Is this email not displaying correctly?  View it in your browser.
Please ensure you have images enabled.
Screen Editors
eNEWS #68  - FEBRUARY 2016

In This Issue

Welcome from the ASE
State Updates
Industry News
Meet the ASE Community
On The Web
Upcoming Events
Sponsor Updates
Education and Training
Workspace of the month

Find an Editor
Place a Job Ad

Join the ASE

The Ellie Awards winners and Accreditees - Dec 5th, 2015 - From l-r: Anna Craney, David Fosdick ASE, Danielle Boesenberg, Garth Thomas, Graeme Pereira, Julie-Anne DeRuvo, Jane Moran, Jessica Mutascio, Mark Warner ASE, Nicole La Macchia, Karen Crespo, Andy Finn
Dear Members,
It seems an age since the ASE evening where we awarded and applauded so many talented editors. It is a great honour to be following in the footsteps of so many fabulous previous presidents and I hope that I can serve you as well as they have.  Many thanks to Deb and Dany, and our last year’s committee for doing so much work to consolidate the position of the guild, build our awards profile, provide information and communication relevant to our editing community and tackle some difficult issues such as wages and conditions.
It is a good time to be a member of the ASE, with membership expanding and we have an incredibly enthusiastic committee bubbling with ideas for the year ahead. There is a great cross-section of editors and assistants on our committees across the country, showing the diversity in which you all work. We have good representation in documentary and factual, features, commercials and television.
At our most recent AGM, it became obvious that two things are a priority in member’s eyes. One was the issue of wages, the other how to negotiate those wages and working conditions. Wage growth seems to have stalled as production budgets shrink, funding bodies are consolidated and their budgets slashed, which makes it a harder ask for editors and assistants to negotiate a reasonable wage.
For the last year there has been a large amount of work done to investigate the wages situation, and establish an ASE rate card which producers and funding bodies can reference, and editors can quote when negotiating. The draft version of the rate card will soon be out for you to look at and review. I strongly encourage you to read the card and supporting information, and give us your feedback so that we can finalise and publish this document. I would like to thank Dany for kicking off this important work, James Sutton for investigating the rates, and Jenny Hicks, for doing a huge amount of research and interviewing to get this happening.
It was a sad start to the year with the death of Suresh Ayyar ASE, one of our fine editors.  There is a tribute page on the ASE site, and shortly we will be providing a link to a reel instigated by Frans Vandenburg which will show you the scope of Suresh’s achievements.
As the year progresses, we hope to bring you some events that will keep you informed and in touch.  I hope that the ideas that are being discussed for the year ahead will excite you. And of course to that end I have to make good with my promise of an event where we all wear a t-shirt that holds a special place on our heart…
Some of you may have a t-shirt emblazoned with the production that you worked on, you may have a lurid coloured shirt you bought when you worked in a remote location (and it really did look good there..), or you may have one that you wore pretty much everyday because you had no time to wash.. so whatever it is, come along, wear your shirt and share your story. Look out for the next Sundowner & have your T-shirt ready..
In the meantime, keep talking through the ASE facebook page and stay tuned to see what more is coming your way.

Fiona Strain ASE
ASE President 

State Updates


On Friday 27 December 2015 the ASE and the ADG got together and held a joint Xmas party upstairs at the George Hotel. For those who attended it was a great cross section of editors and directors both young and old.
The party was the result of discussions between Barrie Munro ASE chair of the Victoria committee and Mark Poole from the ADG. I would like to thank Ben Joss and Martin Elliot from the Victorian committee who organised the event. 

Mark Poole on left Ben Joss centre and Barrie Munro ASE on right


Victoria ASE events planned for 2016
Ben Joss has organised a survey that is soon to be posted - please help the committees by filling it out.
Young editors night (a social evening planned for next month)
The St Kilda Festival.
Following on from the last successful event at Soundfirm, Lucy Papalinska is organising another aspiring editors night later in the year. We are hoping to squeeze in an event before the middle of the year.
Keep watching the ASE website and facebook for details of the events.
Thanks to Chris Hocking of LATE NIGHT FILMS for generously providing the facility for meetings every month.
Finally I wish to thank the current Victorian committee members for your tireless efforts and contributions in 2015.
Hope to see you this year.
Barrie Munro ASE
Chair Victorian Committee


South Australia

2016 has brought with it some changes to the South Australian branch of the ASE. Sean Lahiff has stepped back from the role of Chair Person for SA to concentrate on his family and career. Sean has done a great job as SA Chair for the past few years and his enthusiasm for the ASE and support for fellow members has been very much appreciated. Do not fear however as Sean will continue to be involved in the committee and is keen to see the ASE in South Australia continue to grow and develop.
Luckily for us, Karen McKay has accepted the role of Chair Person and is looking to take a proactive approach. While new to South Australia, Karen brings many years experience from a range of overseas industries and will be ably supported by Sean Lahiff and Sam Matthews as committee members.
Planning for events in the year ahead has begun but suggestions and support is welcomed and encouraged. Keep an eye out for updates in our newsletter and we are always looking for new articles to include, so please email and have your say.

Karen McKay
Chair South Australian Committee



Congratulations to our Ellie Award Winners 2015

A great night was had by all the Paddo RSL - 2 members received ASE Accreditation this year:
Mark Warner ASE and
David Fosdick ASE.

Keep an eye out for future events where members will be given the opportunity to view and discuss nominated and winning films.

Feature Film
Dany Cooper ASEHolding the Man
Ben Joss, Is This the Real World
David Ngo, One Eyed Girl
Nick Meyers ASE, Paper Planes
Short Film
Agnes Baginska, Milkmaid
Danielle Boesenberg, The Aquarium
Christine Cheung
, Red Rover
Graeme Pereira, Sweat
Documentary Feature
Anna Craney, Wide Open Sky
Lile Judickas, The Killing Season (The Prime Minister & his Loyal Deputy)
Jane Moran, Only The Dead
Paul Elliott , Uri Mizrahi & Steven Robinson ASE, Putuparri & The Rainmakers
Documentary Short Form
Andrew Cooke and Antoinette Ford, Changing Minds, Ep 2
Wayne Hyett ASE, Uranium Ep 3
Steven Robinson ASE, Sperm Donors
Garth Thomas and Anna Craney, Pitch Battle
Television Drama
Mark Atkin ASE, Glitch
Nicholas Holmes ASE, Redfern Now: Promise Me
Nicole La Macchia, Catching Milat
Nathan Wild, The Doctor Blake Mysteries, Series 3 Ep 3
Television Comedy
Julie-Anne DeRuvo, Please Like Me, Series 2
Gabriel Dowrick. Soul Mates, Ep 4
Annabelle Johnson, Upper Middle Bogan Series 2, Ep 7
Que Minh Luu, Maximum Choppage
Television Factual
Roger Carter, How I Met Your Father
Zac Grant, Making Australia Great: The Story of our Longest Boom
Alexis Lodge and Paul Watling, Struggle Street
Caspar Mazzotti, Life on the Reef, Episode 3
Reality Television
Matt Cluett, Masterchef Australia Series 7, Ep 14
Andrew Cooke, Go Back to Where You Came From Series 3, Ep 1
Karen Crespo and Robin Crago, Masterchef Australia, Series 7, Ep62
Adam Druce and Tess Jenner, The Bachelor Australia Series 3, Ep 1
Television Current Affairs
Lisa Domrow, Landline: The Big Dry
Andy Finn, The Feed: Unattended Death
Garth Thomas, Foreign Correspondent: Symphony in Soweto
Tim Wilson, Australian Story: Just Call Jamal
Bernard Garry ASE, Vodafone ‘Piggy Sue’
Marty Gilchrist, 2015 St. Kilda Film Festival ‘Don’t underestimate the Shorts’
Graeme Pereira, ICC Cricket World Cup –‘Greatness is Contagious’
Stewart Reeves, David Whittaker and Peter Barton, QANTAS ‘Coming Home’
Music Video
Sasha Dylan Bell, ‘That Sugar Song’
Brad Hurt, SBCR aka The Bloody Beetroots - ‘The Grid’
Bryan Mason, Mio – ‘Back to You’
Jessica Mutascio, We are the Brave – ‘Your Ghost’
Open Content
David Banbury , The Lost Tools of Henry Hoke
Graeme Pereira, Mr Black “Summer”
David Scarborough, Wastelander Panda: Exile Ep 5
Scott Walmsley, The Victims Guide to Kidnapping

Some pics of the awards here:


A huge congratulations to the winners of these prestigious industry awards.


Margaret Sixel, Mad Max: Fury Road
Nicholas Holmes, ASE, Redfern Now - Promise Me (ABC)
Jane Moran, Only the Dead


Margaret Sixel, Mad Max: Fury Road


Tropfest was held at the Brazilian Fields in Centennial Park on the 14th of February to a crowd of around 90 000 people. Animated film 'Shiny' took the top prize, made by Spencer Susser & Daniel 'Cloud' Campos.

On the 12th of February, the Tropfest Craft Awards were held at the Australian Centre of Design in Surry Hills - 3 members of the ASE were asked to judge in the Editing category, joined by members of the Sound Guild, The ACS, The VFX Society and The Writers Guild as well as a representative from APRA/AMCOS.  John Polson, the festival's founder, acknowledged that there was more to a film than just the director and the actors, and Tropfest wanted to recognise the many other talented people that help bring a film together. 

Congratulations to editor Josh Groom who won for - Ben's Filming The Movie
(a documentary short).


If you have information that you would like published in INDUSTRY NEWS, whatever state you live in, please email



Meet The Committee: Fiona Strain ASE (NSW)

My name is Fiona Strain. I studied Communications at Macquarie University eons ago, when studying media was a new concept. My plan was to become a journalist, but in amongst the study of English literature, logic and anthropology, I had the option to study Film, TV or Radio. I decided to major in Film with nine others.  We formed a tight team, swapping technical and creative roles. When I collected my degree, I applied for work as assistant camera, and assistant editor.

I knew I wanted to work in post when…I got my first job - “A Dangerous Summer” starring James Mason and Wendy Hughes. I became Ted Otton’s second assistant (he will tell you he taught me everything I know..). I was set to hand numbering 70,000 feet of 35mm sound, syncing the same without clappers. I learnt a lot about the power of editing when Wendy came in to look at a cut, and brought her 3year old daughter in.  As one scene as it played on the Steenbeck, she screamed because she thought her mum was drowning in front of her, despite the fact she was sitting on Wendy’s knee.  
I specialise in… Documentary. Documentary series, documentary shorts, documentary standalone. But I do like a bit of drama on the side. For me the best documentaries stir the audience, tell a story and have an emotional arc. They inform, enlighten, are challenging, provide unique insights to our world. As Editor you have a strong hand in guiding the structure, which can be as complex to compose as a symphony.

My first break in the industry was… I work freelance, so I have had many “first” breaks. Making films with my university peers, which led to editing work very quickly, working at Film Australia where I assisted Lindsey Frazer (Editor of “A Test of Love”) on a number of films. He always involved me in the editing room discussions, got me to assemble scenes, and handed over the sound edit to me, so I quickly got a feel for the rhythms and pacing required for sound and how they could enhance the picture edit. I also got heaps of confidence. Another break was when Emma Hay and Sara Bennett suggested I apply for the Editing Lecturer’s job at AFTRS. It was an amazing six years, where I learnt as much as the students as the school transitioned from film and video editing to non-linear. It helped reinforce the importance of collaboration and the benefit of involving the editor right from pre-production.
The highlight of my career so far…  Again a few:  knowing that my second film broadcast (The Making of Mad Max III), achieved an audience of 9 million in the US. Seeing my documentary “Chasing Birds” premiere at the Sydney Film Festival with the audience incredibly involved, totally along for the ride. Being recognized with ASE Accreditation
I was inspired to join the ASE committee because... As a freelancer who often works at home, it is good to get out and have those “how do you do it?” talks with other editors. I gain strength from the knowledge and commitment that the committee bring to our discussions and am inspired to do great things, because they are.

The ASE is important because... We do spend a lot of time in our own little bubble, working alone or in small teams. It is good to be able to get together with others to discuss the things that are important in our work, have confidence in our technique, understand new equipment and software, get a greater understanding of our rights and be able to talk to others who actually know what we do and understand why hours just…disappear. 


Meet The Committee: Andrew Cooke (NSW)

My career in post production began straight out of university when I landed a job as receptionist / general bod for a small production company. They had two Avid suites and I was intrigued by what was going on inside those rooms. After work hours, I'd spend my time digitising snowboarding videos and recutting them to my own music tracks. Until then I hadn't considered being an editor, but enjoyed those late nights so much that the decision was soon made. Fast forward 15 years and I've built a career editing TV shows, mainly documentary and factual. I've had the privilege of being entrusted with telling of all sorts of stories from child birth, political thrillers and tales of espionage, to exploring social issues like mental illness, domestic violence and asylum seekers. The highlight of my time as an editor was a five year stint in London that was capped off with winning a BAFTA TV Craft Award.

When I start a project I… Get overwhelmed and question my abilities, but most importantly keep an open mind.

When I finish a project I… Spend at least a few days wondering what I could've done differently or better.
It makes my day when I… Watch a sequence for the first time and get a chill up my spine. It's only happened twice, but those sequences still make me feel the same, no matter how many times I watch them.
I hide under my desk when… We receive notes from the channel. 

I love the editing in… Adam Curtis' documentaries, particularly his BBC series "All Watched Over By Machines Of Loving Grace". His use of archive material to make unlikely, profound connections between image and thesis create an unsettling, intoxicating feel that I haven't experienced watching any other documentary.
I was inspired to join the ASE committee… Primarily to advocate for better rates and to improve our working conditions. Reading the last two wage surveys conducted by the guild left me feeling pretty depressed. Wages are stagnant, schedules are tightening and we're dealing with more material than ever before. The survey also showed me that I wasn't alone in experiencing these negatives and made me realise how desperately these issues need addressing. When I thought about how to go about this, the best solution seemed to lie within the guild. I feel the key to making things better for not just myself, but our profession as a whole, is to do it together.

The ASE is important because… The nature of the job means us editors spend a lot of time in isolation, particularly from each other. The guild provides an opportunity to meet and get to know other editors. Most importantly, it also allows us to collectively identify, discuss and address the important issues we all face in the industry we love and make a living from.


Meet The Member: Peter Crombie (NSW)

I have been in and around post production since 2000 and cutting full time since 2008. I've been fortunate to have worked on interesting and creatively fulfilling projects and with talented people. I now am able to cross between documentary and drama, both of which present their own challenges. Recent projects have been Janet King (ABC), The Secret Life of Pearls (Nat Geo Wild), Julia Zemiro Home Delivery (ABC) and Ruben Guthrie. 

When I start a project I… Like to play music that I think suits the rhythm or tone of the assembly.  

When I finish a project I… Mourn. No matter the job, I alway feel a sense of loss as I pass it on to sound post and post production. However, I'm also intrigued to see what they add to the edit to (hopefully) make it shine.

It makes my day when… Producers and Directors like an edit. 
I hide under my desk when…The director watches the assembly. It's an integral part of the process but it's bloody awful. It's warts and all and no matter how many times I do it, I always feel on trial.
I love the editing in… "Amy" -- an amazing effort by Chris King. And The Revenant. Stephen Mirrione is a genius. 

The ASE has... Supported my professional development over the years and introduced me to talented editors and assistants.


If you would like to be featured on Meet The Member, please email




Facebook group Edit Suite Stories was formed by Director/Producer Olly Lambert, and is administered by our very own Darren Jonusas ASE - here are a few highlights from the last few months:

From Nicola Whitehead
CLIENT: “I've got some B & W footage - can you make it colour?”

From Kathryn Dufty
Client:  “Can you turn that shot inside out?”

From Heather Moore
Series Producer watching a VT where a contributor is angry about something...
SP: Its good, but can you make it more emotional, can you make her cry?
Me: But she didn't cry.
SP: Right, but can you make her cry?
Me: Umm not really, because she didn't cry in the interview.
SP: I know, but can you not make it seem like she's crying?

From Yasser Rahman
Editor: 'What format do you want this on?'
Producer: 'Docudrama'

From Andrew Mcguirk
Q:   "She's really starting to piss me off. Can we lose her??"
A:  "She's the presenter."
Q: "Okay, well can you just cut around her in a way that makes her not piss me off quite as much?"

From Merlin Hogarth:
"You know how this bit is all a bit duh duh duh. Can we make it a bit more whoosh whoosh whoosh?"

From Stuart Fyvie
In the grade, director turns to colourist:  “Can you make the pictures look you know, more smelly?”

From Chris McMillan
An Exec to a Director at the start of an edit: "I know how I want it to look -but I'm not going to tell you."

From Gillian Simpson:
I walked into an edit with a director I had never worked with before - his first comment to me was:  "Oh... you're a girl.  I've never had a female editor before.  Are you any good?”

From Rick Aplin
Director:  " We've worked really hard to push the envelope on this film, it's a tough watch, but we think it's really going to challenge viewers preconceptions about art and the importance of it's role in society ".
Commissioning Editor:  " Anyone know what the viewing figures for Big Brother were last night?”

Commissioning Editor:  "I want more clarity. And more mystery."


The Four Unsung Pioneers of Editing

The original cutters of film. The 4 women who predated the term “film editor” and whose names dominated the Academy Awards for decades.

Interview with the editors of 'Star Wars: The Force Awakens'

Adam Garstone interviews the Oscar nominated editors of the latest Star Wars film, Maryann Brandon and Mary Jo Markey.


Interview with the editors of 'JOY'

Cutting For Dramatic Comedy With Editors Alan Baumgarten, Jay Cassidy And Tom Cross, article by David Alexander Willis

A Book Editor's Perspective

Google Books says: For almost 50 years Diana Athill has been regarded as one of the finest editors in London as well as a considerable and unjustly neglected author in her own right. 'Stet' is her captivating memoir of a lifetime's work in publishing. 

 Here are some quotes from her which ring frighteningly true to a film editor's ear:
“It was like removing layers of crumpled brown paper from an awkwardly shaped parcel, and revealing the attractive present which it contained.” 
 Diana AthillStet: An Editor's Life

“We must always remember that we are only midwives—if we want praise for progeny we must give birth to our own.” 
― Diana AthillStet: An Editor's Life



Join us for the first ASE Sundowners of the year. A great way to meet fellow editors - come and meet our new ASE President, Fiona Strain.






Get an Obligation-Free Consultation from Digistor


If you are setting up a new studio or undertaking a major new project and need to get your technical infrastructure and pipeline right, then this is for you. 

For a limited time, Digistor is offering an obligation-free initial consultation and report, valued at approximately $1,000, at no charge. Conditions apply. But be quick: this offer is only valid until 31 March, 2016.

Find out more at:



AFTRS Open short course hghlights include: Premiere Pro for FCP Editors and Intro to After Effects plus Introduction to Matte Painting. All courses are taught by Industry experts in AFTRS state-of-the-art film studios.
Premiere Pro for FCP Editors
If you are an experienced FCP user and want to transfer across to Adobe Premiere Pro, this bridging course will provide you with these skills in a one day intensive. Adobe Premiere Pro CC is being used increasingly in corporate and production environments as an alternative to Final Cut Pro for timeline-based video editing. 
4 March

Demystifying Data: Data Management in Post
Is the fast changing world of file-base cameras and data wrangling doing your head in? Do you KNOW you have to get across it, but feel overwhelmed by all the acronym-laden, “geek-speak” coming at you? This one-day course, with our favourite “geek” Mark Stewart-Pearson, will help you untangle all that info and teach you what you need to know.
18 March

To view all upcoming courses visit the AFTRS Open website



Event: Fast, Collaborative Media Production

This event, presented by Digistor, is ideal for decision makers from organisations utilising multiple systems working on collaborative production environments. You’ll learn how to streamline workflows - from media creation and collaboration to delivery and monetisation - utilising Avid’s groundbreaking MediaCentral | UX platform. March 2nd and 3rd in Sydney. Get more information and register at
If you are looking at implementing media production solutions for your organisation, contact digistor on 02 9431 6000 or



This month we start a new feature, WORKSPACE OF THE MONTH! Send us a picture of your workspace and win
an Australian classic DVD. Tell us what you love (or hate)
about your workspace. 

This month's winner receives a
 copy of
Gillian Armstrong's HIGH TIDE

To kick it off, TAS member - Anthony Cox - editing at ITV Studios.  


Our Sponsors

Avid Blue Post Two Dogs
Video Craft Audio Network The Editors
Roar Digital Spectrum Films
Copyright © 2016 Australian Screen Editors Guild, All rights reserved.

Got a Story?
Send contributions to:

unsubscribe from this list | update subscription preferences