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Screen Editors
eNEWS #60  -  APRIL 2015

In This Issue

Welcome from the ASE
State Updates
• Industry News
Meet the ASE Community
Get Involved
Event Report
On the Web
Sponsor Updates
Education and Training

Find an Editor
Place a Job Ad

Join the ASE
The Turning

'Deadline Gallipoli' edited by ASE Members Dany Cooper ASE and Martin Connor.

Promote your project! Supply an image for the eNews & ASE website here:

Greetings Editors,

Hoping that you are all having a prosperous and sane April.

On Thursday March 19 at the AFTRS Theatre, Jane St Vincent Welch ASE and myself interviewed Matt Villa ASE and Deb Peart ASE (this year's drama AACTA winners), about their work on Predestination and The Code. Read about it in an article penned by James Sutton down the page. It was a strong event and a great start to Editors on Editors.

The idea behind Editors on Editors is to put us on stage to talk about our work in detail with questions asked by actual editors. The answers are complex and incredibly interesting. If anyone would like to volunteer to be part of such an event whether as interviewer or subject then please get in contact with us. 

People often ask the question: 'How do you cut comedy?'. Here is a great article with Brent White about just that, from the New York Times Magazine.

We are here for you. Get involved ... don’t be shy. Let us know what you want. The newsletter needs your contributions. If you can edit, you can write. We’d LOVE to hear from you.

Regards and have a great month. 
Dany Cooper ASE
ASE President 

State Updates


Easter has brought two new members to the South Australian committee of the ASE - Krystle Penhall and Karen McKay. We’re excited and gaining momentum here in S.A, now all we need is the next influx of productions to kick off…then we’ll be laughing!  

Krystal has just finished editing an episode of Luke Jurevicius' award-winning animated series The New Adventures of Figaro Pho, and Karen is just finishing up her editorial work on A Month of Sundays as it quickly approaches it’s conform, grade and mix next week. Starring Anthony LaPaglia and directed by Matthew Saville, A Month of Sundays is being edited by Ken Sallows ASE.

Cleland Jones is busy editing on the Network Ten Comedy-Adventure animated TV series 1001 Nights, which is a co-production between Chocolate Liberation Front (Australia), Hahn Film (Germany) and Toonz Animation (India). It'll comprise of 26 half hour episodes and is expected to complete production in 2016.
Feature film 52 Tuesdays, edited by Bryan Mason has just been released theatrically in the U.S and Super Sounds, a short film edited by Sam Matthews has been selected for screening at the San Francisco Film Festival and the Magil Sunrise Rotary’s The Reel Event this year.

With OZ COMIC-CON having just devoured Adelaide, we were treated with Adelaide’s own Danger 5 and VFX heavyweights Rising Sun Pictures in attendance. The cast from Danger 5 returned to celebrate their final season in their home town! The cast and creators also hung around after their Q&A for a complimentary autograph session. On Sunday Rising Sun Pictures presented a Visual Effects Breakdown for their academy award nominated work on the Quicksilver sequence in X-Men: Days of Future Past.

The nominations for the South Australian Screen Awards (SASAs) are upon Adelaide for 2015. The Best Editing nominees are David Scarborough for Wastelander Panda - Exile, Veronica Buhagiar for The Little Girl and Sean Lahiff for the short film he directed - Too Dark (which has also been nominated for Best Short, Best Comedy, Best Screenwriting, Best Cinematography, Best Performance and Best Sound Design). With 3 of the 5 Best Editing nominees being Australian Screen Editor folk, the odds are looking good for scoring a gong for team ASE!

SA Committee


Greetings fellow National and Sunshine State editors!

On Sunday 12 April, our sunny chapter of the ASE arranged a fascinating editor-director seminar as part of the Gold Coast Film Festival. This event went inside the edit of two hotly anticipated Queensland productions: feature film The Fear of Darkness and feature documentary Frackman. Both films premiered at the festival - world premiere for
The Fear of Darkness and Qld Premiere for Frackman. Committee member Simon Smith’s summary of the event is under the Event Report.

Upcoming Qld event

We’re currently in discussion with ABC-TV regarding an upcoming ASE Qld event that aims to highlight the post-production work carried out at ABC’s Qld Headquarters in Southbank. This will offer a unique insight into the editing of some of ABC’s most popular long and short-form productions. Exact time, date, key participants and further details will be made available as soon as event has been confirmed. Stay tuned!

Until next time,

Axel Grigor
Queensland chair




The nominations for the South Australian Screen Awards (SASAs) 2015.
The Best Editing nominees are David Scarborough for Wastelander Panda - Exile, Veronica Buhagiar for The Little Girl and Sean Lahiff for the short film he directed - Too Dark (which has also been nominated for Best Short, Best Comedy, Best Screenwriting, Best Cinematography, Best Performance and Best Sound Design). Congratulations to all.

ADG nominations are out. The ASE congratulations all nominees!


Thanks to Fiona Strain ASE (Editing) & Stuart Waller (Sound) for being part of the NSW Screen Committee and Mark Edwards (Sound) for being on the Vic Screen Committee.

It’s fantastic that both picture and sound have a voice, on these panels, especially on future developments, which will affect all of our working rights and conditions.


(NSW) THE SUNDOWNERS DRINKS will kick off at 6pm on Friday 22nd May at the Bavarian Cafe Bent Street Entertainment Quarter. We had a great turn out last time and hope to see you all again. New members ~ this is a great way to meet other members and ~ it’s a great way for old members to get to know even older members. Look for the red balloon. 


While the full program won't be announced until May 6, you can check out some of the films screening at this year's 62nd Sydney Film Festival here... Note that the festival presents Ruben Guthrie, opening night film, edited by Peter Crombie, Slow West, edited by Roland Galois ASE and Strangerland, edited by Veronika Jenet ASE.


The ADG Awards Presentation Ceremony which is being held on
Friday 8 May in Melbourne 2015, at the Sofitel-on-Collins Hotel, Melbourne. Arrivals for pre-ceremony drinks from 5pm Ceremony starts promptly at 6pm
 Gala Dinner starts at 8pm Black Tie
To buy tickets for the dinner ($135 for Guild members) please go to the Moshtix website here. mc_cid=58e4438faf&mc_eid=5b058785e2

If you have information that you would like published in INDUSTRY NEWS or WHAT'S ON whatever your state, please email



Meet The Member: Bonnie Fan - NSW

I'm a freelance Editor and Assistant Editor

I knew I wanted to work in post when…I took a full-time unpaid internship for 8 months just to get my foot in the door - not recommended.

My first break in the industry was… First job that didn't involve any significant nepotism was as an Assistant Editor at the ABC for the amazing (and extremely tolerant) Leanne Cole. I rate the experience 5/5 stars! 
The thing I love most about editing is… The ability to bend the material to your will. 
The best tip I’ve got for aspiring editors is… None of the jobs I've had since film school were advertised, so have a go at 'networking', even if you're crap at it.
If I weren’t in post production I’d be… Airforce.

Meet The Committee: Christopher Mill - NSW

I’m originally from Perth and moved east 13 years ago for work. I have lived and edited in Melbourne, London and now Sydney. I attended AFTRS in 2003/4 where I received my MA in drama editing. Since then I’ve spent my time cutting factual, documentary, short films and the odd feature. 

I knew I wanted to work in post when…I was attending Curtin University in Perth. Our first project was a short film and I didn’t want to direct, shoot or do sound (I never did enjoy being on set that much!) so I was given continuity to do. When it came time for Post the roles were changed and I was given editing. I fell in love straight away with being able craft and create something from what had been captured on set.

I was also very fortunate because it was shot and edited on 16mm film so I got to edit on a Steenbeck, which is a great way to learn editing in its purest form. It’s something for which I am very grateful today, especially in hindsight. 

I specialise in… Although my great passion lies in drama and comedy editing the reality (please mind the pun) with the majority of my work is in documentary and factual. It’s always such a fascinating genre to work in, where you work on a varied amount of subjects (and normally I learn a lot too!). And although not my first choice of genre I always remember what a great teacher once said, “If you can get drama out of reality, you can get drama out of anything”.

My first break in the industry was… 
Working weekends for free in the Channel Nine News Exchange back in Perth. It was very exciting as an editing youngster watching the rush of the news being made everyday. Last minute stories would be brought in by the camera crews, which needed to be ingested and edited in what seemed like only a matter of minutes. I still remember the fear I had when I had to roll something live on air - it was only pressing play on a tape deck but it was terrifying to a newbie such as myself!

The highlight of my career so far… The editing work wasn’t that complicated or fulfilling but I have had the amazing chance to live in Delhi for a month editing at the 2010 Commonwealth Games and then I also spent a month in London for the 2012 Olympics. Both are amazing places but both very, very different beasts.

I was inspired to join the ASE committee… I have recently rejoined the committee (after a previous 8 years between 2003-2013) to just get back onboard and help out – especially with social events such as the Sundowners. However, initially back in Perth in the 90’s we didn’t get any talks or screenings by other editors and I always felt envious of the eastern states and their “frame by frame” talks. At that stage we had no WA branch so when I moved over east the first thing I wanted to do was to help out and get involved and hopefully learn from some of those fascinating people. 

The ASE is important… I believe the ASE can provide support and education for both the current and next generation of editors.


Want to share your knowledge with a new generation of editors? Become a Mentor!

Mentors are always needed and the ASE is looking for mentors from all over Australia. Express your interest here:

The ASE eNews is also on the look out for contributions from members to make the best newsletter possible. But we need your help to make it happen!!! You can contribute to the following sections:


Editors are known for their different and often interesting work spaces so we want to feature the most interesting workspace here on the eNews each month. Do you have a funky home office setup? Or maybe you're working on a beach on some remote island? Post your photos on the Australian Screen Editors Facebook page or email them here


Profiles on Editors and Assistant Editors from all over Australia, as well as current Committee members. Send contributions here


Sharing links, articles, videos and anything of interest to the world of Editing! Send contributions here


The guild is endeavouring to increase interaction with members, so please email any questions/suggestions that you have regarding the Guild, eNews and website to: Every month we will publish an answer to a FAQ that you have asked.

If you want to be involved with the guild on the ground level, consider being a "Friend of the Committee" and email your interest to our President Dany Cooper ASE:  



Deb Peart ASE with Matt Villa ASE

March 19th 2015
AFTRS Theatre, The Entertainment Quarter

by James Sutton

Every time I walk into the AFTRS theatre I always stare lovingly at the old brick wall that’s on the right as you walk down the long hallway to the entrance. It’s the only remaining piece of a show ground building that was demolished to make way for the new AFTRS building that was built in 2005/2006. I always try and remember what it was like going to the Royal Easter Show when it was at the Fox Studios site and all I can recall was going on the chairlift a lot and also having a quota of 4 show bags each year and being very very scrupulous about which bags got a green light.

Tonight I’ll choose to forget the contents of the Cadbury or Coke showbags (perish the thought – sugar filled rubbish – I always wondered why in Requiem for a Dream they talked about “the white death”.

I’m at the AFTRS theatre for the first of this years ASE’s 'Editors on Editors' series with Deb Peart ASE talking about her work on the recent ABC series The Code and alongside Deb is Matt Villa ASE discussing his edit on the recent Spierig brothers film Predestination.

On stage asking the questions is Jane St Vincent Welch ASE and also Dany Cooper ASE. The night begins with both Deb and Matt showing a clip from each show and then asking how they came to be involved in each project. 
Read More


(L-R) MC Jane St Vincent Welch ASE, Matt Villa ASE, Deb Peart ASE, Dany Cooper ASE


Frackman and The Fear of the Darkness

April 12th 2015
Presented by Qld ASE as part of the 2015 Gold Coast Film Festival

by Simon Smith

INSIDE THE EDIT featured two Director/Editor teams. Chris Fitchett (w/d) and Brett McCauley (e) had just premiered their psychological thriller The Fear of Darkness the previous night to multiple gasps, screams and applause. With them were Richard Todd (d) and our very own QLD ASE sub-committee Chair Axel Grigor, who were about to showcase their acclaimed feature-length documentary Frackman directly after our ASE event. Scott Walton, who also edited Frackman, was unfortunately unable to attend as he was busy locking off another film.

QLD subcommittee member Charlotte Cutting insightfully hosted the discussion which was thoroughly enjoyed by a room full of eager film buffs.

Topics discussed focused on the Director-Editor relationship specific to the two productions, and highlighted the different processes necessary to cutting a documentary and drama. The audience was awed by the sheer vastness of what Axel faced in the cutting room when dealing with massive amounts of footage and a continually evolving storyline, and enthralled by insider techniques such as how Brett would use a slower rhythmic cutting to build a creepy atmosphere before hitting the audience with a shock cut.

Some highlights from the session...

CHARLOTTE: How closely does the final version of The Fear of Darkness reflect the script you were given at the start of the edit?

BRETT (e): Pretty close actually. We only ended up shifting a couple of scenes.

CHRIS (w/d): I had done a lot of work on the script over the years, so I knew it was pretty tight. 

CHARLOTTE: Axel, can you talk a bit about how you approached Frackman and how you whittled away the large amounts of footage to find the story?

AXEL (e): We had around 500 hours of footage for the project. Richard and I worked really closely during the edit to draw out a dramatic structure from the mountain of rushes, working out satisfying story lines for main and supporting characters etc.

Richard (d) - I was going through the footage in a separate edit suite - I’ve done a lot of editing on my previous films - and I would assemble what I felt was the most interesting footage into various timelines that I would then send across to Axel. 
Read More

(L-R) Axel Grigor, Richard Todd, Chris Fitchett, Brett McCauley, Charlotte Cuttting



Dorothy Spencer (1909 - 2002)

Between 1929 and her retirement in 1979, Dorothy Spencer edited over 70 films and worked with the directors Alfred Hitchcock, John Ford, Joseph L. Mankiewicz and Mark Robson and Elia Kazan among many others. Her credits  include  'Stagecoach', 'My Darling Clementine', 'A Tree Grows in Brooklyn',  'Cleopatra' and 'Valley of the Dolls'.






By Melanie Sandford ASE

Last year was a long, hot and sticky one for me. In mid March I flew into Yangon, Myanmar. For those not up to date with the name changes, read 'Rangoon in Burma'. It was around 30 degrees, the temperature climbing by the day up to 40. I’m familiar with the place  - and the heat - as I’ve been teaching at the Yangon Film School each year since the film school started in 2005.
I was there to edit and supervise the post-production of an 8x45’ local TV drama in a place which had once had a thriving feature film industry but hardly any production of TV drama.
During the oppressive military rule that lasted in Myanmar for over fifty years, one of the ways the military kept its grip on power was through lack of information and the spreading of misinformation. But by 2013, things had started to change.

By Fiona Strain ASE 

Last year I got a call from Melanie Sandford. She had been teaching editing at the Yangon Film School workshops in Myanmar for a number of years and was now involved in Myanmar’s first soap opera. Would I like to spend six weeks mentoring young Burmese film-makers in 'The Art of Documentary' course? It was a great opportunity to visit a unique place in the world, so it didn’t take me long to say yes.

Mel picked me up from the airport, it was monsoon season, so after settling into the taxi (no seatbelts- right hand drive car driving on the right-hand side of the road..), we headed into town, tyres swooshed through a massive pool of water which flew through the driver’s window into my face. Welcome to Yangon!

The students were enthusiastic beginners, some with a bit of film-making knowledge, all ready to learn the whole documentary process - from hunting down good characters, stories and locations, through budgeting, filming, scripting and of course post production. All in six weeks. 





Group It For Me! is an online service that maximises productivity by automating the grouping process for Avid Media Composer. It has been tried and tested on a variety of scripted and non-scripted projects, with its speed and proficiency continuing to amaze people in Film and Television industries all over the globe.




Latest version of the Production Book iPad App out now!

The Production Book has released its latest version of the iPad and iPhone apps with the most current details for all the listings.  It also includes UPDATED charts for 2015 for both Australia and NZ, including public and school holidays, tides, sunrise and sunsets, phases & apsides of the moon, latest grips crane chart and update on digital media explained.  Make sure you update to the latest version now! Go to:




Digistor Re-Brand, New Website and 25 Year Celebration: Special for ASE Members on New Webstore

2015 represents the 25th year of Digistor providing solutions to the broadcast, post and digital media industries. Many ASE members and the organisations that employ them have worked with Digistor over that time to provide some of the most loved content on Australian screens.

The marketplace and technology has dramatically changed over that time and in response these changes and to celebrate Digistor’s 25th year, the company has embarked on a new website, dramatically enhanced e-commerce store and whole new branding and positioning. Check out the new website at

You can read Digistor's blog about the rebranding at

To help celebrate the new webstore, Digistor is offering ASE members an additional 5% off their first on-line purchase. Simply enter the coupon code ASE5 on checkout. But hurry as the coupon expires on 1st May.

The Digistor Online Store provides effortless shopping for premium audiovisual, production, post-production, storage and digital media products at competitive pricing, so get online and now create.



Craft of Editing starts 09 May with Metro Screen.
In just four days you’ll have a basic introduction to editing using AVID, in a small class on computers with the latest versions, and a teacher that has been editing television shows for over 40 years.


Nuke X Intermediate 201

This Nuke 201 Intermediate 2 day course has been designed, together with The Foundry's Mariana Acuña and in consultation with captains of the industry, to meet the high demands of feature film and commercial industry's and fill their skills gap.

The foundation to successful VFX is to know the essential and fundamental skills of Motion Tracking, Rotoscoping, Keying and Frame painting.  

This hands on course will take you through these steps and those demonstrating that they have gained the skills required will receive a Certificate of Completion to add to their CV.

This is the first worldwide and will be delivered by The Foundry's Certified Instructor - Mariana Acuña

Look at Marian’s showreel pixelsbyme and course outline go to Labspace Nuke

Nuke 201 Sydney 21•22 May Nuke 201 Melbourne 25•26 May

Labspace has over 25 foundation and advanced courses published in both Sydney and Melbourne over the coming weeks

Go to

If you have any queries, email me -

Welcome to the Digistor Training Centre update. This month we are offering DaVinci Resolve Advanced Training for those who want to dig and a little deeper and discover why DaVinci Resolve is the name behind more feature films, commercials, television productions, documentaries and music videos than any other grading system!  
We are also scheduling the last of our Cinema 4D Express courses, a 2 Day Option at the affordable price of $495 (inc GST). Book Now as from May we will be rescheduling our 1 day series of classes which are more suited to busy production schedules.
We are also introducing our first Smoke Masterclass with Rob O’Neill in early May. If you would like more information please contact me. Rob is also available through Digistor for Smoke & Flame Training both remotely and onsite.
If you have any special training requirements please let me know and we can put you in touch with a trainer to suit.
We have a few places left for our Cinema 4D Express class to be held on 27 & 28 April. This class is amazing value priced at just $495 for 2 days training. For further info or to make a booking:

Digistor offers a 10% discount to ASE members for all classroom training

AFTRS Open logo



AFTRS Open Editing and VFX short course highlights between late April and May include: Introduction to Matte Painting, Avid Media Composer (V8) 110, Intro to Premiere Pro also TV Assistant Editor and Nuke Foundation. In June there’s Vizrt: Intro to Viz Artist and Avid Media Composer (V8) 101, in July there is Advanced After Effects. Plus if you’re freelance and need to get your paperwork in order don’t miss Running Your Own Creative Business in Melbourne and Adelaide. And that’s just a taste of the courses on offer!
For course details visit the AFTRS Open website:

TV Assistant Editor
The Australian TV industry is crying out for more trained and effective Assistant Editors. This 3-day, intensely practical course gives students a fast, but thorough, hands-on experience in the duties, technical skills and responsibilities of the Assistant Editor. No prior editing  experience is required.
1 - 3 May, AFTRS Sydney

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

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