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eNEWS #48  -  MARCH 2014

In This Issue

Welcome from the ASE
State Updates
Meet the ASE Community
Meet the Sponsor
Call for Web Banners
Upcoming Events
Sponsor Updates
On the Web
Call for Comics

Find an Editor
Place a Job Ad

Join the ASE
The Turning
Mad Max Q&A (VIC) - See Upcoming Events for details!
Greetings Editing Colleagues,
March brings a call for mentors - we are looking for both senior Editors and experienced Assistant Editors. It’s actually a simple process and doesn’t mean you will be shadowed constantly, just be prepared to give three to four casual meetings a year and to advise and assist your mentee where possible in their career. Not to sound like a Hallmark card but it’s a good feeling to give back and the relationships you develop can be lasting and incredibly rewarding.

Please email interest to

We are also interested in your thoughts as to the Ellie awards this year.

The topic is Categories and so far we have had requests for —

Segment editing as a separate category, TV Drama Scripted Comedy (as opposed to TV Drama), or, to split the Open Content award into factual and fiction thus covering Segment editing as well. We are also looking into updating the Accreditation guidelines. A survey on both topics will be forthcoming and we look forward to your feedback.

In Sydney we are about to transform the Sundowners drinks into Post Work – Post Drinks, to be held at the Bavarian Beer Cafe in Bent Street Fox Studios and open to ALL in post — picture, sound, VFX, colourists and Post Supervisors. It will be a great chance to catch up with everyone and we hope to see you there on Friday March 21st at 6.30pm.

Andrew Plain’s memorial was held on February 22nd at Hoyts Entertainment Quarter. The event was hosted by Margaret Pomeranz with speeches from family and industry colleagues and the screening of a retrospective of his life. About five hundred industry friends and family attended and a fabulous party was held in honor of Andrew’s 60th birthday at Spectrum Films afterwards. It’s incredibly sad he was not there to celebrate with us. I know a lot of you travelled from interstate, and it was appreciated.
Dany Cooper ASE
ASE President 

State Updates


A bumper few months ahead for the Victorian chapter of the ASE beginning with the screening of Mad Max at Backlot studios, 65 Haig Street Southbank.

Join editors Tony Paterson and Cliff Hayes as they take us back to the origins of the iconic Australian movie series. Tickets to this highly anticipated event are going fast so if you want to be part of it you need to get in quick. Seating is limited and currently restricted to ASE members so renew your membership if you want to be sure of a spot. 

We have a long list of other events coming up including a screening of the new film Canopy and Q and A with editor Cindy Clarkson on Sunday May 4 at 2 pm at Backlot Studios.

We are also in the planning stages on a number of events with other guilds so keep a look out as it is going to get busy.

To start things off we have been offered 5 free tickets to the ACS event with David Eggby at Backlot Studios as he chronicles his work on Riddick. As he was the DOP on Mad Max it is the perfect introduction for our own event with the editors of Mad Max on April 6.  These tickets are on a first come first serve basis so book early.

To book for the ACS Riddick event with David Eggby go to:

For Mad Max RSVP to but get in early as space is strictly limited. Booking arrangements for Canopy will be announced in the next newsletter.

Steven Baras-Miller

Victorian Committee


The hive of activity continues in South Australia… what a month it has been!

Visual effects company Rising Sun Pictures helps take out Best Visual Effects award for Gravity at The 86th Academy Awards.  RSP created the climactic re-entry sequence and are honoured to have the work acknowledged as the year's best.

Another local success story about to begin it’s air-time on ABC1 is David Scarborough’s work on Hannah Gadsby’s OZ – a three part series beginning on Tuesday the 11th of March at 10pm on ABC1, which will continue on the following two Tuesdays after that - (March 18th and March 23rd at 10pm on ABC1). The writer / director Matt Bate also wrote and directed Shut Up Little Man! An Audio Misadventure.

Closet art-critic and stand-up comedian Hannah Gadsby is on a mission to debunk the myths of the Australian identity perpetuated by our national art. Armed with a rapier wit and knocking on the studio doors of some of this country’s most interesting contemporary artists, Hannah will engage with a new generation who are determined to break open the ideas of what it means to be Australian. Many of these artists’ work speaks directly to our historical canon, challenging its point of view and re-interpreting it to ignite the issues still haunting our political and cultural landscapes.
More great news from Closer Productions and Film Editor Bryan Mason - after its success at the Sundance Film Festival earlier this year, 52 Tuesdays is set for theatrical release beginning May this year.  Stay tuned for details – watch this space.

Also gracing our South Australian shores this month is our very own ASE President - Dany Cooper ASE, who has just started work on a new film by Jim Loach. If you’re a fan of the new Battlestar Galactica series and Ridley Scott’s Blade Runner, head down to Adelaide with your best autograph pen because Edward James Olmos is staring in it. The SA industry are invited to meet with Edward at an informal gathering taking place next Thursday 13 March from 4.30pm to 5.30 in the Adelaide Studios Green Room at Glenside. Don’t miss this opportunity to hear from one of Hollywood’s greatest living legends, talking about his many film and television roles, his advocacy work with young people and his insights into how best to navigate this mortal coil in and out of character!

Sean Lahiff
South Australian Committee



The Oscars have just been announced and one of the big winners was Gravity. WA-based Jean Poh shared in the glory of the Academy Award for Best VFX.  Jean lead the production team of a ten minute scene of the movie and we'd like to say congratulations to him and the many who worked on the VFX for the film. Jean shares his time between WA (where he works for local post house Sandbox) and China and is there working now. When he returns, he's offered to talk to ASE members about his work on Gravity.

In other news: ScreenWest's WA Production Directory has been shut for renovations and a new look directory will be opening again soon. This will include extra categories for post production. When it's reopened members will have to resubmit their entries... a good opportunity to update your CVs.

Lawrie Silvestrin ASE
Western Australian Commitee

Meet the ASE Community


Meet The Member: Sandeep Verma

I knew I wanted to work in post when… During 1990-91, I used to miss my favourite programs and TV commercials, as there was very limited TV programming, no repeat telecast and had to wait for a week for next episode to telecast.

I used to pull out pieces of VHS tapes, reassemble them with customized VHS ribbon with recorded commercials and my favourite programs from live TV.

The entire process was based on approximation and used to create 60-90 minutes of VHS masters with re-recorded TV commercial breaks at home.

Somehow in the back of my mind I always knew that one day I’d work in the film industry. This activity was a regular feature and I wasn't aware that this pastime hobby of mine termed as editing would become a part of my daily routine.

My first break in the industry came when… Editing came to me as unexpected opportunity back in 1993, when Quadra (Apple) based NLE systems were modernizing editing tools and providing low cost, high quality editing solutions to corporate clients.

Inspired by the first look (at exhibition) and success of NLE (Media 100) and Layered Effects on After Effects, Premiere and GUI interface, it kick-started me to take on the challenge of reading software manuals and self-train myself over my first trial editing session.

My understanding of hardware/software, operational instructions and processes got me my first break during a demo session in 1993 for a prospective client. I was very upfront and mentioned back then, that editing aesthetics are something I needed to understand and learn.

My first project was for “Mass Communication Research Centre”.  It gave me the opportunity to explore tools, and at the same time understand basics of cut/dissolve, and their rules and criteria.

The thing I love most about editing is… One can tell stories in many different ways, understanding the director’s vision, removing unwanted rushes, exploring artistic and problem solving capabilities, delivering a finished product and having a new project to work on each time.

The best tip I’ve got for aspiring editors is... Editor’s shape the story and set the pace of the film. Editors are there to assist the director and realize their creative vision. Most editors finish first cut without the director sitting over their shoulder and that is the initial chance of putting your own stamp on the film, post completion of first cut, director and editor work together to refine that cut into the director’s cut.

If I wasn’t in post-production I’d be… Unsure!! Maybe archiving TV programs and spots… Lol!!


Meet The Member: Alexis Lodge

I'm a film fanatic and have been editing for the last eight years, first in London and now Sydney. The majority of my work to date has been TV ads, TV Specials, studio sizzle reels, short films and a feature. Long-form work is now my primary focus.

I knew I wanted to work in post when… At uni I seemed to have a knack for editing. I went to uni with aspirations to be a Director, but was never more comfortable than when I was cutting.

My first break in the industry came when… I moved to London in 2005 and after handing out 50 resumes, I got a job as a runner at Lipsync Post. Soho is a great place to learn quickly as the industry surrounds you, and in 2009 I left Lipsync as their Senior Editor.

The thing I love most about editing is… We get to craft a story in pictures. Whether it be within 30 seconds or feature length, it's our job to get the audiences attention and then keep it. It's a jigsaw, but without the picture on the box to tell you what it's supposed to look like. It's an adventure. 

The best tip I’ve got for aspiring editors is... Enjoy your own company. Take complete charge of the rushes, there are no wrong moves - the best thing about non-linear editing is the speed of trial and error. Every job is a collaboration, don't take it personally if somebody doesn't like your cut - give each note a try, it just might make it better. 

If I wasn’t in post-production I’d be… I've always thought being a BBC wildlife cameraman would be the best gig in the world.


Meet The Committee: Sam Matthews (SA Committee)

After making films in high school with friends, I took a shot at making a career out of the thing I loved. I completed a Creative Arts degree in Screen Production and was fortunate to begin a full-time role at KOJO’s post facility (then Oasis Post) in 2008.

Working at KOJO for 6 years, I’ve developed a range of editing techniques from cutting high-impact music videos and TVCs through to calmly tempered drama shorts and documentaries. Last year I was Online Editor / Colourist for children's TV series, ‘Sam Fox: Extreme Adventures’. I often collaborate on projects out of hours and work on weekends during AFL matches, editing goal replays for stadium screens.

I knew I wanted to work in post when… I discovered that a guy in a harness, filmed against a greenscreen, and ‘composited’ on a moving background…(I use that term loosely – I had limited experience)…actually looked pretty damn cool! My university film attempted a metaphor for monotony in daily routine by showing a businessman literally ‘floating’ through his life.  I had more or less accomplished an ambitious concept despite limited resources, and pulling it together in post brought me a huge sense of accomplishment.
I specialise in… Weaving multiple story themes together, and bringing structure to complicated concepts. I love being able to assess all aspects of a narrative, and then execute the power to gradually reveal information in an intriguing, suspenseful and/or logical manner.  Although my focus is offline cutting, I enjoy getting my hands dirty in all things post.

My first break in the industry was… Working on Dean O’Flaherty’s feature, ‘Beautiful’. After university, and fresh off the back of work experience for Oasis Post (now KOJO), I was offered a 2nd Assistant role. Only through my work experience had I learnt the basics of Avid Media Composer and with this offer, I felt like I had found my first foot in the door.

The highlight of my career so far… Was editing a documentary about an Australian virologist and environmentalist in 2011 ­– ‘Frank Fenner: from Microbes to Macrobes’. I had the pleasure of working with established director Richard Jasek, who was a brilliant teacher and collaborator. We combined interviews, dramatisations, animations, bluescreen composites and photo montages to construct a narrative portraying themes of family, science, religion, breakthroughs and tragedy in a chronology of Fenner’s life. It was a creative and technical challenge that I feel was a great step forward in my career.

I was inspired to join the ASE Committee… To stay in touch with the local editing community, and to branch out and meet more talented people, nationally. I feel happy and privileged to be working full time in SA but I would like to take part in the bigger picture.

The ASE is important… For fostering relationships with other post professionals, through which we can improve our skills and learn about the industry. In an age where anyone with a computer can call him/herself Editor, I find the ASE crucial to recognise that editing is still a craft that requires talent, honed through years of experience.


Meet The Sponsor: Autodesk

Dean Nursher, long time supporter of the ASE and the Systems Sales Manager of Autodesk Australia, tells us his thoughts on the current state of the post production industry and why Autodesk continue to put their support behind the ASE as a Gold Sponsor.

In a nutshell, what is Autodesk?
Autodesk is a world leader in 3D Design, engineering and entertainment software.

The Media & Entertainment division at Autodesk has been providing industry leading tools such as Flame, Smoke, Maya and 3ds Max to the creative industry for many years. Our tools are broadly used to produce content in the advertising, film, games and television markets all over the globe.

You have a broad range of clients and software how does your operation facilitate their varying needs?
We are undoubtedly seeing significant convergence in many of our markets. Because Autodesk is a leader in the content creation space and specifically in 3D, we are ideally placed to develop new solutions to help our customers to conquer their increasingly complex creative challenges by leveraging the broad range of tools and technologies we can offer. 

Why do Autodesk choose to support the ASE?
It takes a lot of expertise to deliver complex and compelling content to an increasingly savvy market across many different platforms. Editors undoubtedly play a big role in ensuring the message cuts through. We believe Autodesk offers editors powerful tools to help in that endeavour in an increasingly competitive industry.

Of course the team here at Autodesk Australia see it as important to support the industries we serve as much as possible also.

What do you think the biggest issue/s are in the post production industry at the moment?
The industry is clearly going through unprecedented change at both a global and local level. There are many different factors driving this (too many to go into here certainly!).

One constant however, is the continued increase in demand for high quality content to be delivered across multiple, diverse platforms. While of course at the same time trying to do all of that with ever decreasing budgets!

Autodesk is well placed to help artists with this challenge by delivering new and upgraded tools to help with the most complex challenges while at the same time making our tools more accessible than ever through new business models such as our new desktop software rental offerings.

You can catch more of what Dean is up to on Twitter: @DNO_MandE



Help us promote your creative endeavours. Supply an image for the ASE website banner here: It's great to proudly display the diverse work of our membership on our website:

Preference is for a clean high resolution production still (ie no text) in a landscape format. Please include the name of any other editors of the project (if required) and your membership must be current to feature on the site.

Upcoming Events

EVENT: 6th April (VIC)





The FCCA Awards are open to anyone interested in Australian film.

SponsOr Updates


Live Event

A Heady Mix of Compositing and 3D:
Adobe Creative Cloud and CINEMA 4D

Be inspired. Be more creative. Be more productive. Attend this one-off event to experience what’s possible with the latest releases of Adobe Creative Cloud when combined with the 3D wowza of CINEMA 4D. Digistor has invited top product specialists to demonstrate what’s new and invited talented local motion designers to show stunning commercial work and how it was achieved.

Sydney - Tuesday 18 March 2014
Melbourne - Thursday 20 March 2014

Get more info and register now.


Faster, Easier TV Monitoring and Content Repurposing with SnapStream

Join this live webinar to learn how you can easily Search TV by keyword to find anything said on TV. Create unlimited TV clips and share them in the cloud using SnapStream's television monitoring technology. From Broadcast, to Government, and even Education, organisations are constantly trying to stay current on what’s happening on TV. Whether it is breaking news, mentions of brand name, the latest political snafu, or ground-breaking scientific discoveries - television has an impossible amount of information to keep up with. Until now.

Wednesday 12th March 2014 
10:00 am - 11:00am Australian Eastern Standard Daylight Savings Time (AEDT)

Get more info and register now.

Shared Storage Special

The Ultimate NAS Bundle:

Purchase an Infortrend EonNAS from Digistor and we'll throw in 6 X 2TB SAS drives at no cost!

If you are looking for affordable, reliable, high-performance shared storage (aren't we all?) you'll love this offer. 

Get more info.

Contact Digistor to Expand Production Capabilities with Avid's Interplay Solution Packages

With media assets becoming more digitalized, it can be difficult to keep your team, workflows, and deadlines in sync. The industry-leading Avid Interplay Production Starter andFacility packages available from Digistor provide the tools to deliver high-quality content, streamline collaboration within teams, and to boost overall production efficiency - all for an affordable price. 

For boutique post houses, the Starter Package includes:
• Media Composer
• 32TB of ISIS 5500 storage
• Interplay asset management for greater flexibility

For small facilities, the Facility Package goes even further by adding:
• 64TB of ISIS 5500 storage
• Symphony Option
• Interplay Sphere

Contact Digistor on 02 9431 6000 or for pricing or further information.

Digistor Training

Get up-to-speed quickly with Digistor’s professional training services for creative industry businesses and individuals:
Enrol now for Digistor’s Professional Training – including CINEMA 4D, DaVinci Resolve Fundamentals & Advanced, Advanced After Effects, Avid for FCP User Bridging Day (book via our Training page -
 Digistor – your creativity is our business.
• Whatever your existing skills, we provide you with the advice, guidance and specialist training to enhance your knowledge and increase staff productivity.
• We will look after you from the moment you contact us, guiding you from planning through to delivery of your chosen course. Training can be integrated with your equipment purchases.
• Our courses are designed for creative industry businesses and professionals and content can be modified to suit your requirements. Start by telling us what you need. We’ll listen, make sure we understand, and put together exactly the right kind of training – and trainer – to suit.
• We employ inspirational trainers from within the industry. Using the latest software, you and your team members will be taught in the most imaginative way.
• 10% discount on training for all ASE Members
Don’t delay. Your future enhanced productivity and creativity awaits.


 AFTRS Open logo

AFTRS Open has large number of Editing and VFX courses in the coming months. Highlights include FINDING ANIMATION with PIXAR artists, AVID MEDIA COMPOSER V7 100 & 110, introductory and advanced AFTER EFFECTS plus VIZRT: INTRO TO VIZARTIST and the practical EDITING IN FACTUAL TV. We also have a series of HOUDINI courses to help you get up to speed fast with the high-end 3D animation application software of the moment used by Animal Logic in the making of blockbuster hit The Lego Movie.
To view all AFTRS Open courses visit the website:

Avid Media Composer V7 110
This two-day course with Dave Forsyth is for video editors who understand the basics of the editing tools in Media Composer and are ready to move ahead and learn the fundamentals of creating effects within Avid Media Composer 7, the non-linear film/video editing application used in most movie and television productions.
22 - 23 March

Finding Animation
A rare and exciting opportunity to be guided by two of Pixar’s most talented story and animation artists, and a Hollywood script consultant and animation specialists working in Australia. Produced by Epiphany International Artists and co-presented by AFTRS Open with the support of Screen Australia
24 - 26 May

This four evening course provides a detailed introduction to desktop compositing for broadcast using Adobe After Effects CS6. After Effects is the most commonly used graphics program in Australia for the preparation of broadcast design/graphics in TV.
1 - 10 April, 4 eve sessions

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


AVID: Behind the Scenes with Gravity


AVID: Alan Bell ACE on The Hunger Games: Catching Fire


For the Assistant Editors...



Submit a comic or idea for a comic for our eNews! Contact:


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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