket, I cannot praise the event highly enough.

I was completely awe struck by the work produced by these young filmmakers. The sophistication that many of the films displayed across all areas of the craft was astounding and not just a tiny bit humbling. The boy who won the newly named ASE Award for Best Editing was Darwin Shulze for his film Red Panda Man. Darwin and his film also won the ACS Award for Best Camera Operation, the ASSG Award for Best Sound and the Bardic Studio Award for Best Film.

There was a boundless enthusiasm behind all the entrants and a true talent to match and the KidzFlicks organisers are to be applauded for showcasing this talent to peers and public alike. They were thrilled that the ASE wanted to support their night and would love to further that relationship, as they have with other guilds.

It was a great event which really promised that the future of filmmaking and storytelling in this country is in safe hands.

Below is a link which will explain more about the organisation and shows some of the nominees and winners:
bardicstudio.com.au/#!kidzflicks-online/cc9k


- Matt Villa ASE
 
 

Upcoming Events

EVENT: 9th April (SA)


 
 

SponsOr Updates











 

We’re Bringing You The best from NAB

Digistor has a large contingent of attendees at the National Association of Broadcasters (NAB) show in Vegas and we are reporting back all of the relevant information.
Check out the news at www.digistor.com.au/dsnabblab.

We’ll holding a special “Digistor NAB Blab 2014” webinar on April 23, so look out for an invitation to that or follow us on Facebook (www.facebook.com/DigistorAustralia) and Twitter (www.twitter.com/Digistorians). NAB is arguably the most important event on the digital media calendar, so we look forward to sharing the latest developments with ASE members.

Avid 5500 Trade-up and Save

Does your ageing storage system meet today's compatibility requirements? Trade in Facilis, EditShare, XSAN, Unity MediaNetwork, LANshare or other qualifying shared storage solutions and receive a credit allowance of up to towards the purchase of an ISIS 5500 32 or 64 TB system from Digistor. See www.digistor.com.au/Specials/AvidTradeuptoISIS5500.aspx
for further details or email: enquiries@digistor.com.au

Fast, Huge and Affordable Shared Storage
If you’re facing challenges in how to effectively store and share the huge amount of data generated in today’s file-based workflows, then an Infortrend EonNAS could be ideal for you. We have a current special where Digistor will provide 6 X 2TB drives (12TB total) at no additional charge. See www.digistor.com.au/Specials/InfortrendEonNAS3012SE2Bundle.aspx for details or email enquiries@digistor.com.au

Infortrend has just announced support for 6TB drives! This means we can install 72TB in one 12-bay enclosure.

3D Compositing Special - Adobe After Effects CC with CINEMA 4D

We’ve just announced a special where Adobe CC users can upgrade from the included CINEMA 4D Lite to the full CINEMA 4D. Save up to 25% when upgrading to CINEMA 4D R15 Broadcast or Studio by May 31, 2014. Even greater savings of up to 40% are available for those who also sign up for a MAXON Service Agreement in combination with their upgrade. Email enquiries@digistor.com.au for details. Check out www.digistor.com.au/promos/CINEMA4D_LITE_Upgrade_Special-April14/CINEMA4DLite_Why_Upgrade.pdf for more reasons to upgrade.
 

Digistor Training

Digistor Professional Training – Avid Media Composer for FCP Users, Advanced After Effects, CINEMA 4D, daVinci Resolve and more

Digistor is Australia's leading supplier of professionally supported solutions for the creation, management, storage and delivery of digital media. Servicing the film, video post production and broadcast markets, Digistor provides specialised services including installation, training and support of non-linear edit suites and finishing tools including Adobe, Apple, Autodesk and Avid.
As a service to customers we run classroom style training courses together with specialist onsite training to suit your requirements. Don’t delay, get up-to-speed quickly with Digistor’s professional training services for businesses and individuals. All ASE Members are entitled to 10% industry discount.
 
Scheduled courses include the following (book via our Training page - digistor.com.au/training)


Advanced After Effects Workshop  (2 Days)  - Tuesday May 20th & Wednesday May 21st

DaVinci Resolve Fundamentals (1 Day) & Advanced (1 Day) - Dates TBA shortly

CINEMA 4D Essentials – Thursday May 1st, Thursday May 29th or Monday June 30th

CINEMA 4D Extension – Friday May 2nd, Friday May 30th or Tuesday July 1st

Avid Media Composer for FCP Users- Monday April 28th or Tuesday May 27th

For further information, to take advantage of the ASE discount or to discuss alternative custom training options, please contact:
Sarah Palmer, Training Manager

sarahp@digistor.com.au
02 9431 6032

 



 
 AFTRS Open logo





 
EDITING & VFX - AFTRS OPEN SHORT COURSES
AFTRS Open has Editing and VFX courses in the coming months in Sydney, Melbourne and Adelaide. Course highlights include: VIZRT: INTRO TO VIZARTIST plus FINDING ANIMATION with PIXAR artists, both in May, and the brand new one dayer CINEMA 4D LITE/AFTER EFFECTS CC INTERGRATION in June.

FINDING ANIMATION is an exciting opportunity to be guided by and to network with two of Pixar’s most talented story and animation artists, and Hollywood story consultants. This great course is coming to Sydney, Melbourne and Adelaide so don’t miss out!

ASE members receive a 10% industry discount on all AFTRS Open short courses.

To view all AFTRS Open VFX courses visit the website http://www.aftrs.edu.au/short-courses

 
***EXCLUSIVE MASTERCLASS***
Finding Animation with Pixar artists
http://www.aftrs.edu.au/short-courses/short-courses-list?query=pixar
This three day event is a rare opportunity to learn and network with some of the best in the business - Pixar artists, Matthew Luhn and Andrew Gordon plus Hollywood script consultant Bobette Buster. The masterclass also includes local Australian artists and industry experts including Peter Viska (Viskatoons), Malcolm Turner (Melbourne International Animation Festival), Morgan Jaffit (Defiant Development) and Christy Dena (Universe Creation 101). This course offers comprehensive lectures with live-action and animated demonstrations, inspirational evening talks and a full day of elective practical workshops.
24 - 26 May, Sydney 
more information http://www.open.aftrs.edu.au/course/G624
28 May, Adelaide 
more information http://www.open.aftrs.edu.au/course/G626
29 - 31 May, Melbourne
more information http://www.open.aftrs.edu.au/course/G627
 
Don’t forget ASE Members are entitled to 10% off all training courses!
   
 

ON THE WEB


Getting Started: An Editor's First Trip to the NAB Show:
http://www.avidblogs.com/nab-2014-editors-first-trip-nab/

 
 








WHAT IS THE MPIBS?
It’s your benevolent society. Founded in 1931 by people working in the motion picture industry, the Society provides financial and emotional support to currently employed, or retired, members of our industry - exhibition, distribution, production or post-production - who have fallen on difficult times and have a genuine need.

http://www.cinemapioneers.com.au/mpibs/

 

enews archive

Missed an edition of our monthly eNEWS? Never fear - it's all in the cloud!
http://www.screeneditors.com.au/news-events/ase-enews/

 

Our Sponsors

Deluxe The Editors Avid Autodesk Blue Post
Digistor Adobe Two Dogs Video Craft Roar Digital
Spectrum Films Langoor  

We would like to thank our Sponsors for their invaluable support of our Guild.
Copyright © 2014 Australian Screen Editors Guild, All rights reserved.


Got a Story?
Send contributions to:
newsletter@screeneditors.com.au

  
unsubscribe from this list | update subscription preferences