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Screen Editors
eNEWS #63  - JULY 2015

In This Issue

Welcome from the ASE
State Updates
Industry News
Meet the ASE Community
On The Web
2015 Ellie Awards
Event Report
Sponsor Updates
Education and Training

Find an Editor
Place a Job Ad

Join the ASE
WA Sundowners
2015 Ellie Award submissions are now being accepted, click here for more information
Dear Members,

We are very pleased to have announced our Call for Entries for the 2015 Ellie Awards. You will notice a couple of new categories in the mix, these are Best Editing in Current Affairs and Best Editing in Reality Television.

We often have members asking why we don’t just create new categories as are deemed appropriate at will. Fundamentally this comes down to the number of judges we have available and this only increases by a small amount each year. The judging system is very unique to our awards, the panels are made up of accredited members and Ellie Award winners so it’s your peers judging your work, not the general public, not specialists in other fields but editors assessing editing. Its something I feel is very important to the integrity of our awards and something I believe shouldn’t be compromised but celebrated. We will continue to try and accommodate as many fields as we can over time.

Now in light of these new categories, it would be great to get the word out to as many of your colleagues as possible, even if they are not members, this is a perfect opportunity to join!  We have a printed copies of the Call for Entries flyers available, ideal for the lunch room and edit suite doors - so if you want some please let us know at and we’ll get them out to you. Alternatively, please email, post, print and pass on our flyer to all the editors you know, our awards are a great opportunity to be recognised for all that bloody effort that so often goes unnoticed.

Finally, on the subject of judging. Having been fortunate enough to be on several of these panels over the years, I do implore you to consider providing as much information about your submission as possible. Not just the ratio and the duration and the software, but those questions towards the end of the entry form that require a little more time to fill out (if you’ve left them blank in the past you’ll know what I mean!). These can honestly be very helpful in assisting the judges to understand elements of your work and the process you went through that they often have no idea about. What sets your submission apart, what are the difficult things that you had to deal with to get this piece cutting like butter (room temp butter of course). It’s obviously not the be all and end all, but taking some time to consider these questions can certainly assist the panel.

So end-dith the rant!

Yours in room temperature butter

Deborah Peart ASE
ASE President 

State Updates


On the 27th June the WA branch of the ASE hosted a Premiere Pro workshop presented by Adobe guru Jude Cotter. We were fortunate enough to be given free access to the Central TAFE media lab which enabled active participation by all the editors.

It was an excellent opportunity to look at the new evolution of the Adobe platform.

This event was so enthusiastically received that a follow up workshop on After Effects has been scheduled at the same venue on July 25th.

More event photos here

The WASA’s
On the 29th of June the 27th West Australian Screen Awards were staged at the State Theatre Centre of WA in the Heath Ledger Theatre

The Editing Nominees were:

Best Editing Short Form:
Lawrie Silvestrin ASE for KARROYUL
Joe Henderson for PALE BLUE EYES
Andre Chang Fane for THE AMBER SKY
Steven Hughes & Dominic Pearce TOP KNOT DETECTIVE
And the Winner was – Lawrie Silvestrin ASE for KARROYUL

Best Editing Long Form:
Merlin Cornish for PRISON SONGS
Lawrie Silvestrin ASE & David Fosdick for THE WAR THAT CHANGED US
And the Winner was – Merlin Cornish for PRISON SONGS

'Karroyul' Editor Lawrie Silvestrin ASE with director Kelrick Martin and DOP Torstein Dyrting

David Fosdick
Western Australian Chair



August begins with an editing masterclass with Mark Atkin ASE as part of the Melbourne International Film Festival on Friday the 7th of August at ACMI.

Mark is one of the most sort after drama editors in Australia today with credits including the new ABC series Glitch, The Slap and Mrs Biggs. It is sure to be one of the highlights of the festival.

Tickets on sale now through the Melbourne Film Festival here

A big second half to 2015 is coming up for the ASE in Victoria.

It all gets underway with the 25th anniversary screening of Death in Brunswick at Cinema Nova. A super panel of the key filmmakers get together for a full screening and audience Q&A of the iconic black comedy.  

Get your tickets now and join Editor Neil Thumpston ASE, Writer/Director John Ruane, Actor John Clarke, Producer Tim White, Executive Producer Bryce Menzies, DOP Ellery Ryan and Production Designer Chris Kennedy for this once in life time event.

The night is a joint event with the ACS and supported by the NFSA and Cinema Nova and one not to be missed. Sunday August 23 5.45 pm at Cinema Nova Carlton. To book tickets:

Plans are in place for several further events in the following months so watch this space for details.

And don't forget to get your entries into the awards this year, including the two new categories of Best Editing in Current Affairs and Best Editing in Reality Television. Let's make it a clean sweep for Victoria this year.

- Steven Baras-Miller

What's Been happening in Melbourne?

Editors Business Night
On April 29 this year Belinda Fithie organised and ran a highly successful editors business lecture upstairs at the Palace Hotel. It was a very well attended informal discussion and a chance for a lot of new members to learn and benefit from the voice of experience. I am sure that many young editors had a better understanding on how to prepare themselves both technically and creatively in an increasingly competitive environment. Thank you again to Belinda for your expertise and giving up your valuable time.

St Kilda Festival
This year, the St Kilda Film Festival organisers relocated to the historic St Kilda Town Hall, which they transformed into a cinema and festival hub over two weeks. The festival explored new ways to increase industry involvement in the event, with forums, workshops, labs and stalls.

On the first Saturday the Festival held a series of professional development forums for filmmakers alongside its usual film screenings. These forums form “The Big Picture”, where filmmakers learnt about the filmmaking process from start to finish – script, funding, production, marketing, distribution etc and they filled up very quickly.

The ASE ran two workshops for the festival organised by committee member Andrew Brinsmead. 'Post like a Pro'  - a workshop on post workflows, and 'Focus on Editing'. Both presentations were inspired and run by Andrew with Chris Hocking (post and workflow specialist), and proved to be very popular events. Congratulations to you both on an outstanding event. 

Victorian Committee members Ben Joss centre with Andrew Brinsmead on right and Chris Hocking on left. More pictures here

At the festival awards night on Saturday the winner of the part ASE sponsored Best Achievement in Editing Award went to Agnes Baginska. This was a great achievement as there was competition from over 200 entries for this award.
From all of us at the ASE congratulations Agnes and we wish you every success in the future.
Agnes has contacted us by email:
Dear Barrie,
I have recently won an award for the "Best Achievement in Editing" at St Kilda Film Festival. One of the prizes was the ASE Guild Membership.
I would like to thank you for such a wonderful prize and I am very happy to be a part of the Australian Screen Editors network :-)
Warm Regards,

Keep watching the ASE website and facebook for details of the events, and thanks to the Victorian Committee for your tireless efforts and contributions in 2015.

- Barrie Munro ASE

Barrie Munro ASE (Victorian Chair) & Steven Baras-Miller
Victorian Section



Australian film talent and stories deserve protection in order to be heard.


Actors and crew deliver #saveourstories petition to Parliament

Leading Australian actors and crew visited Canberra to deliver a petition to Arts Minister George Brandis urging the government to not axe the visa rules that protect local jobs and stories.

Minister Brandis refused to meet the MEAA delegation to receive the #saveourstories visual petition, despite repeated requests. Instead, actors Geoff Morrell, Nadine Garner, Jay Laga’aia, Dave Nichols (key grip) and Robyn Elliott (costume supervisor) met with Labor shadow ministers and key cross- benchers. MEAA Actors Equity director Zoe Angus said: “The petition shows the faces of our industry. It sends a clear message to the Abbott Government: Don’t scrap vital job opportunities for Australia’s creative talent and the chance to tell uniquely Australian stories.”

Morrell added: “Changing these laws would put us completely out of step with the world practice. Being able to import anyone, anytime, for any project would be disastrous for the Australian screen industry.”

Shadow Arts Minister Mark Dreyfus also hosted a briefing about the Government’s review with members of the Labor Caucus. Marta Dusseldorp and Cate Blanchett joined by teleconference.

The #saveourstories petition features photos by more than a thousand #saveourstories campaign supporters. You can view the petition here: http:// MEAA thanks everyone who joined the visual petition.

Send Canberra your own #saveourstories story: The Abbott Government refused to meet MEAA representatives to discuss protecting Australian jobs in our industry. Now, we need to lock in support from a majority of Senators to stop these changes. They’ve seen your faces, now they need to hear your stories. Tell Canberra why you support fair visa rules here: 

MEAA news 

Domestic violence leave: The ACTU has filed a claim with the Fair Work Commission to get paid domestic violence leave included in all awards. The campaign is supported by Australian of the Year Rosie Batty. The leave would help victims of domestic violence to maintain safe and secure employment, especially as workers experiencing domestic violence often have exhausted their personal leave entitlements and don’t have access to paid leave when they most need it. MEAA supports the introduction of paid domestic violence leave. More information:

Making good Neighbours: MEAA urges all crew working on “Neighbours” to let them know what working issues are most important in the lead up to EBA negotiations. Last year crew at “Neighbours” were able to win significant improvements even though they faced heavy resistance from management. Complete the survey here:

“Hunters” agreement approved: The “Hunters” agreement has been approved by the Fair Work Commission. Keep an eye out for your MEAA reps on site talking to crew about their rights under the agreement. Read the Agreement summary here: 

New AFTRS CEO Announced

Neil Peplow is the new CEO of AFTRS. It is expected that Mr Peplow will take up his appointment in late September.




RUBEN GUTHRIE Q&A with Editor Peter Crombie & Producer Kath Shelper

RSVP essential to:




DEATH IN BRUNSWICK Q&A with Editor Neil Thumpston ASE, Director John Ruane, Actor John Clarke, Producer Tim White, Executive Producer Bryce Menzies, DOP Ellery Ryan and Production Designer Chris Kennedy. 



Melbourne International Film Festival 

Australian films screening include The Daughter, edited by Veronika Jenet ASE, Gayby Baby edited by Rochelle Oshlack, Downriver edited by Anthony Cox, Elixir edited by Suresh Ayyar, Sherpa edited by Christian Gazal, and many many more. 

MIFF OPENING NIGHT GALA - FORCE OF DESTINY - directed by Paul Cox, edited by Mark Atkin ASE 

Editing Masterclass: Mark Atkin ASE 

Presented by MIFF Accelerator in association with Australian Screen Editors, the art and secrets of film editing are explored in this masterclass with editor Mark Atkin ASE, who edited MIFF 2015 Opening Night film Force of Destiny by Paul Cox.

Across his long and varied career, Atkin's other editing credits include high-end TV drama (The Slap), family TV (Nowhere Boys), feature documentary (Strange Birds in Paradise: A West Papuan Story) and comedy (John Safran vs God).

Please note: Tickets for this event are non-refundable and unable to be exchanged. MIFF passes are not valid for this event.

CENTREPIECE GALA - HOLDING THE MAN - directed by Neil Armfield, edited by Dany Cooper ASE

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



Meet The Member: Romain Mongin

Hi! My name is Romain, I graduated from the ESRA film school in Paris, France, in 2006. I started working as a freelance editor in Australia in 2008. I’m passionate about storytelling and films. I mainly work on tvcs, branded content, documentaries, short films. I’ve cut my first indie feature film last year and it changed everything I thought I knew about editing. I’m looking forward to the next one!
I knew I wanted to work in post when… I saw Children Of Men at the movies. It’s going to sound silly, but it was the first time I realised that you didn’t need fast cuts to make an action scene terrifying.
My first break in the industry was… I wouldn’t call that a break, but I started editing some previz at Presence Films at Fox Studios in 2008.
The thing I love most about editing is… Collaborating with others, and knowing that every job is going to be different.
The best tip I’ve got for aspiring editors is… Never stop learning and be open minded. It’s hard work on every level, and it takes a while to get to the point where you can make a living out of it. Patience is important!  

If I weren’t in post production I’d be…Hiking Everest (which would roughly be the same thing, right?)


Meet The Committee: Meredith Watson Jeffrey (WA)

Meredith Watson Jeffrey has been working in post production since 1991. She has worked in both drama and documentary and loves being able to move between the two. She finds it impossible to find a work/life balance with 3 young children but will keep trying…..

Editing credits include The Shark Net, The Circuit (series 1&2), Superflu, Three Acts of Murder, Stone Bros, Blame, These Final Hours and most recently Outback Truckers.

I knew I wanted to work in post when…I edited my first student production while studying film and television and realised that the editor can make a really bad set of rushes into a not so bad film.(I was also the DOP on that film  - hence the really bad rushes)

I specialise in… I used to edit primarily drama and that is probably my strongest work but these days not a lot of drama is cut in Perth with local editors. Recently I’ve been working on episodic TV doco/reality (whatever that means) which has been a lot of fun and I’ve learnt a lot!  Who knew that a broken tail light on a truck could be so dramatic!

My first break in the industry was… My first job out of Uni was as a second assistant on a Barron Films production called Clowning Around, with the fantastic editor Geoff Hall.  I stayed with him over the next few years as a first assistant on Ship to Shore 1,2 & 3.  At the same time he gave me my own episodes to cut within the series so I was able to get broadcast credits.
The highlight of my career so far…  It was a while ago now but editing The Circuit for MediaWorld and SBS. It was a fantastic series shot up in the Kimberley in WA with great scripts telling important stories. With a fantastic producer, crew and cast I had a huge amount of amazing rushes to work with every day, an editor’s dream. I also got to work with two very talented directors (Richard J. Frankland and Steve Jodrell) who really appreciated what an editor can bring to a story. After the first series I cut a film for Richard called Stone Bros  - loads of fun and another highlight.

I was inspired to Join the ASE committee because... We have a fairly small editing community in Perth and being on the committee is a great way to help out this community and ensure that the WA branch can assist local editors and raise awareness, locally and nationally, that we have a great bunch of editors here doing fantastic things.

The ASE is important because... Because it provides support and a sense of community to a bunch of people who sit in little dark rooms, often by themselves, looking at the same things over and over and over again….. weird but wonderful.



Paul C. Nielsen
Paul C. Nielsen has editing credits for 273 episodes of 'The Amazing Race' (closely followed by Julian Gomez on 269) , 40 episodes of 'Big Brother', 37 episodes of 'America's Next Top Model' as well as numerous other reality shows. Along with his co-editors, he's been nominated for 16 Primetime Emmy Awards for both picture and sound editing, and has won three.

Margaret Sixel Drives Mad Max: Fury Road to Success with Avid Everywhere

Mad Max: Fury Road is the fourth film in veteran director George Miller’s Mad Max franchise, and the first Mad Max film in 30 years. Set in a stark desert landscape, the film stars Tom Hardy as “Max” and Charlize Theron as “Furiosa.” The two team up to face a relentless enemy as they try to escape the desert wasteland on the “Fury Road.”

‘Magic Mike XXL’ Review: A Bare Bones Plot Won’t Matter To Fans Looking For Stripped-Down Summer Fun

Original director Steven Soderbergh replaced himself at the helm with longtime associate Gregory Jacobs, but the SS blueprint is all over this one as he is still behind the camera as cinematographer (using the pseudonym Peter Andrews) and as film editor (using the name Mary Ann Bernard).


Supporting the content makers of the future

The “Emerging Filmmakers” resource provides advice, information and tips, from the best in the industry. It covers all the things somebody looking to succeed in the industry should know, be doing and getting along to.

Check it out here:


2015 Ellie Award submissions are now being accepted, click here for more information




I would like to thank committee member Ben Joss who was inspired by the film Chopper to stage an event in 2015. The idea started at our first committee meeting in February this year. The ASE returned to Backlot Studios on Sunday June 21 for the 15th anniversary screening of Chopper.

One of the best editors in Australian cinema, Ken Sallows ASE, joined us for a full screening and Q&A of Chopper, the film that made Eric Bana famous and Mark 'Chopper' Read infamous around the world.

Prior to the screening Ken had said that Chopper was destroyed on television (due to obvious add break interruptions) and it was great to watch the film screened as originally intended in a theatre and in an uninterrupted feature format. After the screening Ken was joined by the film's additional editor Steve Evans who answered a flood of questions on almost every aspect of the film - from script development to camera work, grading, sound and music. During the Q&A it was discovered that assistant editor Caroline Scott was in the audience which showed that a strong bond exists between people who work in a post production environment. From my conversations with the audience, this event proved that the film has a strong cult following in Melbourne.

Thanks to Ken and Steve for their commitment to giving up their valuable time and to Ben for your tireless efforts in organizing this event. The event proved to be a rewarding experience for both the presenters and the audience.

- Barrie Munro ASE

Pictured from Left to right: Steve Evans, Ken Sallows ASE and Caroline Scott


Blue Post in the spotlight at Fox Studios

We’re very excited about our shiny new Sydney facility at Fox Studios. Located in the Frank Hurley Grandstand above the cafe, our large, light-filled suites are in a beautiful building housing the latest in editing and finishing systems.

We're also celebrating the opening of our BBC-approved Quality Assessment Review (QAR) department, the addition of three boutique offline suites and welcoming Adam Archer as our new Senior Online Editor.

So, feel free to drop in, have a tour and chat about your next project!



We have a range of editing classes for those wishing to upgrade to a new editing platform in 1 Day - Avid Media Composer or Adobe Premiere Pro available.
Adobe Premiere Pro for FCP Editors – 24th July 2015
Avid Media Composer for FCP Editors – 31st July 2015
Adobe Premiere Pro for Avid Editors – 7th August 2015
Custom Training
Don’t forget that Digistor has a range of trainers available for short notice classes for specialist tools such as Autodesk 3ds Max, MAYA, Smoke, Flame, Cinema 4D, DaVinci Resolve or The Foundry Nuke.  We specialise in short notice customised training to suit your requirements so if you have any specific training requests please let me know and we can put you in touch with a trainer to suit. Can’t wait or can’t see what you want? We can also offer other options or group training for your entire team on demand. For further information or to make a booking:


AFTRS Open logo



Upcoming highlights include After Effects for Broadcast Graphics, Avid 101 and TV Assistant Editor.
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 you a fast, but thorough, hands-on experience in the duties, technical skills and responsibilities of the Assistant Editor. No prior editing experience is required. (25-27 Sept)

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

Avid editing short course
One weekend 8–9 August
If you want to work in television you need to know how to use AVID Media Composer. It is the industry standard for multi-camera television productions and the preferred software of professional editors.

The Post Production Supervisor course
Starts 8 Aug for 3 Saturdays till 22 Aug
The course will provide you with a thorough overview of the role of the post-production supervisor, a quality post-production process, and the post-production team. Participants will learn how a well-run post-production process turns a great story idea into an amazing finished product.

Craft of Editing (Premiere Pro)
Two weekends 5 Sep to 13 Sep
In just four days you’ll have a basic introduction to editing using Premiere Pro, in a small class on computers with the latest versions.

Our Sponsors

Avid Blue Post Adobe Two Dogs
Video Craft Audio Network
The Editors Roar Digital Spectrum Films
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