March 2011



Greetings Editing Colleagues,

Well the year kicked off with a full house Members Only event held at Animal Logic.  An insightful look into the world of animated feature films, with Legend of the Guardians: The Owls of Ga'Hoole. ASE Members Dave Burrows, Henry Karjalainen and Semih Ozkoseoglu gave a two hour presentation that not only thoroughly explained the steps, but undeniably outlined the importance of editing in shaping story.


The ASE Legend of the Guardians: The Owls of Ga'Hoole event at the Animal Logic theatre, NSW


ASE Members (L to R) Post Production Supervisor and 1st Assistant Editor Henry Karjalainen, 2nd Assistant Editor Semih Ozkoseoglu and Editor Dave Burrows


We're also in the throws of organising more Members Only Q&A's with the Editor and Assistant Editor of recent Aussie film and television releases.  Keep an eye out for special emailed flyers ... and remember to rsvp quick as seats do fill fast.  These are a wonderful opportunity to meet those involved and hear their unique experiences.


I hope you're enjoying our new section to the eNews inviting participation from our Members. You'll get to know two Editors each month.  Coupled with an interview with one of our highly valued Sponsors, and a round of questions for a Committee Member too.  Such pretty photos! This month the spot light is on our Victorian strong arm.


A huge congratulations to Aussie Kirk Baxter who collected the prize of all prizes recently - the Academy Award (with co-Editor Angus Wall) for 'The Social Network'. Also congratulations to our 'amazing' Vice President Mel Annan who tied for the Best Editing Award at last week's WOW Film Festival.


The ASE is on a membership drive ... and you benefit.  Introduce a new full member (or re-ignite the interest of a lapsed full member) and not only do they receive a special price, but so do you for promoting your Guild.  $99 full membership for one year! Offer is valid for a limited time.  Contact Margaret Slarke for details at nswoffice@screeneditors.com


We would like to thank our Sponsors for their invaluable support of our Guild once again. Please take a moment to recognise their company logos attached.


And 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




The Victorian ASE branch kicked off the year with a Sundowner and will be holding its first event on the 16th of March.  See larger blurbs below.  I would like to take this moment to thank Jill Holt for her year at the helm in 2010.  All of us on the committee appreciate the time and effort she put into keeping us rolling with ideas and events.  I'd also like to give a shout out to the committee.  All of them have stayed on this year to continue bringing you events you would like to see.  We also have a new member Ka Yin so welcome to the party!  Our next committee meeting is on the 4th of April 7 pm at Digital Pictures so if you have ideas or want to come along please let us know at vicoffice@screeneditors.com so we can add you to the list.   I look forward to meeting you at the upcoming events.  Please come up and say hi!


Inaugural Melbourne Sundowner

…was heralded with warmth, blue skies and about thirty ASE members and one social ADG member in the delightful courtyard of the Railway Hotel in South Melbourne.   A big thanks to Karen Fleming for organising it and Dani Raulli for doing the flyer. There were a couple of new faces, members we don't usually see and an interstater.  A lot of chat, some drinking, munching of chips and general grins and cheer was had as people dropped in and said G'day. Don't be disappointed you missed it.  Just come to the next one on May 8th.  We'll let you know where closer to the time.


Cindy Clarkson

ASE Victorian Branch Chair





WOW Film Festival Winners
Wow what a night...

Thursday 10th of March

Awards Night for the Women in Film WOW FILM FESTIVALat the Dendy Opera Quays

This is the first year that the ASE has presented an Editing Award and it proved to be quite a challenge. The judges, life member Sara BenettLindi Harrison ASE and Jane St Vincent Welch ASE were faced with  a stack of DVDs containing 16 films ranging from 5 to 55 minutes, covering a variety of genres, from short dramas both student and professional,  animation, comedy to serious long form documentary.


It was quite confronting to see how we would judge these diverse works, however over a long skype and telephone hookup three films stood out dispite very diverse opinions between the judges (interesting in itself).


The happy result was a honourable mention for Haley Stibbard for her brilliant work on 'Push Bike' and the awarding of a joint editing Awards to 'Cockroach' edited by Melanie Annan, an animated and live action drama about a cockroach and 'Lani's Story' edited by Rochelle Oshlack. a 55 minute documentary on a woman's survival of domestic violence.


Both editors won a years membership to the ASE and a well cut bunch of flowers  presented by Dany Cooper ASE and Jane St Vincent Welch ASE.



'Meet the Members'

…with Steve Robinson ASE


Steve Robinson ASE, accepting Best Editing in a Documentary for “Inside The Firestorm” at the 2010 AFI’s.


When did you start editing?  Who with?  What were your tasks and what did you learn?

From an early age I knew that I wanted to work in film and television. My father made 8mm home movies, short silent narrative films starring the family in murder mysteries and spy thrillers. I watched him edit these little films, dangling pieces of film from the mantelpiece and I was hooked. By the age of 20 I’d joined the ABC and after working for two and a half years in mail and dispatch I made my way down to editing and had the good fortune of being Bill Murphy’s assistant. Like many of the people I’ve had the privilege to work with over the years Bill had a love of film and work was never really work.

Bill taught me many things, “hard on the out, loose on the in”, to always cut on “eye lines” and that you have to start somewhere, you can’t make a change till you have something down, don’t be frightened by your first edit.


Tell us a bit about your experiences on your first job.

For about 18 months I worked in the ABC newsroom editing the 7 o’clock news. All the stories were filmed on 10min mags of 16mm reversal film, which once shot had to be rushed to the lab, developed which took about 20 mins and then rushed to the editors. This was original footage, no back up, if you scratch it, it’ stayed scratched.

So we went at it with are white gloves and splicer and tried not to bugger it up.

You either got good at it or moved on, and for those of us who were good at it was the best experience, knowing you had a deadline that wouldn’t go away and learning to make fast decisions.


How did you find the transition for film to non-linear and what has changed in the process?

Non-linear editing in many respects is very close to editing on film. Anyone who knows me knows that I’m not a techno type. I don’t know how I would cope if I was starting out now as an assistant and having to be across data management etc. With all the developments over the years with editing software I just hope that the technical side does not get in the way of the artist side, we are trying to tell a story here guys.

But for all the wonderful tactile qualities of working with film, the ability to hold a piece of film up to the light, the vey nature of making a “cut” and attaching tape to the edit I would no sooner go back to editing film then fly to the moon.


Is documentary editing your sole interest?

I’ve been lucky enough to move from documentary to drama. Both require a different set of skills. With drama you are focused on performance, a frame here, an eye flick there, the fine details of the story. With documentary you are trying to find the story or more to the point who’s story are you trying to tell. As an documentary editor you can have a huge influence in how that story is told.

I would encourage young editors to get experience in both fields. Not only does it help develop different skills but it also widens your opportunity for employment.


What was your favourite programme to cut and why?

There was this comedy series that had been floating around the ABC for a few years that nobody was willing to take a punt on. Eventually got up and I was giving the opportunity to it edit it. In many ways Kath & Kim has changed my life.

To be involved in a program that was so successful has helped to open a few doors for me.  But more then that it’s been the wonderful working relationship I’ve developed the Jane and Gina, Rick and Ted Emery. Clever generous people.

What is your best work and why?

The work I’m most pride of is the documentaries. They seem to take more out of you, but somehow give more back to you.


What would be your advise on editing?

Drama or documentary, find the story. And tell that one story well.

Watch the documentaries, break down their structure, find the story arch.

It’s not about the individual edit but the overall film.

An editor makes many hundreds of decisions in a day, and dare I say not all of them are going to be the right ones, but just keep learning as you go.


“Inside the Firestorm” won the 2010 AFI for editing how did you find working with the material?  It is very personal and emotional footage.

Inside the Firestorm was a very tough film to edit on many levels. I sent the first couple of weeks just viewing the interviews with the survivors of the Black Saturday bushfires. I came  home and my wife just looked at me a asked if I was sure I wanted to continue to work on the film. You couldn’t view these rushes with out getting involved in their stories. But the film was a challenge on structural level as well. How do you tell 29 individual stories in chronological order many of which are happening simultaneously across the entire state and not confuse the hell out the audience. At one stage the director Jabob Hickey and I just stopped editing for about a week just to talk through the many options we had in telling the story.


Have worked in the industry for a long time what do you love about editing now?

I’m learning all the time. Every film offers me new challenges, a different way of approaching the story.


What inspired you to be a part of the ASE?

I joined the ASE for many reasons. To meet and talk with other editors, to learn more about the craft we all love and to help raise the profile of our profession.

It won’t just happen, as editors we need to get out there and tell people what we do. Just because someone has final cut pro on their home computer does not necessarily make them an editor.

(Check out more of this interview on the ASE website)



'Meet the Assistant'

…with Annabelle Johnson


ASE member Annabelle Johnson


Annabelle is an assistant editor currently working on “The Slap”. She has also worked on “Rush - Series 3” last year, “Sleeping Beauty” (feature) last year and “The Reef” (feature) in late 2009. All of those are as assistant editor. She’s also “done a couple of shorts recently though neither of those are out in the world yet!”


I knew I wanted to work in post when…I was in high school. I spent all my lunchtimes working away on my short film. I loved that after the frantic nature of the shoot there was this great process where you could take your time, experiment and see all the elements come together. It was really exciting.

My first break in the industry was…
probably just after uni when I did an editing department attachment on East of Everything 2 - spending 2 months working in Byron Bay was a pretty nice way to get started!

The thing I love most about editing is…I really like the obsessive nature of it. I love how you can be so absorbed and lose yourself in what you’re doing. So far, I’ve mostly been working as an assistant and that has been a wonderful insight into the whole process. Plus working in editing I think I’ve been working with the loveliest people in the industry.

The best tip I’ve got for aspiring editors is...I think I’ve learnt that it’s important to be very open to ideas and trying things out. And it's good to keep meeting and talking to editors about what they’re working on and how they’re approaching it.

If I wasn’t in post-production I’d be…Bailing up someone to practice my French! Or on an extended round-the-world holiday, camera in hand.



'Meet your Committee'

…with ASE Victorian Chairperson, Cindy Clarkson


ASE Victorian Chairperson Cindy Clarkson


I specialise in…narrative editing drama and doco.  Ain't that a grand way of saying I cut picture?


My first break in the industry was…as an assistant for David Noakes' doco/drama How The West Was Lost in 1985.  It was filmed and edited in the Pilbara with the community.  Based in Perth my job was to sync the 16mm rushes - which I did on a pic sync and rubber number the picture and sound then courier it up to them. I remember being horrified when I snapped the 16mm work print for the first and only time.  I spliced it back as carefully as I could and wrote a small note of apology fully expecting to be fired.  Frank the editor laughed, "You should've see what we're doing the work print up there."


The highlight of my career so far…is that I'm still editing. Happily I've freelanced from the beginning and managed to keep doing the thing I love most and pay the bills! Push comes to shove it would have to be Warriors of Virtue 2 - Return to Tao.  It isn't a great edit.  Its perfunctory but I got to work on a film with 30 minutes of martial arts including over 100 visual effects. For a pure edit experience it would have to be Redball.   It was my second feature film in which I had no rules, no expectation and I was stoked with what became the finished film.  Redball was shot predominantly over 5 weekends with a domestic camera in1997. It’s hyper editing with handheld footage dealing with dirty cops.


I was inspired to join the ASE committee…when the ASE was first formed because what could ace being in a room with a bunch of fellow dicer?  Seriously there is nothing better. This is my third stint on the ASE Victorian Committee.  This time because I felt elevating this fabulous craft into the stratosphere is the only way to go.


The ASE is important because…the craft of editing is worthy of recognition not only by our industry but also by the broader community. Editing is awesome.  People in post are amazing and I want everybody not only to be able to connect with one another but have others value them for the champions they are.



'Meet our Sponsors'

…with The Editors


(L to R)Bernard Garry, Peter Whitmore and DJ from ASE Sponsors “The Editors”.


The Editors is a Sydney based, boutique, editorial company founded by Bernard Garry ASE, David Jaeger, Peter Barton and Peter Whitmore ASE (pictured with Bernard and DJ) following the merger of their respective companies Karl Marks films, Post Office and Winning Post Productions in March 2007.

Under Executive Producer, Jo MacKenzie, there are six in-house editors and up to sixteen employees occupying the nine cutting rooms (a mix of Avid & FCP), a Smoke suite, Colour suite, Resolve, and a screening theatre.

According to Peter Whitmore the genesis of the company name is its commitment to ‘editors’ and the craft of editing.  In fact the key to the reputation and continued success of The Editors is a pure focus on editors and editing.

It is the very reason The Editors has been a keen sponsor of the ASE for many years, seeing in the relationship a chance to further the profile of editing and support editors and their craft.  Indeed Peter was a much-valued President of the ASE for four years from 2004 to 2007.  We certainly welcome this relationship and the support of The Editors.

Have a look at their website (theeditors.com.au)




In the past week, Omnilab Media have rebranded ASE Gold Sponsor, The Lab Sydney, under the national banner of fellow ASE Sponsor, Digital Pictures.  In the official announcement, Omnilab Media state that "Digital Pictures will be Omnilab Media's one national, world-class, post-production business that will service the film, television and advertising industries from two primary locations in Sydney and Melbourne".  The ASE contacted Digital Pictures in Sydney this week and spoke to Head of Film and Television, Prue Fletcher about the rebranding.


"Digital Pictures will continue to provide outstanding post production and visual effects work for the film, television and advertising industries.  All the same friendly team remain who are passionate about partnering with clients to deliver the best result on screen for any sized project," she said. In addition "we will continue to support the ASE and its membership and listen to the needs of post and VFX practitioners so we can provide excellent facilities with the latest technology alongside an expert team of producers and technicians.  We are also committed to giving back to the industry by conducting educational seminars on the work we do and the data pipelines we develop. Our goal is to deliver the very best quality on any sized screen and add value to the final cut."


Currently in production at Digital Pictures in Sydney are feature films, "The Burning Man" and "Redd Ink" as well as long form television series such as "Crownies", "Cleo" and "Dance Academy" for the ABC. "Sea Patrol", "Rescue Special Ops" and telemovie "Blood Brothers" for Channel Nine. "Bondi Rescue" for Network Ten and Foxtel's "Spirited".


Media Composer tutorial "Avid Artist Controllers"

One of the things we try to stress to people when they’re getting to know Media Composer, is the importance of getting to know the keyboard. Knowing all the shortcuts and ins-and-outs of the keyboard brings a greater degree of control over the application than just using the mouse to click-around. But there are still going to be times when the keyboard cannot replace the presence of a dedicated control surface.
Now in Media Composer 5.5 we're introducing the Artist Series of controllers—Artist Transport, Artist Mix, and Artist Control. These are three Ethernet-based control surfaces that really raise the level of interaction between you and Media Composer.



Media Composer Tutorial "New Find Tools featuring PhraseFind"
One of the most important aspects of any editing project is organization. One of the great strengths of Media Composer® has always been how well it manages and organizes metadata. Media Composer 5.5 takes another huge leap forward with new Find functionality and the new PhraseFind™ option.


Media Composer tutorial "SmartTool v2: Transition Manipulation"

When Media Composer® 5.0 was first introduced in 2010, one of the biggest changes to the application was the introduction of the SmartTool. The SmartTool is a palette or a collection of five different modes that are very common to working in the timeline. In Media Composer 5.5, the Keyframe button has been moved out of the palette to make room for a new button called "Transition Manipulation"



Iloura Secures Ghost Rider™: Spirit of Vengeance
In another win for Australia’s talented VFX industry, Iloura today announced it had been appointed as one of the VFX studios on Ghost Rider™: Spirit of Vengeance. Iloura’s executive producer, Simon Rosenthal, said that this project would see the studio’s continued growth in capacity as more artists join the studio to complete the 500 plus shots on the film and well as continue work on The Killer Elite and other projects.

Ghost Rider: Spirit of Vengeance presents us with another tremendous opportunity to work on a complex, Hollywood CG project. Being appointed as one of the studios is an acknowledgement of Iloura’s growing reputation in delivering high quality visual effects,” says Rosenthal.

This project comes on the back of Iloura’s Emmy Nominated work on HBO’s The
 and recent feature film projects Don’t Be Afraid of the Dark with Guillermo Del Toro as well as 3D feature film Sanctum which was executive produced by James Cameron.

Nicolas Cage returns as Johnny Blaze in Ghost Rider: Spirit of Vengeance. In the
successor to the worldwide hit Ghost Rider, Johnny – still struggling with his curse as the devil’s bounty hunter – is hiding out in a remote part of Eastern Europe when he is recruited by a secret sect of the church to save a young boy (Fergus Riordan) from the devil (Ciarán Hinds). At first, Johnny is reluctant to embrace the power of the Ghost Rider, but it is the only way to protect the boy – and possibly rid himself of his curse forever. Mark Neveldine and Brian Taylor direct from a screenplay by Scott M. Gimple & Seth Hoffman and Mark Neveldine & Brian Taylor, and a story by David S. Goyer, based on the Marvel Comic. Steven Paul, Ashok Amritraj, Michael De Luca, Avi Arad and Ari Arad are the producers. The executive producers are E. Bennett Walsh, David S. Goyer, Stan Lee, Mohammed Mubarak Al Mazrouei, Edward Borgerding, and Mark Steven Johnson. The film will be distributed by Columbia Pictures and Hyde Park Entertainment.




16mm viewer wanted by The Royal Children’s Hospital.
The Royal Children’s Hospital in Melbourne has a few boxes of old 16mm films made there over the years, some of which may be of historical value. Many are unlabelled and they have no machine to view and assess them on. They don’t have a budget to hire a viewer, and are reluctant to hand the films over to the NFSA. They are hoping there might be an editor who knows of a Melbourne based 16mm flatbed machine or a manual viewer with winders that they could use for a day or two.
If you can help, they would be most grateful. Please contact:

Rob Grant - Senior Video Producer
Educational Resource Centre
The Royal Children's Hospital Melbourne
50 Flemington Rd, Parkville, Vic 3052
Tel: (03) 9345 6299    Mobile: 0417 308 044
Email: Rob.Grant@rch.org.au





***Book Launch: Australian Documentary: History, Practices and Genres

20th March


Drawing on interviews with leading industry sources and containing discussion of over 200 documentaries, Australian Documentary: History, Practices and Genres brings to life over a century of documentary making and connects it to international debates in criticism, theory and history.
The book will be launched by Megan McMurchy, a well known documentary filmmaker and manager of Screen Australia's 'Enterprise Program'.



***Revelation 2011 Travel Fellowship

Applications Open Now


In an Australian first, Revelation is looking to provide three filmmakers, academics, craftspersons or film-lovers from any state or territory of Australia (not including WA) up to a $1000 contribution toward travel and accommodation in order to attend the festival in Perth.  The package also includes a range of other "access" benefits that extend to parties and VIP functions, masterclasses, special events and other event components.







***Animania Festival 2011

19th March


The Sydney Day Festival has moved to join the Sydney Weekend Festival in the Australian Technology Park. Bringing the people of Sydney and those from far away, an exciting array of activities, competitions, cosplay, screenings and more! In addition to all this excitement, the second selection preliminaries for the World Cosplay Summit 2011 will be run on the Main Stage.





***Indian Film Festival

22nd March


The Indian Film Festival – “Bollywood and Beyond is a celebration of Indian Cinema showcasing the best of Indian films.  The Festival also provides a unique platform for young upcoming filmmakers through its ' Short Film Competition '.





***Tasmanian Writers - Weekend Festival

2nd – 3rd April


join the Tasmanian Writers’ Centre and Hobart Bookshop for a literary festival weekend, with a packed programme featuring some of Australia’s best writers at the Hobart Town Hall. Be inspired and entertained as expert panelists discuss questions of identity, morality, political change and the fine line between fiction and history. Unwind on Saturday night over a glass of wine, readings and music upstairs at the Republic.





***Antithesis Film Festival

23rd – 28th March


The Antithesis arts festival will showcase underground art created by Greek-Australians or inspired by Greek-Australian culture. Steering away from Greek pop culture and stereotypes, this festival will bring to Melbourne the hidden stories yet to break through to mainstream art.





***Future Shorts One Launch

16th – 17th March


Future Shorts ONE is a monthly film festival, taking place across the globe, showcasing the official Future Shorts ONE film selection together with the best in live music, performance and design.






***Members receive discounts to the Sydney and Melbourne film festivals, which are both coming up soon so check their websites for details.


***Palace Cinemas in Melbourne, Brisbane and Sydney are now offering ASE members $13.50 entry to any film, any session (not including festivals or special events) upon presentation of membership cards.


***Did you know ASE members get concession rate at Popcorn Taxi events? We do! So just remember to show your ASE members card.


***Online Membership Payment:

There’s never been an easier way to join or re-new your membership to the ASE! We are excited to announce our new online payment facility. You are now able to pay online with your credit card. If you would like to join the guild follow the link for Online Application Form: http://www.screeneditors.com/ase_membership/membership_application_form.htm.

Or if you are renewing your membership access to all the ASE benefits will be yours at the click of a button: https://www.screeneditors.com/membership/form.php


***Discounted AFI membership, check the link below for details





For those who missed it, this is the great ASE TVC promoting our craft…



Just a heads-up that the first part to the Ken Sallows interview that was arranged through the ASE for Art of the Guillotine is up at:


It can also be downloaded through iTunes podcasts for those who aren't already onto it.


Editors On Editors…





“To my daughter Bronte, find something that you truly love doing, and great things can happen.”

(Australian Kirk Baxter’s Oscar’s acceptance speech after winning Best Film Editing for “The Social Network”)



Until next time

The ASE Committee