February 2013

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Greetings Editing Colleagues,

Happy New Year to you! I hope the year is off to a great start with plenty of promise for professional achievement and personal satisfaction.

The year kicked off with ASE Members Sam Wilson ('Once Upon A Time In Cabramatta - Episode 1') and Dany Cooper ASE ('The Sapphires') winning their categories of the AACTA Awards.

The Executive Committee welcome newcomers Fiona Macintosh and Brianna Cook to the team. Both Fiona and Brianna will manage the monthly eNews segment 'Meet the Members'. So if you'd like to volunteer to answer a few fun questions, please let us know.

Also, congratulations and thank you to incoming Victorian ASE Chairperson Steven Robinson ASE, who was recently nominated for the role.

There are a few ASE events in the making for 2013, stay tuned - seminars, screenings and training. Please let us know what you'd like to see. We're all ears (and eyes).

Good luck to those involved with Tropfest this weekend!

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






My first duty as the newly elected chairperson for the Victorian branch of the ASE is to thank yet again and acknowledge what a outstanding job Cindy Clarkson has done over the last couple of years in her role as chair. I’ve ran out of fingers and toes counting the number of events the Victorian branch have run since Cindy was in charge and the exposure the guild has received through her hard work was been extraordinary.

With the crazy idea of trying to gain some sort of life back Cindy is standing down as chair but thankfully for us all still remaining on the board.

We have a enthusiastic and eager assortment of members on the board this year, but more are always welcome. So any Victorian members out there who want a greater say in the direction of the guild and the opportunity to put their two bobs worth in concerning events don’t wait, please get in touch with us.

That being said our first event for the year will follow on from the huge success that we had recently with Belinda Fithie’s industry “chat” and Belinda has offered to hold another night. The event will be around the middle of March and once venue and date are confirmed details will be posted.


Keep the guild strong.




Steven Robinson ASE

Victorian branch Chairperson



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Mark Warner has spent the last 40 years in an edit suite working on such diverse films as "Driving Miss Daisy", "Big Trouble in Little China", "Lara Croft: Tomb Raider", "Mao's Last Dancer" and "Goddess". He is now trying his hand in the classroom no less. Having accepted the role as the new Head of Editing at AFTRS, Mark is looking forward to every challenge that comes his way, as well as the opportunity to be able to assist and guide future Australian editors.


I knew I wanted to work in post when…

I was attending a University in San Diego, California and at the end of my second year realized that I was more interested in doing anything I could to get into film editing rather than continue on that academic path.


My first break in the industry was

After High School, I was working odd jobs to try and earn enough money for a backpacking trip to Canada and Europe. My 1965 Volkswagon Beetle's engine blew up and I did not have enough money to fix it and still go to Europe. My father, who was a sound editor/designer offered me a job as his sound assistant on a couple of films. I was not interested in a film career at that time but took the position because it paid a lot more than my other jobs. Little did I know that working with him would lay the foundation for my then unrealized career!


The thing I love most about editing is…

It is a beautiful combination of creativity and technology. It is at the heart of the storytelling process and is essentially the final draft of the film. It is always exciting to me to play with the plasticity of the medium. And ultimately, it is a rush to see the audience react the way you designed or intended them to respond.



The best tip I’ve got for aspiring editors is…

Edit as much as you can whether you are paid or not. Learn flexibility and collaboration. Stay current with the technology and cultural trends in the medium. Get your foot in any door doing whatever you can, even if it seems really obscure at the time. Effort, tenacity and a positive attitude will open more doors for you.


If I wasn’t in post I would be….

Lost!….Or maybe an electrical engineer…. or a psychologist.


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NICOLE THORN – Assistant Editor



Nicole Thorn a funny, creative person who embraces and draws on her inner child. So much so that at 30 she reclaimed her childhood love of drama and enrolled in acting school. The self-reflection of instinct and inner truth awoke the editing beast within and Nicole has since spent every waking moment with her fcp and avid open and raring to go!


I knew I wanted to work in post when… In year 12 (1994) I entered a short film into the Panasonic Film festival. I wrote it, shot it and edited it. The only part of the process I remember was editing. I don't have a clue about what was driving me to do it or how I figured out what needed to be done but I used 2 VCR players, my video camera and TV connected together somehow to edit the footage I had shot. I then added a soundtrack by adding my stereo into the mix. I'm not sure I could replicate that setup now if I tried.


My first break in the industry was - My current job as third assistant editor on Mad Max Fury Road.


The thing I love most about editing is… doing justice to the work of everyone before you. Once an editor gets the footage there's so many hours of work, dedication and passion in what you receive, having that all come to your hands is an immense honour and seeing it all take shape and all the different elements of production start to shine is what I love.


The best tip I’ve got for aspiring editors is... I'm definitely still one myself but I would say work on anything that you can get your hands on. Even if you think you don't have that much to work with, that's the time you can really test yourself and exercise your problem solving and creative abilities. Take inspiration from everything you watch. Keep note of those editing moments in anything you see that really stand out for you. And trust yourself that you have worked as hard as you can that opportunities will come and when they do that you will be ready!

If I wasn’t in Post I would be….Trying to get into post.



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Fiona is a new member of the NSW ASE Committee. She is friendly and keen to learn. Ladies and Gentlemen... Fiona Macintosh!

I specialise in…editing, well that’s about as far as I’ve gotten, being fresh out of uni I love editing and the whole post process!

My first break in the industry was… currently helping out a small post / effects house in Newtown with editing some and other odd jobs hype reels for a few events.

The highlight of my career so far… has been cutting On Solar Winds, my honours film, which I cut in three different ways across Avid, FCP X and FCP 6, in order to prove my thesis topic; that there are in fact differences between editing in science fiction TV series in the UK and US. We’re still polishing it up but should be coming soon!

I was inspired to join the ASE committee… with my friend Bri to learn, help out and be more involved with the ASE.

The ASE is important… it connects editors of all levels of experience, bringing us all together in an inspirational and creative environment.







CINEMA 4D Level 1 – Wednesday 20 February - 1 day

Full day introduction to MAXON's CINEMA 4D.

The Introduction to CINEMA 4D workshop is designed for those who have little or no experience in 3D, but would like to learn how to become skilled in this growing area of production. Ideal attendees include:

  • Artists, designers and editors who would like to expand their knowledge and skills to include 3D

  • Studio producers/managers who want to learn what 3D can offer their studio

  • Freelancers who want an understanding of how to offer 3D to their clients

  • Teachers and other educators thinking of offering 3D classes or introducing 3D into their courses

CINEMA 4D Level 2 – Thursday 21st February - 1 day

CINEMA 4D Level 2 workshop is designed for those who would like to further their knowledge of 3D and gain more of an understanding about what CINEMA 4D is capable of. Ideally people who have completed the Introduction course would get the most out of this. However if you are experienced to an intermediate level with CINEMA 4D then you may also wish to attend.

  • Artists, designers and editors who would like to expand their knowledge and skills of MAXON’s CINEMA 4D

  • Studio producers/managers who want to expand their 3D offering

  • Freelancers who want to improve their 3D skills and build on their current services

  • Teachers and other educators who wish to build their product knowledge of 3D



 DIGISTOR - AUTODESK SMOKE Editing & Effects Seminar




TO SEE THE WEB PAGE, CLICK HERE... Events/ AutodeskSmoke2013LaunchJan13. aspx


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ASE Lecture – Film School Havana


- by Harriet Clutterbuck ASE


Recently in September, I was having a holiday in Cuba. By pure chance I met a young filmmaker who happened to be visiting another guest in the house where I was staying. We got chatting and just to be polite I asked him what he did for a living. “I’m an editor”, he said. I couldn’t believe it. After two days in Havana I stumble across another editor. “So am I!”


Amilca has a job he hates in publicity and is also in his last year at the Facultad Arte De Los Medios De Communicacion Audiovisual. His major project is a documentary about racism in Cuba. (And yes there is racism there. I know because I experienced it first hand, but that’s another story.) Amilca wanted to pick my brains about documentary editing and of course I can talk about it till the cows come home so we made friends quickly.

CLICK BELOW TO READ THE FULL ARTICLE… cms/documents/ASE_Lecture_ Film%20School_Havana.pdf


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Chorus Student Digital Art Exhibition

- by Frayne Dyke-Walker


The latest project has been bubbling away and evolving with Simon and Nic Craig his producer at Chameleon Partners for nearly two years. It started for me when Simon played me a music track with Arthur C. Clarke the technical and science fiction writer talking about the future...


CLICK BELOW TO READ THE FULL ARTICLE… cms/documents/Art_and_Soul3. pdf





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Sydney Film Festival – Deadline - Dendy Awards for Australian Short Films


The Dendy Awards deadline is fast approaching!


Entry to the awards closes on Wednesday 27th February. Submission of Australian short fiction films (either animation or live action, less than 40 minutes in length) requires filmmakers to complete an online submission form and payment, and send four copies of their film to the Sydney Film Festival office in Sydney.


Cash prizes are awarded in three categories: Best Live Action Short ($5 000), The Yoram Gross Animation Award ($4 000) and The Rouben Mamoulian Award for Best Director ($5 000). Past Award winners include Kriv Stenders (Red Dog), Jane Campion (The Piano), Phillip Noyce (Patriot Games) and Warwick Thornton (Samson & Delilah).


The Awards are recognised by the Academy of Motion Picture Arts and Sciences and therefore winners in the animation and live action category are eligible for Academy Awards consideration.

TO FIND OUT MORE, CLICK HERE... cms/images/uploaded/996_Dendy_ Awards_reminder_2013.PDF






Recently added courses include Avid 101: Editing Essentials and Avid for Producers plus we still have spots in Avid Media Composer 110,  Introduction to After Effects, Cinema 4D an Introduction all in Sydney, plus Jill Bilcock Editing Masterclass in Melbourne.

Below is a list of all current VFX and Editing courses. For details of all upcoming courses across the country


In this one-day Masterclass, Academy award nominee and 6 time AFI Award winning editor Jill Bilcock will share insights into the craft and role of editing for feature films.
2 JUNE course/E561



This two-day course 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 6.
9 - 10 MARCH course/E556

This two-day course provides a detailed introduction to desktop compositing for broadcast using Adobe After Effects CS5.5.
16 -17 MARCH course/G503

This short course is an introduction to managing data from file-based cameras in post-production.
16 MARCH course/E550

This one-day course is designed for intermediate to advanced Final Cut Pro editors wanting to broaden their skillset to include Avid Media Composer.
23 MARCH course/E547

The Introduction to CINEMA 4D workshop is designed for those who have little or no experience in 3D, but would like to learn how to become skilled in this growing area of production.
23 - 24 MARCH course/G602

This six-evening Avid-accredited course with David Forsyth is the first step in achieving confidence, creativity, and efficiency with Avid Media Composer 6, the non-linear film/video editing application used in most television productions.
5 - 7 April course/E555

If you know a producer you are working with who needs to get up to speed with Avid. This is the course for them!
20 APRIL course/E558

This 3-day,intensely practical course introduces participants to the duties, technical skills and responsibilities of the Assistant Editor in today’s reality television environment.
3 - 5 MAY course/T532




AFTRS OPEN’s latest short Editing and VFX courses include: TV Assistant Editor,Intro to Premiere Pro and Avid for Final Cut Pro Editorsto Intro to After Effects for Broadcast GraphicsNuke Foundation and Cinema 4D both Introductory and Advanced. All ASE members are entitled to a 10% Industry discount. Plus if you’re looking for something different for your kids this summer holidays, the extensive program of School Holiday courses in December and January is now online.



Avid For Producers course/E558

10 November

Intro to Premiere Pro course/E560

17 November

Avid For Final Cut Pro Editors course/E547

8 December



Intro to After Effects for Broadcast Graphics course/G503

1 - 2 December


Nuke Foundation course/G607

3 - 12 Dec, 6 eve sessions

Cinema 4D: Advanced course/G603

8 - 9 December


Our school holiday courses this December and January are better than ever. We’ve revitalised old favourites: Real Filmmaking, Claymation, AFTRS Trop Jr Filmmaking Week, and Digital Animation, plus added new courses in Game Design, Comedy Acting and TV Presenting and much more: schoolholidays

For a full list of AFTRS OPEN short courses visit:

Any questions call 1300 065 281






Start the new year in a great space! Join other film, tv, games, comedy and arts businesses in this great creative hub in the center of Fitzroy's cafe district. Offices available from HUGE and LIGHT perfect for a business with 3 or 4 staff to smaller spaces perfect for Editors and Games creators and Animators. Share facilities including internet, photocopier, scanner, fax, printer etc. Offices from $120 per week including overheads. To inspect contact Melanie Coombs





The government’s initial response to the Convergence Review has been labelled a major loss for Australian audiences and for the production industry... local-content-loses-out php?option=com_content&view= article&id=492: convrevresponsedec12&catid=1: latest-news&Itemid=328

If you are as opposed to this decision as many in our industry, don't hesitate to protest.


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OSCARS 2013: IGNORE THE EDITORS AT YOUR PERIL entertainment/movies/2013/01/ 17/oscars_2013_ignore_the_ editors_at_your_peril.html



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“…I do feel there’s an internal rhythm in every person which is reflected in your work. Somehow a painting looks like its painter. There’s an innate response to footage that I feel is very much mine. Sometimes it’s not at all what Quentin or another director wants, so I change it. I approach the footage in a detailed way, looking at mannerisms as much as I listen to the dialogue- what their body is saying.”

I don’t do match cuts really. That’s a ridiculous thing to say – I do. But we always explore how we can propel a scene, and that’s including dialogue, without doing match cuts. Because the audience is really willing to accept a lot of discontinuity.”

- Sally Menke




Until next time…

The ASE Committee