August 2012




Greetings Editing Colleagues,


The 2012 ASE Awards 'Call for Entries' provided an interesting response from some Members who challenged the more traditional standing Categories of the past.

It is clear that our professional skill as storytellers crosses a wider range of mediums today.  The explosion of online content, for example, hasn't until now been represented.

This year will launch another new Awards Category titled 'Open Content', specifically to entice the participation of these new mediums.  Also, as mentioned last month, the sub-division of our most popular submission type, Documentaries and Factual.

So start wrangling your entries, it's going to be a great celebration at The Ellies this end of year.

See website for details ...



Wonderful news from our Sunshine State.  The Queensland ASE State Committee is now official.

Please welcome and thank the following Members for their time and dedication in supporting their local Post Production community.

QLD Chairperson Josh Dawson and QLD Committee Members Axel Grigor, Bob Blasdale, Alex Fitzwater, Charlotte Cutting, Jeanette McGown and Angela Graf.


Remember, it really is a matter of "what can you do for your Guild?".

Please let us know what you'd like to contribute or make available to share.

Let's find great comfort in supporting each other.



Jason Ballantine ASE

ASE President





August!  How did it get to August so quickly?  But that also means MIFF is about to begin and please look out the for a list of ASE members films.  Go cheer the editor whentheir name appears.  Yeah to the champions of the blade.


If you haven't seen it yet Nick Meyers ASE is taking a 2 hour master class on the Sunday the 12th of August.  So book your tickets and get ready to be informed, inspired and generally exhilarated at what it is to let those fingers dance on a keyboard.


Also check out the free ADG panel at MIFF on Saturday the 18th of August which includes Jill Bilcock ACE ASE talking about the question is this the demise of film? Any opportunity to hear Jill speak should not be missed.


A huge thank you to the Zophia Zabielska and Lia McCrae-Moore at ACCTA/AFI who where willing to take on the idea of doing a talk on the craft of editing and Cinema Nova who gave us a great venue during their peak time.  The evening was enthusiastically received and enjoyed by those in the know and those curious to know more.  To Peter Carrodus ASE, Scott Gray ASE and Andy Canny who gave up their time to talk about the craft of editing THANK YOU.  I think we've found ASE's version of a boy band. Check the picture out with the article further down the newsletter.

To Patrick McCabe who put the Digital Workshop together in quick order you hero!  Rob Nairn who moderated you're a star! Chris Hocking, CJ Dobson and Roslyn Di Sisto gave the audience a lot of information about dealing with the multi platform material we work with on a daily basis.  So they can only be described as superstars for surrendering an evening to keep those who attended enlightenment.


As always keep checking the website as we'll have more events to announce shortly.  To those of you who are in Melbourne during MIFF get into it and enjoy the possibilities.


Cindy Clarkson




The QLD ASE Committee had their first official meeting recently. It was kindly hosted by the Griffith Film School in Southbank. In attendance was Axel Grigor, Bob Blasdall, Ange Graf, Charlotte Cutting, Jeanette McGown and Josh Dawson who has taken on the role of QLD Committee Chairman, Alex Fitzwater who is also part of the newly formed Committee was unable to attend. We are hoping to add a couple more names to the committee in the coming weeks. It was an energised meeting of very passionate and experienced individuals all eager to get a number of new initiatives and events up and running shortly in the state, as well as some bigger plans and programs happening in the near future. It is a great opportunity for the QLD Post community to find it's voice, to be able to stand together, and use our collective energy to get some really fantastic things happening.

Josh Dawson,

QLD Sub Committee (Australian Screen Editors)



QLD’s first official meeting.





Karryn de Cinque


Karryn de Cinque started out cutting heaps of short films and music videos, and these days mainly edits docos. She works all over Australia and sometimes in Auckland and hopes to cut some more drama real soon. 

I knew I wanted to work in post when… I was 15 years old doing work experience at the Film and Television Institute in Perth. I was given quick instructions and then left alone with dozens of big flashing buttons in the U-Matic suite. It felt like I’d been given a spaceship - and I could go ANYWHERE !

My first break in the industry was… After studying film at university it seemed impossible to get a job in Perth as an editor. It was much easier to get a $25,000 grant from the West Australian Film Commission to direct a short film! I hired myself as the editor – and the film was selected to open the 32nd New York Film Festival before the US premiere of “Pulp Fiction”.

The thing I love most about editing is… Losing sense of time.

The best tip I’ve got for aspiring editors is... Listen. Listen – and shut up.

If I wasn’t in postproduction I’d be… Fucking insane.




Peter Crombie


Coming from a film family, Peter grew up being gently persuaded by his father to pursue a "proper" career - Law? Medicine? Engineering?  Perhaps this was due to his father's desire to be bought a yacht in his retired years by his offspring, or perhaps it was to save his children from the roller coaster ride they had experienced working in the Film and TV Industry?  Unfortunately, such a proper career path was never on the cards for Peter. From the first time he sat in front of an edit suite, he was hooked and still is. He has assisted, he has edited shorts, docos, reality and a feature film and is making a decent living as an editor. He doubts if he will get his father a yacht but you never know, Marty or Harvey may ring tomorrow....

I knew I wanted to work in post when… I directed a short film when I was 18 and got TIm Wellburn to cut it. He did it on the proviso that I choose all the best takes, where to cut, the music etc. It was then that I realised that it all comes together in the edit suite and I was hooked.

My first break in the industry was… I worked on the periphery of the industry for about 5 years but grew tired of the work I was doing. While I was working in London, I applied for AFTRS and got in. It was an intense 2 years but the knowledge I acquired there  helped me when I got my first break in drama as an assistant. My first BIG break editing was when I got the gig cutting "The Reef".

The thing I love most about editing is… Building the story, crafting performance, creating a nice rhythm - so basically editing....

The best tip I’ve got for aspiring editors is... Cut, cut and cut. Then get editors you admire to criticise your work. It can be hard at times but it's great to learn from people who know what they are talking about. And meet Directors/Producers. They will be your meal ticket...

If I wasn’t in postproduction I’d be… Either a chef or mowing lawns. There is something truly cathartic about mowing lawns....


The ASE is pleased to announce that Melbourne based company ROAR DIGITAL has renewed their renewed their sponsorship of the guild for yet another year.  ASE Life Member Evelyn Cronk has been a long time advocate of the ASE and we thank her and her fantastic team for their unwavering support.



DIGISTOR have also renewed for 2012/13, this year committing to “Gold” sponsorship. Upon confirmation of their renewed and heightened support, Mark Richards, Digistor’s Marketing Manager announced, ”Digistor is pleased to be a continuing sponsor of the Australian Screen Editors Guild. We strive to support excellence in motion picture and television post production and the ASE provides an outstanding service to its members - many of whom work with or have become Digistor's most successful customers.”




In other news, Anthos Simon yet another unwavering supporter of the ASE has left his position with EFILM (Deluxe Australia), after 24 years. We wish Anthos all the best for his new venture.





Lifting the Lid 

Two upcoming ASE events you and your workmates won't want to miss!


G'day members,

Do you have any workmates or colleagues who you've been bugging to join this ASE? Well in the coming weeks we will be holding two events in Sydney that will be showcasing the fine work of our members and we'd like to encourage you to invite your non ASE buddies along.  This will be a great opportunity for them to get a glimpse at the community & support we are trying to build within the guild and who knows they may even sign up! (Don't worry no one will be crash tackled if they don't).  So please do mark the details in you calendars, and let your colleagues know that they are more then welcome to what we hope will be two very informative and special nights.


7pm, Tuesday August 14th at the AFTRS Theatre:


LIFTING THE LID:  Editing in the world of factual and reality television

Editors Dana Hughes, Sam Wilson, Nikki Stevens and Marissa Bacon will take us into the world of cutting factual and reality television. These highly experienced editors will individually share their thoughts experiences and samples of their work in this diverse field.  Then as a panel, answer audience questions.



LIFTING THE LID:  An Editor's view on cutting television drama

(Date to be confirmed)

Editors Nick Holmes ASE, James Manche ASE, Nicole La Macchia & Antonio Mestres will give you their take on editing television drama.  With a huge number of credits between them this is sure to be an informative and insightful night.

More details to come...








Autodesk M&E Meet the Expert Webinars

Featuring Autodesk Smoke 2013 : See The Third Dimension Like Never Before.

Friday, 24 August 2012, 13:00-14:00 EST

Join Rob O'Neill, ANZ Creative Finishing Specialist, for a live webinar and look at what sets Smoke apart with true 3D. If you think that means "stereoscopy", you are partly correct. It also means 3D as we've always known it and how well we integrate with Maya, Max and Softimage. Others claim 3D capability but you'll soon see reality with Smoke.

- Getting into the Action!
- Two dimensional footage in a three dimensional world.
- Making it all look like it was shot with one lens.
- Making it all look like it was shot with two.


Register now: https://www3.gotomeeting.com/register/178546838




The ASE Mentor Scheme started in 2004 and is a successful link between younger or less experienced members and other members of the Guild who have been working for many years in their field of expertise.

Our Mentors are senior Editors with many years experience in commercials, television drama, feature films and documentary. Click here for a list of previous and current Mentors.

The scheme is designed to give access to a more experienced Editor who can advise and give guidance to a Mentee in their work as Editor or Assistant Editor. The ASE Mentorship is a series of a minimum of three meetings over the course of 12 months. These meetings could involve looking at some work and offering feedback and advice on working in the Freelance world.

For more information on how to apply to the scheme please take a look at our Mentor Scheme Guidelines.

If you have any queries about the scheme or if you would like to volunteer as a Mentor we would love to hear from you atmentorship@screeneditors.com


An ASE Mentorship story


I met Nick Meyers at AFTRS in 2010 while I was a Grad Dip in Editing. He was there in the capacity of a drama tutor. I was very flattered that an editor of Nick's status had not only taken the time to meet us, but had also opened up his work on Balibo to class discussion. I joined the ASE in 2010, and when I heard about their Mentorship scheme, I was very interested.


At the end of the course, I applied for the mentorship scheme and I asked that Nick to be my mentor. To my delight, he said yes. 


Through the mentorship scheme, I had met Nick over many occasions and had been recommended as an editor on interesting short films. Nick had also generously offered his time to look through the evolution of all my short films in post production and gave many insightful comments that would not have occurred to me.


I had also worked alongside Nick on a project initiated by Jim Sharman, in the capacity of an associate editor. During that time, Nick unpacked the post production process step by step, from workflow to far more amorphous concepts like sensing the edit. It was a rare opportunity to be privy to the discussions between Nick and the director. To observe the decorum of an edit. To observe the to and fros. He was very generous with his time and knowledge and he would always turn around to myself and say, "Oh, do you know this shortcut? Its really handy!" 


It is 2 years since I had left AFTRS and I have gleaned many life lessons as well as gained much from my association with Nick. Nick continues to be a mentor for me. And he has been extremely patient and exceedingly gentle with my often times petulant self. Through Nick, I have grown, not just as an editor but as a person. 


Kenny Ang



ASE at MIFF 2012

Here’s the list of our champions:

The Sapphires - Dany Cooper ASE
Save Your Legs - Leanne Cole
Dead Europe - Alexandre de Franceschi ASE & Scott Gray ASE
Conston - Bergen O'Brien
The First Fagin - Wayne Hyett ASE
Make Hummus not War - Denise Haslem ASE
Jack Irish - Bad Debt - Geoff Lamb
Dave's Dead - Annabel Johnson
First Contact - Patrick McCabe
Lois - Denise Haratzis ASE
Spine - Melanie Annan
Tender -Katie Flaxman




Bernard Garry ASE talks about his experiences on a sketch show unlike any other.


It’s a rather different combination of genres. How was the format of the show defined and scripted?

The scripts were written on a sketch by sketch scenario, each being shot one story at a time. There were 10 main story lines that we interwove as 6 x 20 minute episodes. We didn't have a firm idea of how it would work until we got in the edit suite.

To start with it was really a matter of making it work as individual stories. Then we began to intercut them. We really were writing  the show in the edit suite. We cut a very intercut version and then another with less intercutting. Pushing either way until we came up with a theory on where we believed horror could be broken up to work as a sketch show.


One of the difficulties we found was how to maintain the suspense that comes with staying on a moment in horror and yet still be able to move between our stories. We found when we got in the edit suite the effects of inter-cutting horror played out in ways we didn't expect which gave rise to interstitials to help break up the pace. They were quite simple things that by themselves were very benign, but when sandwiched between torture we felt they took on a whole new meaning. A bowl of fruit on a table could, in the context of our horror, became quite unsettling.


How did the delivery method of being released on a mobile devise impact on the edit?

We didn’t let it affect the cut in the sense, shot sizes or plot but it played a big role in marketing. We also spent a lot of time developing an experience for the view to allow them to choose their own way thru Watch With Mother. The app was developed to allow you to choose to watch it as an episode, or focus on one of the story lines. The app is packed full of capability with things such as the sound track included, behind the scenes footage and different structures for how you can purchase the show.


Not having a traditional broadcaster on which to promote meant social media played a big part in developing an audience. We spread the release out with viral teasers, Facebook, Twitter, street posters. It is as interactive as it can get.


I believe the unusual nature of the production didn’t stop when it came to the roles for the crew.

Yes, it really was a combined effort with many of the positions being tackled by more then one person.

There were a 7 Directors that shared the 10 stories as well as a 2 units called “blood” and another called “guts unit”.

At The Editors, it was a similar approach where 6 of our editors pitched in. Dan Lee, Dave Whittaker, Pete Whitmore ASE, Peter Barton, Laurie Hughes and myself all grabbed various stories, sometimes swapping stories if needs be, depending on who had time available.

It really was a combined effort.

“Watch With Mother” the show is currently available on iTunes with app to follow in a few months and can be followed at http://www.facebook.com/watchwithmother.tv


The Art of Editing

On a wintery 25th of July night In a crowded cinema of ACCTA/AFi, ASE and general public the latest in ASE boy bands Scott Gray ASE, Peter Carrodus ASE and Andy Canny screened a selection of varied material to walk the audience through the mystery of editing.  Scott chose to look at a section of The Boys Are Back near the end of the film where Joe (Clive Owen) goes to England to convince his son to come back with him to Australia.  The section at Paddington train station was a scripted scene that in the end arrived at removing most of the dialogue while still keeping the emotion of the scene at the forefront. A look can say so more than words sometimes….





Left-Right:  Andy Canny, Peter Carrodus ASE, Scott Gray ASE.  Photo taken by Stu Mannion.


Content for New Mediums

26th July 2012

AFTRS Theatre, NSW

Panel – Distracted Media: EnzoTedeschi, Julian Harvey, Carlo Ledesma & David Sander

MC – Dr Karen Pearlman


A passion for storytelling led Enzo Tedeschi, Julian Harvey, Carlo Ledesma and David Sander to set up production companyDistracted Media. This is the team behind the crowd-funded feature film The TunnelThe Tunnel’s unconventional funding and distribution model gained worldwide interest. They sold frames of the film to raise their production budget and then released it for free on the internet. This got the world’s attention – who has the gall to give away their film for free and then it ends up being screened in Cannes. Tonight we hear how the group went from sitting around drinking beer chatting about film ideas to walking down the red carpet with The Tunnel, attracting funding from Screen Australia for their next project and giving up their day jobs to run their own production company.

We screened the opening moments of The Tunnel and it was immediately clear that this couldn’t be dismissed as content “just for the internet”. It looked and sounded amazing on the big screen. We also saw a clip of their webisode series, Event Zero. Again the quality of work was incredible including David’s special effects.  And right away, just like The Tunnel, you were hooked by the story and wanted to know what happens next. You might even be fooled into thinking, “wow, this is too good for the internet”.  But for the team at Distracted Media that kind of statement doesn’t add up. They want to produce high quality stories no matter where they are screened – be it on the web or in a big cinema. “Storytelling is storytelling” Enzo says. And having Editors on the team from the start was invaluable for both The Tunnel and Event Zero...

Read more here...


Our Panel L-R:  Enzo Tedeschi, Carlo Ledesma, David Sander, Julian Harvey





Editors entering the awards must be Full Financial Members of the Australian Screen Editors Guild. New applications for Full Membership (or Full Membership renewals) may accompany an ASE Awards entry.

All entries must have had their first public screening, broadcast or video/DVD release between 1 July 2011 and 31 August 2012.

DUE DATE:  Postmarked by 7th September 2012




* Feature Film

A dramatised story of at least 60 minutes in duration. Must have had a theatrical or video/DVD release.


* Television Drama

May be a single episode from a television series, mini series, or a one-off telemovie.


* Documentary Feature

A single self-contained non-fiction film or television program of at least 60 minutes in duration. Not part of a series. Must have had a theatrical or video/DVD release.


* Documentary Program

A single self-contained non-fiction film or television program of under 60 minutes in duration. Not part of a series.


* Documentary Series

A non-fiction Documentary, Current Affairs or News program that is part of a series of at least two episodes. Not including a factual, reality, lifestyle or magazine (see below).Television Factual

A factual, reality, lifestyle, magazine or light entertainment program. Entries must not be under 10 minutes in duration.


* Commercial

Must have had a theatrical, television or viral release.


* Music Video

Video clips for a band or singer, usually 2 – 6 minutes. Entries must have had a television or online screening.


* Short Film

Not over 40 minutes in duration. Entries must have had a public screening (theatre, television or online).


* Open Content

This award is for content that is not covered in the other categories. We are looking for high quality editing no matter what the format. This may be online content, webisodes, trailers, title sequences or perhaps a format we haven’t seen yet. Submissions must be under 10 minutes.


Full Guidelines and entry form are available to download here.

If you have any queries, please contact awards@screeneditors.com


This year's awards ceremony will be held in Sydney on Saturday December 8th 2012.





AFTRS Open has a host of upcoming Editing and VFX short courses, from Avid Media Composer 101 and 110 and Colour Grading with DaVinci Resolve to an introduction to texturing 3D models in Introduction to Mari and professional compositing in Nuke Foundation.


If you want to broaden your skillset to include Adobe After Effects check out Intro to After Effects for Broadcast Graphics and we also have an Advanced After Effects course offered this time as an intensive three dayer in September.  Plus we’re running the TV Assistant Editor course here again in November. That’s just a small taste of what’s on offer at AFTRS Open. 



Any questions? Contact AFTRS Open 1300 065 281 / open@aftrs.edu.au


Motion Picture Industry Benevolent Society Appeal


The MPIBS has been serving the industry for over 80 years, providing financial and emotional support for cinema industry workers.  As well as providing Winter Comfort and Christmas Cheer packages, MPIBS assist with payments for pharmaceuticals, Vital Call units for those living alone, Sleep Apnoea machines as well as small subsidies to assist with paying for electricity, gas & water bills.  Whatever the genuine or special need is, the MPIBS endeavours to help.  Despite the generous and regular support from individuals in the industry, as well as monies from some Cinema Exhibition and Distribution companies, there is always a substantial shortfall every year.

Cheques should be made out to: -

Motion Picture Industry Benevolent Society (no abbreviations please)

and posted to: -

Bruce Leonard, Secretary, MPIBS

9 Collins Crescent

Lapstone, NSW 2773


Donations can also be made by direct deposit to the MPIBS's

ANZ Bank Account

BSB: 012-010

ACC: 8643764


(Donations of $2 or more are Tax Deductible)





In order to expand our services and membership program, we have revised our price structure and as such, we invite members of ASE to become members of AACTA at the rate of $80 (full AACTA membership is $110). This is a saving of over 25%.


For further information, or to join please visit WWW.AACTA.ORG/MEMBERSHIP




Editing “The Amazing Spiderman”


Last week on the Digital Production Buzz, they interviewed Alan Edward Bell, the editor of “The Amazing Spiderman”.

This was an amazing interview, talking about how he runs the edit room, how he works with massive amounts of CGI footage, the size of his team (15!) and communications.

it was an  interview on editing, not technology.


Editing “The Amazing Spider-Man” | Digital Production BuZZ




30 minute interviews with film editors:




The Interviewer's YouTube channel has heaps of other vids with directors and actors too.




The ‘Invisible Art’: A Woman’s Touch Behind the Scenes

 - Kim Roberts, Kate Amend and Other Female Film Editors

Click here to read the New York Times article




And for anyone that has missed the fantastic ASE promo:







"I don’t care if a director tells me to take 10 frames off—because I don’t take 10 frames off. I take off what I think would be appropriate. Most directors have no idea what 10 frames looks like. If you work with Sidney Lumet, he knows what 10 frames are. Milos Forman does, too. But most directors, when they say “take 10 frames off,” they’re just kind of showing off to you. I’ve learned through the years you just do what you think is right. And they’ll think that’s great because they’ll never count the frames."


—    Anne V. Coates



Until next time…

The ASE Committee