June 2011


Greetings Editing Colleagues,


Tax, tax, tax.  It's that time of the year again to either celebrate the fiscal year with a weekend retail splash in the mid-year sales, or lick some wounds by taking advantage of the discounted ASE Membership offer.

The ASE Membership offer is closing at the end of June - act now! Introduce a new full member (or re-ignite the interest of a lapsed full member) and not only do they receive the special price, but so do you for promoting your Guild.  $99 full membership for one year!

Contact Margaret Slarke for details nswoffice@screeneditors.com

Hot off the press: Dany Cooper ASE elevates editing to Encore's Top 50 for 2011.

Go Dany, congratulations!

The social highlight of the NSW month was a screening of 'The Reef' with Q&A. ASE Member Peter Crombie spoke of his first feature film cutting experience with the Director Andrew Traucki, Chaired by Dr. Karen Pearlman.  See further description and photo below.

Hats off to the Victorian ASE Committee who had a bumper month of activities.  See Cindy's summary to follow.  Well done team!

The Sydney Film Festival is once again upon us.  It’s a great time to see an array of local and international films. See you there.

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





Well May was a great month (please have a look at the St Kilda Film Festival rave below) but we have an exciting couple of months coming up.

We’ve just had the ‘Sanctum 3D’ event, which was mind expanding. I must thank Sanctum’s editor Mark Warner who arranged time off ‘Goddess’ to fly down for the event.  Digital Pictures hosted the night with aplomb thanks to the every fabulous Rachel Knowles and Rachel McKeller-Harding while Peter Webb, Nic Smith and Brett Mason boggled us with their wizardry. A big shout out to Ben Joss for his knowledge, and bringing the Avid project along for all of us to see.  Watch out for the web snack delights of the evening.

We have a sundowner locked in for Sunday July 3 at Madame Brussels Level 3 59-63 Bourke Street between 3 to 7pm.  Please come and say hello we’d love to see you. It’s a great way to meet your peers, get advice and have a laugh.

If you can’t come to that party then you should get out the ASE alert marker and mark July 13 in your diary and make time for an evening exploring the wonder of the television series ‘Offspring’.  This is gonna be huge people!  Speakers are Editors Peter Carrodus ASE and Denise Haratiz ASE, Mary Jeanne Watts Post Production Producer, Patrick McCabe Assembly/Assistant Editor and Director Kate Dennis.  Moderated by Karen Fleming you will hear about the creative nitty gritty of working and managing ‘Offspring’.

Oh! Congratulations to the winner Cleland Jones for ‘Best Achievement in Editing’ at the 2011 St Kilda Film Festival. Keep a look out, we have other events lining up.  In the meantime happy hunting for that edit that sings.


Cindy Clarkson

Victorian Branch Chair



The ASE at the St Kilda Film Festival 2011

The ASE in Victoria has had a marvellous May due to their presence at the St Kilda Short Film Festival. Starting with the ASE table at the fundraising quiz night early in the month. This was filled with keen committee members and full bottle ASE members who enjoyed the evening until the music section, which left the group floundering. Thanks to Maz for organising the table.

Due to Rob Nairn’s energy the ASE Short Film Craft of Editing panel was a goer thanks to the festival agreeing and the willingness of Tom Baricevic (drama) `Home’, Aelethia Jones (comedy) `When The Wind Changes’ and (documentary) `Chong’s World’ edited by Caitlin Spinner.  Being the last event of the day it was fabulous to have a full house with people standing up the back for the hour-long event.  Portions of the shorts were screened with questions answered with frankness and clarity.  One memorable comment was by Aelethia when asked to describe an average day of editing. She thought on this then responded with “It starts with procrastination…then I have a cup of tea and start editing about lunchtime.”

Both Tom and Aelethia are director/editor not by choice. Tom’s ‘Home’ was part of the Raw Nerve initiative with minimal funds so he didn’t have the budget for an editor. Aelethia directed a self-funded film so found herself cutting her film on a laptop in the lounge room.  To my delight both came to the conclusion that they would have an editor for their next project.

`Chong’s World’ was filmed on DVCPro 50 edited on Final Cut Pro and cut in 5 weeks as a Swinburne 3rd Year student film.  Caitlin had 15 half hours of raw footage which she watched making notes with timecode references.  She had two directors in the room with her while they worked the material down to 15 minutes exploring the Melbourne institution Rose Chong’s costume hire and a piece she and her staff worked towards for the 2010 fringe Festival.

A huge thank you to The St Kilda Film Festival for agreeing to the event.  A cheer for the three editors Tom, Aelethia, Caitlin and producer Daniel Gregg for giving up their Saturday afternoon to be a part of the panel.  Congratulations to Aelethia Jones for winning the 2011 St Kilda Film Festival best comedy.  Hey Rob! Thank you for the time you put into the day it really paid off.

ASE Committee Member Rob Nairn at the ASE Stand at the St Kilda Film Festival

If you missed the panel you are entitled to pout but you will have an opportunity to see a sample of the afternoon with a cut down version available on the web down the track.  Keep an eye out for the announcement.


Cindy Clarkson

(Photos were taken by Sasha Dylan Bell)



Digital Pictures & ASE does Sanctum 3D


Digital Pictures 3D screening room


The Melbourne Digital Pictures silver screen bulged with the elegance of 3D accompanied by information from the fabulous five speakers Mark Warner (Editor), Ben Joss  (First Assistant), Iloura’s CGI guru and Visual Effect Supervisor Peter Webb, Brett Manson (Colourist) and Nic Smith (Technical Director).


Rachel Knowles was the gracious hostess supplying 3D spectacles, vino and good humour for the night.  Peter Webb gave a rundown on the terms for 3D to allow us to understand the science and theory behind the concept while Ben and Mark acted as a tag team describing the creative and technical aspects of the edit room.  In a nutshell Mark edited in Avid using the right eye footage.  Mark would cut a scene then Ben would translate into 3D in approximately 5 to ten minutes and using a JVC monitor they could then watch the recently cut version in its intended format. In the time Mark had to edit Sanctum 3D probably 80 percent was dedicated to story or drama content while 20 percent was dedicated to the technical.


There were three streams of media that Ben dealt with from the shoot.  Left and right eye and a composite of both. (For the tech rundown wait for the cut down of the event to get the lowdown.)  Initially they were only cutting using the right eye footage until James Cameron noticed it at a screening and said they needed to be looking at the left eye footage.  Upon bringing the material into the project the editing team realised it was necessary as the second camera sometimes had flare, or there was corruption so Mark then had to use different takes.

Because it is 3D there was a discussion about how the format draws the audiences eye to the filmmakers intend portion of the frame.  This is where some of Brett’s magic comes in.  When doing the grading Brett and Mark would spend a day on aligning the left and right images so that the convergence was agreeable to the audiences’ eye and better for the drama.


The amount of CGI in this film is extraordinary.  The film was shot on studio sets and a water tank the rest is created.  David Booth Visual Effect Supervisor spent a lot of time exploring caves and sent the textures through to Peter Webb.  The wide shots are all created using CGI so the fabulous scene where the audience is introduced to the gigantic hole that the team abseil and parachute down is entire due to the wizardry of the maestros at Iloura.   For examples there is a helicopter shot of a vast endless treed jungle cut into that by the CGI team is a the gapping hole that leads to the cave system add the rock texture, vegetation, light and track it with the movement It’s breath takingly simple and organic.


I would like to thank Digital Pictures’ Rachel Knowles for being so willing to host the event and allow us to enjoy the new 3D cinema that DP are the proud owners of.  To the CGI Guru Peter Webb, Technical director Nic Smith and colourist Brett Manson thank you for your invaluable presence and willingness to wow us.

To Mark Warner for taking time off Goddess and flying down especially for the Melbourne event and enthralling us with his knowledge and easy answers to all things technical and creative a very big thank you.  To Ben Joss for being wildly enthusiastic with all things technical and bringing the Avid offline project for us to see how the project worked on the time line bless your cotton socks.

This article only skims the surface of what was discussed and shown.  We’ll let you know when the cut down version is available online.


Peter Webb (visual effects supervisor) dwarfed by screen explaining 3D


Ben Joss (first assistant) & Mark Warner (editor) chat to the audience


Nic Smith (technical director) Brett Manson (colourist with pen) & Rachel  

Written by Cindy Clarkson

(Photos copyrighted to Maz)



“The Reef” Q&A


Loads of interesting information, and a good film to boot! Dr. Karen Pearlman moderated the Q&A, with director Andrew Traucki and editor Peter Crombie taking us the behind the scenes. This was Pete's first feature... and well done, we say! Thanks to all involved, including AFTRS for the venue.


ASE Members Dr. Karen Pearlman and the film’s editor Peter Crombie with director Andrew Traucki.





ASE Member Dany Cooper ASE (left) at the Dungog Film Festival


Lisa Gerard (composer) and Dany Cooper ASE (editor) read out apologies from director Jim Loach and producers Camilla Bray and Emile Sherman who were unable to attend the opening of the Dungog Film Festival where ORANGES AND SUNSHINE, Dany's latest film was screening.

The film was very well received and a great time was had by all at the opening night party.






The curtain's up on this year's festival, so you can now buy anything from a single ticket to a 30-film FlexiPass, either online or over the phone. If you've already purchased a FlexiPass, now is the time you can start redeeming them against individual films.


The sff.org.au website has all films and events listed with extensive descriptions.

Check it out on www.sff.org.au and remember ASE Members receive discounted ticket prices!



'Meet the Members'

…with Ceinwen Berry


Ceinwen graduated from AFTRS in 2006.  Since then she has worked as an editor and assistant editor on features, television, documentaries and short films both in Australia and in the USA. Recent credits include Additional Editor - Tomorrow When the War Began, Assembly Editor - The Waiting City, Editor - The Jesters (Episode 5), 1st Assistant Editor - The Lucky One. . She is currently cutting the horror film Redd Inc directed by Daniel Krige. She also edited the short film Franswa Sharl, winner of the Crystal Bear, Berlin International Film Festival. 


ASE Member Ceinwen Berry


I knew I wanted to work in post when…I worked out what editing actually was. A little light bulb went on in my head and I finally realised that it all gets stitched together after the fact.

My first break in the industry came when…I somehow convinced Ken Sallows to let me assist him on a short film he was cutting.  I probably only got the gig because I supported the Bombers. But seriously, Ken and Tim Lewis who ran the Joinery in Melbourne opened my eyes to the minutiae and the mechanics of editing.


The thing I love most about editing is…I love it when I can get on a wavelength with an actor’s performance and let them dictate when I need to make a cut. I also love the serendipitous moments, like when you throw something in a timeline for no particular reason and it just works.

The best tip I’ve got for aspiring editors is... DIY is great, but there’s a lot to be said for the apprenticeship approach.  Even though I went to film school, my most rewarding experiences have been assisting other Editors.  Don’t think you’re selling yourself short by starting at the bottom of the food chain.  You will learn so much more in the thick of it than you will tucked away in your bedroom on your Macbook Pro.

If I wasn’t in post-production I’d be…In special ops. For some reason I’m really handy in difficult situations, kind of like a female Bear Grylls. I remember once getting locked out the 2nd storey balcony of my house while my flatmate was out of town. I managed to scale a wall, scavenge a piece of wire in a back alley and jimmy the lock open.


'Meet the Members'

…with Daniel Le


Daniel is an Assistant Editor currently working on Underbelly Razor. He has also worked on Underbelly series 2 and 3, Crownies, Rescue Special Ops and more recently the Australian feature "Burning Man".


ASE Member Daniel Le


I knew I wanted to work in post when…I could afford to pay my rent…seriously though, I took a while to discover which area I liked the most. I think it came together working as a corporate video editor that I found putting things together after shooting to be the most enjoyable.


My first break in the industry was…I got a job on McLeod’s Daughters, which was great being the last Australian TV drama to be shot entirely on film. I have to give credit to the team that took a punt on someone with zero experience of working in drama.


The thing I love most about editing is…I like watching the crafting of a scene into something that you might not necessarily expect. Editing to me offers up the opportunity to present the material how you envision it.


The best tip I’ve got for aspiring editors is...Pay attention to learning all you can from those around you. Even watching rushes can teach you about how a script is translated from the written word. Don't be precious, and keep a healthy attitude. There's always something new to learn no matter how experienced you think you may be.


If I wasn’t in post production I’d be…Probably still working as a Biomedical Scientist, although I still wouldn't rule out something to do with travel and a camera.



'Meet your Committee'

…with ASE Committee Member Jane St Vincent Welch


ASE Committee Member Jane St Vincent Welsh with her two sons


My first break in the industry was…25 years ago.!!! (Can’t believe it!)

Maureen O’Keefe, the post production supervisor at Film Australia gave me my first job working as an editing assistant, which I did for 5 years or so, working with editors was fantastic, (this was when an assistant worked on 16mm Steenbecks and got to file and find trims and label film cans.) I also got really good at laying up 16mm sound tracks and colouring in mixing charts. I was fortunate to then get into the Editing course at AFTRS, I learnt digital editing with a program called Shotlister at a time when many experienced editors were finding it hard to transfer their editing skills to computers.

That led to my next break because I got heaps of work then cutting corporates and documentaries. I love it that each job is always a new beginning, a new relationship and a new editing challenge.


The highlight of my career so far…has been getting an AFI in 2004 and my ASE accreditation in 2006! But the continuing high is working on feature length observational documentaries where the director and I create a story from the rushes. I love the films my husband (Nick Torrens) and I did like “To Get Rich is Glorious” and “The Men Who Would Conquer China” (for which I got the AFI). They were really challenging because they are very complex in structure, and the characters were on such an emotional rollercoaster, it was so satisfying making it work. The rushes were the best I’ve ever worked on.
Another other film I enjoyed working on was “The Burning Season” with director Cathy Henkel, interweaving the main characters, a business man, a governor, a farmer and a bunch of orangutans, to explain how the carbon would work to benefit everyone. I have been incredibly fortunate with the films I have worked on, learning something new each time. My aim is to continue doing projects I enjoy and am proud of.


I was inspired to join the ASE committee…because I wanted to discus with other editors how to promote and maintain our craft, to make sure the level of quality was maintained and respected by the rest of the industry and acknowledged by the public. I am proud to be part of setting up the ASE Editing Awards event to help do just this, to give back something to this great craft.

I have been on the committee for 10 years and was president of the guild in 2003 which was a great personal challenge. Try it!



'Meet our Sponsors'

…with Engine


One of Engine's key creatives & editor Brendon Killen


The ASE is pleased to announce the continuing support of long standing sponsor, Engine for 2011. Based in Sydney's northern suburbs Engine "is a progressive organization of designers, producers and vfx artists dedicated to the process of motion design and pursuit of producing innovative visual communications".  The majority of their work covers TVCs, 2D and 3D VFX and broadcast design and branding.  We caught up with one of Engine's key creative’s, Editor and ASE member Brendon Killen. His editing for the company has him working with a wide variety of clients putting together a range of edits from TVC campaigns, hype reels to promos.


The company thrives on the ethos of collaboration with other creative’s. For Brendon this process allows him to see his edits often taken on an interesting journey. "My role generally involves providing a structural base for the Compositors and Designers to do ‘their thing’. Because I’m surrounded by Online professionals, you end up being able to see your Offlines with a different perspective that is complimentary to what they do. New perspectives can create new creative opportunities. This empathy can also allow for a smoother Offline to Online process."


A top placing student at AWARD School, I asked Brendon what the most challenging aspect of his role was, "even though I am a knowledgeable storyteller, my age is often a hindrance. I need to convince Directors that I am a genuine alternative to established Editors. Perception is a very big ship to turn around." So what does he enjoy most about working at  Engine?  "The Food" ... nuff said


To check out some of Brendon and the gang at Engine's wonderful well fed work go to http://www.engine.net.au/reel





Music Video Mash Up 2011 (VIC, NSW, QLD)

June 10-13 2011

The Music Video Mash Up is a filmmaking festival where bands and filmmaking teams are randomly paired up and have just three days to create, shoot and edit a music video worthy of the BIG (and small) screen!

Music Video Mash Up

Shorts on the Green (QLD)

‘Shorts on the Green’ is a short film festival based in Surfers Paradise in Queensland. The festival is a unique mixture of family fun; fine modern dining and latest shorts films from both local and national filmmakers.

Shorts on the Green


Sydney Film School Festival

July 13-14 2011

Twice yearly at the end of each semester and its production period, Sydney Film School organises the popular SFS Film Festival to celebrate the completion of the semester’s productions and the graduation of the 1-year Diploma students.

Sydney Film School Festival

48 Hour Film Project (VIC, NSW, QLD)

Now in its eleventh year, the 48 Hour Film Project is the ultimate filmmaking challenge. Making a film isn't so hard, is it? Here's the catch—you've got to do it all (and we mean all) in just 48 hours! Teams are admitted on a first-come, first-served basis—so register early.

48 hour film project




The Fuhrers comedic take on FCP X:






***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 only a few more weeks.  Contact Margaret Slarke for details nswoffice@screeneditors.com





“It's hard to tell who edited a film by looking at it because as an editor you have to change your style depending on your director and the film itself. Editors should be chameleons.  Although like most jobs, you tend to get “type-cast.” If you cut a lot of comedies then you are thought of as a comedy editor, or if you cut a lot of action films people think of you as an action editor. But it all comes down to story telling sense. If you are a good editor, you can adjust your style to fit the story you are telling.

(Patrick Don Vito: Editor of “My Life in Ruins” “Semi-Pro” & “Movie 43”)


Until next time

The ASE Committee