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eNEWS #50  -  MAY 2014

In This Issue

Welcome from the ASE
State Updates
Meet the ASE Community
Meet the Sponsor
Event Report
Upcoming Events
Sponsor Updates
The Production Book
We want to see where you work

Find an Editor
Place a Job Ad

Join the ASE
Greetings Editing Friends,
I am currently working in London at Ealing Studio’s. It’s spring over here and incredibly beautiful. The studio has been around since 1902 and it is the oldest continuously working studio facility for film production in the world. Best known for classic films produced in the post WW2 years it was taken over by the BBC from 1955 until 1995. Many films have been shot here since including Notting Hill and Shaun of the Dead. Downtown Abbey also uses it for their downstairs work. John Scott ASE told me recently it was where he first saw snow.

History aside, I believe our cutting rooms in Australia are amongst the best in the world for light, space and comfort. Mine in Ealing is a decent size and has a window that opens, but my first assistant Dave Birrell has a small windowless cupboard which only fits two people into it when they stand up side by side. He has made this small space into a divine haven, just a pity only he can fit into it. Jane St Vincent Welch ASE has created a section in the newsletter for pictures of your workspace, more on that down the page.

The survey on a new awards category has been counted and here are the results —

42.72 % voted for a new award for Best Editing in Television Comedy

19.42% voted for a new award for Segment Editing

32.04% voted for a change to the Open Content award to divide it into Open Content Factual and Open Content Fiction.

5.83% asked for another award entirely.

As we can only do one new award this year, based on your votes, we will add Best Editing in Television Comedy. The 2014 Wages and Conditions survey will be out soon so please fill it in.

I was working in Adelaide recently and was lucky enough to attend the Rising Sun - Gravity event. 
It was inspirational, informative and had a huge turnout. Thank you to Sean Lahiff for organising.

Have a great month and remember if you have anything to share or discuss please contact us. To quote an ex president, “lets take great comfort in supporting one another”. Keep warm.
Dany Cooper ASE
ASE President 

State Updates


Another bumper month ahead for the ASE in Victoria. 

We are running a panel on editing short films at the St Kilda film festival on Wednesday 26th of May at 6:30pm, at 2 Chapel St. St. Kilda (the old church hall opposite the Astor Theatre).

Then on Sunday June 1 at 2pm we head back to Backlot for a full screening and Q and A with editor/DOP Bryan Mason of the acclaimed new film 52 Tuesdays - winner of the Crystal Bear at the Berlin International Film Festival and one of the most innovative films in years. This is a joint event with the ACS so demand for seats is expected to be high. RSVP to to secure your spot. 

Thanks to all those who attended the screening of Canopy and Q and A with Cindy Clarkson. We hope to see you all again at our two upcoming events and the many more we have planned over the course of the year. 

Steven Baras-Miller

Victorian Committee


After an awesome evening at Rising Sun Pictures earlier in April, South Australian Screen Editors have had a flurry of activity come to the state.

Sadly our President Dany Cooper went back home to Sydney after the Untitled Jim Loach Project wrapped, but not before gracing us with her company and public speaking skills, introducing the ASE evening at RSP - Thanks Dany!

We've now got another ASE Committee guest from interstate who is certainly no stranger to Chinatown's best beef-noodle soup stand. Scott Gray ASE has flown-in to continue film editing on his next feature film Fallen - Directed by Adelaide's Scott Hicks.

Epic Films' Wastelander Panda has officially begun shooting. 6 Miranda Drive is also underway, being shot in Los Angeles and being edited in Adelaide & Melbourne, and The Pack - a film by producer Michael Robertson is heading our way later this year. It has been great to see this continual bubbling hive of production in our state so our editors can keep busy (and a roof over their heads).

A big congratulations to Krystle Penhall, whose short documentary Dog's Body was nominated for Best Documentary at this years South Australian Screen Awards. Krystle edited and produced this touching story. As man's best friend, dogs are widely embraced as beings of innate kindness, loyalty and unconditional love. We will test these traits first hand as Matt, and eighteen year old boy affected by autism, shares the secrets of his friendship with Finn, his autism companion dog. Can a dog teach him the safety, comfort and love he can't learn from his human family?

Bryan Mason's 52 Tuesday's has continued it's whirlwind of popularity by hosting an intimate screening with Q&A for South Australian film industry folk, as a prelude to their theatrical release on the 1st of May. 52 Tuesday's has been nominated for Best Feature at this years South Australian Screen Awards.

Sean Lahiff
ASE SA Committee Member


Meet the ASE Community


Meet The Member: Deon Phillip

Hi everyone! My name is Deon and I have been in television full time for 5 years, I started off as a facilities Assistant before moving into Edit Assisting and then into Assembly/Junior Editing which is where I am at currently. I hope to be a real editor one day and am working towards that goal.

I knew I wanted to work in post when…
When I was sitting in the cinema watching another movie, one of the many movies I had watched that summer. All I remember is walking out of the cinema and deciding that I wanted to be an Editor.

My first break in the industry was…
About a month after I finished Uni, I used to work in a Video store and one of the long term customers was a producer (I didn't know what that meant at the time). He was able to get me a two day internship on a set, I interned on that set for a total of 7 weeks and the production company offered me a job as a facilities assistant after that.

The thing I love most about editing is… 
Just being able to emotionally push the audience the way you want them to go and the little tricks you can use to create different things like a change in space, time or rhythm.

The best tip I’ve got for aspiring editors is.. 
Work hard, and learn as much as you can from all the different technical schools of post: online, offline, sound.

If I wasn’t in postproduction I’d be…
This was a tough question, I have never really thought about where else I'd be.



Meet The Member: Bruce Flint

I started editing on Umatic with a sony controller 2 machine, editing news segments for a South African Broadcaster during the last few years of apartheid, that really taught me the foundations of editing. 

Next I headed into the world of Ampex 4100, Grass Vally 200 with a CMX3600 or Paltex and lets not forget the fabulous ADO. Ahhhhh I hear all the linear editors going…. Now I was editing music videos for Jo Cocker, Sting, Midnight Oil, Chris de Berg, Tina Turner, The Stones and many more…. Rock and Roll babe!

Slowly the technological god in the sky removed all my toys from my somewhat grandiose edit suite and replaced it with a Henry and an Editbox, so I headed into the ad land. Eventually, I spent some time in a production role, which was chaos! It was a bloody nightmare! I plastic wrapped keyboards, blue tacked pencils… So naturally I opened up my own production company. I produced and directed really incredible commercials however it came time to leave South Africa and head back to my trade in Australia. I was offered the position as manager and senior editing at Firstlight in Perth, about 7 years ago. I have subsequently bought the business and grown the business into a full service post house. Fortunately for the production staff I am editing, not running the production office, so they are mostly spared from my blue tack and plastic wrap antics.

I knew I wanted to work in post when…
I walked into the broadcaster looking for a job as a sound engineer only to be analyzed as being tone deaf due to a well spent youth clubbing every night. 
Thank god I still have retinas….
My first break in the industry was…
I break my liver a lot !!!!!! So it must be that, can't think of any other breaks. 

The thing I love most about editing is… 
Cutting a version without reading the script. Man, I make some crazy shit up.  

The best tip I’ve got for aspiring editors is..
Look through all of the rushes, the real gold could be lying well before the clapper or after they call cut on set. 

If I wasn’t in postproduction I’d be…
A flyfishing guide in Exmouth.  


Meet The Committee: Nick Barber

I knew I wanted to work in post when…
At film school I was lucky enough to be involved in a number short narrative films and documentaries. The way you could ‘construct’ a film in the edit really fascinated me, particularly in documentary. For one project we did a number of interviews, which we painstakingly transcribed. We wrote down the best bits on flash cards and stuck them up on our office wall. By moving them around on the wall, and swapping them around we were able to ‘edit’ the narrative of the interviews. This was then pasted down into our ‘bible’ and formed the basis of our first assembly. It was a heap of fun seeing our film up there on the wall, and I often see this as a defining moment for where my passion for constructing films began. 

I specialise in…
I work full time at Iloura, as a VFX editor. I'd like to edit factual and documentary productions, and I have always had a passion for fictional editing. To become an Editor through Editing Assistant roles is how I'd like to proceed from here. 

My first break in the industry was…
Roberta Horslie ASE, was a lecturer of mine at Swinburne. At the start of the my Honours year we talked a lot about what the current state of the industry was, and what kind of career paths could be forged in post production. Once my year was complete she put a good work in for me with Ineke Majoor, an Executive Producer at the Visual Effects Studio Iloura. Fortunately they needed a Data Wrangler so I was able to walk right out of uni and into a casual contract working on Hollywood feature films. It was very lucky!

The highlight of my career so far…
Signing my contract to come on as Iloura’s VFX editor for Spongebob Squarepants. It was my first full time contract anywhere and it meant I could stop worrying whether I was going to be working or not every other week. I had to learn Avid for this job very quickly and it turned out to be a trial by fire. I see this as a huge step for me though and I’m very grateful for the opportunity. Hopefully it leads to many more!


Meet The Sponsor: SPECTRUM FILMS

Spectrum Films is excited to be celebrating its 50th birthday in 2014 - the company was founded by Hans Pomeranz in December of 1964.

The team at Spectrum Films, Adam Scott, Josh Pomeranz, Naomii Sinclair & Rob Puru.

It was an emotional year for Spectrum in 2013, with the retirement of Mike Honey and sadly, the passing of long time sound partner, Andrew Plain. After 16 years with the company, Mike was bid a warm farewell from industry friends and colleagues at the 2013 ASE Awards, where he was presented with the Guild’s Lifetime Achievement Award.

Andrew was given an emotional send off at Hoyts EQ with speeches and a fascinating documentary screened detailing his life. Afterwards 250 people gathered at the Spectrum cafe to celebrate the life of the talented sound designer and great man. Andrew’s company Huzzah Sound, is now being run by long time Andrew protégée - Will Ward.

Replacing Mike Honey, Spectrum is proud to announce the appointment of new General Manager, Adam Scott, previously Director of Broadcast Operations at FOXTEL and Head of Digital Intermediate at Park Road Post. Adam’s unparalleled industry experience guarantees outstanding support for Spectrum clients as the company portfolio continues to thrive.

Adam has been hard at work over the last 5 months installing in Spectrum’s new grading suite the only 4K Mistika in the country as well as the latest Dolby colour reference monitor. Spectrum will be grading and finishing its first feature in July, and are already fielding many enquiries.

Led by Managing Director, Josh Pomeranz, Spectrum is a team that boasts unrivalled technical experience and client support for the biggest names in the industry. Located on the Fox Studios lot in Moore Park, Spectrum has gained a profound international presence in television and film, making it's name as the editorial host of major motion-picture titles including The Great Gatsby, Railway Man, The Sapphires, and most recently Russell Crowe’s directorial debut, The Water Diviner and Alex Proyas’ Gods of Egypt (both currently in post). Recent broadcast projects include Love Child, Old School, House Husbands, A Place to Call Home, Wentworth.

Now focusing on the next 50 years, Spectrum continues to grow as a strong player in an industry that demands constant innovation and growth.

Spectrum have had a wide variety of projects in house over the last 12 months. How does Spectrum approach different work flows?

Spectrum approaches each project individually, however each has the same core foundation of data storage and personalized management. By meeting with productions as early in the process as possible, it allows Spectrum to tailor the approach while providing a consistently high level of technical infrastructure and expertise.

Recently, Spectrum were involved with camera and workflow tests of the new Red Epic Dragon camera which outputs 6K resolution files. This created a new workflow due to the high data rates and storage required to manage these files. 

Spectrum has now established a file data management system to flow into editorial, with the Mistika and Dolby monitor providing the grunt at the backend for broadcast and feature projects. In fact, with our mixing theatre and sound design suites, we have customised our workflow so that you won’t have to leave the building. The only thing we can’t do is film prints.

What do you think the biggest issue/s are in the post production industry at the moment?

Spectrum prides itself on keeping up with the latest technology and invests heavily in R & D. While the constant evolving of various post paths is hugely challenging, it forces you to innovate and be immersed in events and panels to keep up-to-date.

The high dollar has been an issue, but government has been supportive of attracting large productions to these shores as evidenced by Gods of Egypt, San Andreas in Queensland, and the Sun and the Moon in Victoria.

The industry would not be as it is without the robust broadcast industry creating some amazing high end productions such as Love Child, A Place To Call Home and House Husbands. It’s great to see it doing so well.

Event report

DATELINE: Wednesday 9th of April 2014
VENUE: Rising Sun Pictures, Adelaide CBD

When Gravity won the Academy Award for Best Achievement in Visual Effects at this years Oscars, the winner Tim Webber thanked the Adelaide company Rising Sun Pictures (RSP), who contributed towards the film. But Gravity is not the only high profile project that RSP has worked on; their showreel includes other major blockbusters such as the Harry Potter films, The Hunger Games, Prometheus, The Wolverine and The Great Gatsby. So it was with great excitement that the SA branch of Australian Screen Editors hosted a function at RSP to find out some of the secrets behind the magic. It was hosted in Rising Sun Picture's custom built 60 seat Digital Intermediate theatre.

VFX Producer Ian Cope got the evening started with an introduction to the history and story of Rising Sun and then showed a series of images from Adelaide. One of the most remarkable things about the story of RSP is that they are based in one of Australia's smallest capital cities, but yet have managed to work on some of the biggest Hollywood blockbusters of the last decade. Unfortunately for those looking for the secret of the quick road to success, you will be disappointed learn there is no such thing. The team at RSP became top class VFX creators through hard work, unrelenting creativity and smart project management. The second speaker was Alex Meddick, VFX editor and Digital Services Manager of RSP. Together they showed the various editors and students at the screening a series of remarkably detailed before-and-after sequences of many of the scenes that RSP worked on.

DATELINE: Sunday 4th of May 2014
VENUE: Backlot Studios, Southbank

It was a cold Melbourne day as an excited crowd gathered to watch Aaron Wilson’s first feature Canopy in the comfort of wood grain and leather at Backlot’s state of the art 80 seat cinema. Eight years in the making, Canopy is set in wartime Singapore 1942.  

An Australian fighter pilot is shot down and struggles to survive and evade capture by the Japanese as he navigates the dangerous jungle. The film, through his eyes, explores the impact war has on humanity that transcends language and cultures.

After the screening Cindy Clarkson was introduced to the audience which also included director Aaron Wilson and producer Katrina Fleming. Cindy dived straight in the deep end by asking the audience what they thought of the film. It was like the opening bid at an auction and no one wanted to start, then after a laugh from Cindy came a voice. “I loved it”, from a younger audience member, “I really liked the sound”, said another and “It was really different”, from a dude in the front row.


Upcoming Events

EVENT: 1st June (VIC)

Free to members of the ASE and ACS. RSVP to


EVENT: Sydney Film Festival

Sydney Film Festival is online and on sale with over 180 films from 47 countries to choose from across 12 days June 4-15. Add red-carpet premieres, talks and special events and you have a celebration of the best in cinema from across Australia and around the world. Showcasing features, documentaries, shorts, animation and retrospectives, there really is something for everyone, at venues ranging from the State Theatre to the Hayden Orpheum Cremorne to the Skyline Drive-In at Blacktown.

Plus the Festival Hub at Town Hall returns, with over 25 free events, talks and performances over 11 days and nights. Come in from the cold and make yourself comfortable in exclusive designer furniture from Living Edge and Herman Miller. Enjoy a drink or a snack from the Festival Bar, see an exhibition, listen to a talk upstairs, visit the TITLE pop-up store and jump on the free wi-fi! The Hub opens daily 5-15 June.


EVENT: AFTRS new Bachelor of Screen Arts – Information Day

AFTRS – Australia’s national screen arts and broadcast School – is introducing a bold NEW Bachelor of Screen Arts degree for 2015, geared towards preparing creative people to be agile operators in a platform agnostic world. Deeply focused on the art and craft of storytelling the three-year program also provides exciting opportunities to collaborate with other students and be taught by some of the best screen practitioners, in the best facilities in Australia.

To provide the answers to questions specifically about the NEW Bachelor of Screen Arts the School is hosting an Information Day on Saturday June 28, where future students can:
  • Speak with academic advisers
  • Gain an understanding of how an AFTRS degree can lead to a rewarding career
  • Get the facts so you can make a fully informed decision for 2015.

FREE. Saturday June 28, 10am-2pm, AFTRS, Building 130
The Entertainment Quarter, Moore Park (Entry via Lang Rd)

Voted the top #20 film school in the world, by industry bible The Hollywood Reporter (in October 2012), AFTRS presents unrivalled opportunities for students to network and form life-long professional relationships.

Entry is by merit selection. Applications for 2015 will open in September 2014.

More information:

SponsOr Updates


Digistor Training

Digistor Professional Training – Avid Media Composer, 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 -

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

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

Avid Media Composer for FCP Users Bridging Day - 27 May 2014

CINEMA 4D Essentials - CINEMA 4D 29th May or 30th June 2014

CINEMA 4D Extension – 30th May or 1st July 2014

For further information, to take advantage of the ASE discount or to discuss alternative custom training options, please contact:
Sarah Palmer, Training Manager
02 9431 6032

Workshops and more

Seminar: Media Management for Remote Workflows with EditShare
10am Wednesday 14 May at Digistor Sydney
Limited places. To book, contact Matt Wodd at Digistor 
by email  or call him on 02 9431 6003.

Webinar: Venice - The Future of Ingest and Production Servers
11am Thursday 22 May 22

Register now:

Presentation/Workshop: Chaos V-Ray - Sydney/Melbourne
26 and 27 May in Melbourne. 2 and 3 June in Sydney
Contact Andrew Hogan at Digistor 
by email or call him on 02 9431 6025 to reserve your place.

Affordable Shared Storage for Studios
Media production consumes huge amounts of disks space and it’s a challenge to provide storage to keep files available to all at an affordable price. Enter EonNAS from Infortrend. And until the end of June, Digistor is throwing 12TB (6 X 2TB hard drives) at no additional charge. 

NewTek TriCaster and 3Play Ex-Demo Clearence
Digistor is clearing demo stock of TriCaster (live production and switching) and 3Play (slo-mo replay). 
See the full list

Upgrade Your Ageing Storage to Avid ISIS
Do you have ageing Facilis, EditShare, XSAN, Unity MediaNetwork, LANshare or other storage solutions that you would like to upgrade to Avid ISIS. We’re offering trade-in credit on qualifying storage towards the purchase of an ISIS 5500 32 or 64 TB system. 

Digistor is Hiring
If you or an associate is looking for a move into Sales, Digistor has a couple of positions available for different experience levels. 


 AFTRS Open logo

AFTRS Open has Editing and VFX courses in the coming months in Sydney, Melbourne and Adelaide. May course highlights include: CINEMA 4D ADVANCED and FINDING ANIMATION with PIXAR artists plus in June there’s the brand new one dayer Cinema 4D Lite/ After Effects CC Integration.

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

To view all AFTRS Open VFX courses visit the website

Cinema 4D Advanced
A course designed for those who would like to further their knowledge of 3D and gain more of an understanding about what CINEMA 4D is capable of. Ideal for artists, designers and editors, studio producers and freelancers.
17 - 18, May

Finding Animation with Pixar artists
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 and a number of local Australian artists and industry experts.
24 - 26 May, Sydney
28 May, Adelaide
29 - 31 May, Melbourne

Avid for Final Cut Pro editors
This one-day course is designed for intermediate to advanced Final Cut Pro editors wanting to broaden their skillset to include Avid Media Composer. In this intense ‘bridging course’ editors who are already familiar with Final Cut pro can quickly learn Media Composer 7 and thereby expand their knowledge base and flexibility.
31 May

Editing in Factual TV
The demand for good editors in the world of factual and reality television has risen dramatically in recent years, and the supply of quality editors never seems to meet demand. Jas Shennan, an editor with decades of experience in the world of TV and film trailers will give you an insight into: the role of the editor across a variety of (non drama) TV genres and the skills necessary to work as a successful editor in todays fast-paced industry.
7 - 15 June, 3 sessions

Cinema 4D Lite/ After Effects CC Integration
If you have the latest version of 
After Effects CC (Creative Cloud) then you might not even realise you have a slimmed down version of CINEMA 4D (C4D) Lite. This course will show you how to build a motion graphics sequence in C4D Lite, progressing from initial object modeling, to animation, lighting, camera rigging, texturing, and final render.
20 June

This two day intensive course is an introduction to the basics of using Premiere Pro and is designed for absolute beginners.
21 & 22 June

To view all current AFTRS Open courses visit the website

Don’t forget ASE Members are entitled to 10% off all training courses!

the production book


The LATEST Production Book iPad app now out and available as a free download!

The Production Book continues to be the most widely used and recognised directory for all things film and television.  This year the app has undergone significant improvement to best address the needs of an ever-growing and evolving industry in Australasia.  

New features include:
- Personal notes against listings can now be saved to the iCloud so they are not lost when the app is updated
- The app will be updated every three months so the listings are the most current in the industry 
- Actors and their agents have been added as a category. 
- Digital Media and Grip Cranes charts have been added to the charts for pre-existing sunrise/sunset times, phases and apsides of the moon, tides and international clothing measurements, amongst others
- A dedicated New Zealand section

The Production Book is the only directory of its kind in this space. Now in its 25th year,  It is a trusted resource that is known to be current and relevant whose subscribers include key decision-makers from every facet of the industry from production to executive roles, as well as significant international subscribers shooting foreign productions locally. Wherever they are or whatever they need The Production Book is with them in one format or another.

Download the app today




We want to see where YOU work

Editors are known for their different and often interesting work spaces so thanks to the brilliance of Jane St Vincent Welch, we want to feature the most interesting workspace here on the eNews each month. So post your photos on the Australian Screen Editors Facebook page or email them to


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.

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