July 2011



Greetings Editing Colleagues,

Gee it's getting cold out there ... well so the on-set crew tells me! Nothing like being in a temperature controlled cutting room.

The big news this month is warmly welcoming two new ASE Sponsors, Digistor and Spectrum Films. Digistor is a national Post Production equipment and software supplier.  They have all the goodies! Digistor are running free seminars at SMPTE (see articles below).

Spectrum Films is Australia's longest serving Post Production Facility, since 1964.  Read details in the 'Meet our Sponsor' segment below and check out both companies website links.  Support those who support our Guild!

The Mentorship Scheme has also recently placed 5 recipients. It's great to see this running strong through the generosity of the Mentors.  Thank you ASE Members.

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





It’s been another month of joy for the Victorian ASE.  The July Sundowner has happened with good cheer in the cosy back parlour at the delightful Madam Brussels.  The chilly day was kept at bay with talk of editing, shared experiences, what rates to charge and adventures in foreign lands.  If you missed the afternoon of fun there will be another at the beginning of September.

Don’t forget to RSVP to the Offspring event before all the seats are gone, gone gone!  It’s going to be a crackin’ event so get your fingers to the keyboard and let us know you’re coming. 

The Melbourne International Film Festival begins in a couple of weeks and I would love it if you have a project long or short, large or wide (don’t ask me what the last two define) to let us know at vicoffice@screeneditors.com so we can let everyone know.  If nothing else it would be great to have a cheer come up when the editor’s credit appears.   So come on let us know by the 11th of July.  I’d love to see what you’ve been working on.

Happy Editing People.  Sleep well knowing the fantastic committee is working to bring you events that’ll expand the mind and flame the passion.


Cindy Clarkson

Victorian Chair





“BLAME” Q & A Screening

Audience members at the “Blame” Q & A

ASE (WA) recently hosted a special screening of the movie "Blame" followed by a Q&A session with Editor and ASE member Meredith Watson Jeffrey, Cinematographer Torstein Dyrting, Sound Designer Ric Curtin and Producer Ryan Hodgson.  The Q&A ranged from financing, scheduling and shooting, through data wrangling and the creative and technical aspects of the edit to sound design and music scoring.  It revealed some valuable insights into what is looking like the future of film making in Australia.  The film was shot on location in the hills around Perth and tells the story of five former students of a music teacher who seek revenge for the death of a friend.  The film was shot on the Red camera at 4.5K and graded at Digital Pictures in Melbourne at 2K for printing on the new Kodak Intermediate Stock 2254.  This stock has been primarily designed for digital cameras and this was the first time that this workflow was used in Australia. The results can be seen in cinemas now as the film is in limited release around the country.   We screened the film from e-cinema disk using an HD projector and it looks and sounds fantastic.  Thanks to all who participated.

The crowd was entertained, enlightened and enthralled. A couple even prayed for more.

From L to R: Sound Designer Ric Curtin, Cinematographer Torstein Dyrting and Editor Meredith Watson Jeffrey


Lawrie Silvestrin
Secretary ASE WA Sub Committee






2011 ASE Awards Now Open

The Australian Screen Editors Guild is dedicated to the pursuit and recognition of excellence in screen editing across all its forms.Every year the ASE presents Awards that celebrate outstanding achievement in Editing.

In 2011 the ASE is calling for entries in the following categories:

Avid Award for Best Editing in a Feature Film

Digital Pictures Award for Best Editing in a Television Drama

Best Editing in a Documentary

Omnilab Media Award for Best Editing in Television Non-Drama

Best Editing in a Commercial

Best Editing in a Music Video

Best Editing in a Short Film

Entries must be postmarked by August 26th 2011


Awards are only open to Full Financial Members of the ASE.

To download entry forms and full terms and conditions click the link below:


ASE Awards 2011 Information




Applications are now open for Accreditation 2011


Members of the Australian Screen Editors Guild are invited to apply for Accreditation.

Accreditation is the highest honour the can Guild bestows on an Editor and is available to any Full Member whose body of work is considered to exhibit a consistently high standard of editing as judged by the Accreditation Sub Committee.

Applicants must be current financial members of the Guild with a minimum of two years membership.  Applicants will have at least five years industry experience as an Editor and they will have demonstrated their ability to advocate the role of Editors in the industry. To date the ASE has accredited fifty-five members.   

Applications close 5pm, Friday 26th August 2011. To see the full list of Accreditees. For more information and to download your application form visit: Accreditation 2011 Information 


Mark Your Diary: NSW Industry Briefing – 14 July 2011

Further to NSW Industry Briefing held in June of last year, the third annual NSW Industry Briefing will be held on Thursday, 14 July in Sydney.

The briefing is open to all film, TV and TVC production professionals in NSW and is particularly aimed at the wider membership (editors, composers, writers, crew etc.) It is a chance to ask questions and learn more about the future of the industry in this State.


Further information:
Jo Smith Co-Convener) Email: jo@agsc.org.au
Tristan Milani  (Co-Convener) Email: trizziem@gmail.com  


DIGISTOR’S FREE SMPTE Workshops July 19th – 22nd

At the exclusive Digistor Theatrette, local and international presenters will deliver short, informative presentations/demonstrations covering the "hot topics" and latest products for the digital media industry. These sessions represent a rare opportunity to glean the knowledge and skills from specialists with real-world experience across multiple customers in many countries. What's more, they are free to attend.

In addition to these sessions, Digistor has included topics that are at the forefront of the issues and product developments that need to be understood by industry professionals to help them make decisions for their organisations.



Digistor SMPTE Prize Balloons to Over $20,000

At the SMPTE Conference and Exhibition in Sydney July 19-22, Digistor is offering visitors to their booth the chance to win a prize package valued at over $20,000.One lucky visitor will win a “green, mean post-production machine” in the form of an electric bike plus the latest digital media tools as part of Digistor’s exhibition booth promotion at this year’s SMPTE Conference and Exhibition in Sydney.






Screening 6th to 8th March 2012 in Sydney, Australia. Travelling to locations in Australia & overseas.

Short films up to 35 minutes, any genre:


with key creative input by women. Woman DIRECTOR OR women in any TWO of these roles:



Early bird entries end: 15th of July 2011

Regular entry closing date:             15th of August 2011

Late entry closing date: 15th September 2010

Discounted ENTRY FEE for ALL WIFT MEMBERS around the World! Download Guidelines and Entry Form from:www.wift.org/wow


'Meet the Members'

…with Leon Burgher

 ASE Member Leon Burgher


Leon Burgher started his career working in TV editing for news and current affairs on such programs as The Sunday Program, A Current Affairs and Foreign Correspondent before branching out into to other fields.  He is currently editing'Peter Finch: Mad As Hell' with 'Mother of Rock' producer Robert De Young.  Leon served as a member of the ASE Victorian committee from 1999 to 2003. He deserves a gold medal just for that!

I knew I wanted to work in post when... I was a Production Ops Trainee with the ABC at Ripponlea, working on programs such as Countdown, Gillies Report, Lift Off, and the suites of the ABC News.

My first break in the industry was.... Working in audio recording and post, oddly enough. I set up gear for live recording gigs all over Melbourne during the early eighties. Landing in London and finding myself cutting a doco on Wimbledon winner Pat Cash (!) is up there, too.

The thing I love most about editing is... Reheating that cup of tea I made two hours ago ... No no, that can't be it. Finding the Big and little stories hidden somewhere in the footage and telling them in a way that makes people think!

The best tip I've got for aspiring editors…. Make films, lots of 'em, any way you can.

If I wasn't in postproduction I'd be.... Telling stories another way ... possibly with music. Now that would be niiiiiice.


'Meet the Members'

…with Ben Joss


ASE Member Ben Joss in the edit suite

Ben Joss is a dynamo in the edit suite. His assisting credits include Sanctum, Legend of The Guardians and the TV series The Pacific.  He has had the joy of editing shorts, the kids tv series Rock It and additional editing on Red Hill.

I knew I wanted to work in post when... I just wanted to be a filmmaker, and knowing how to edit your films seemed like an important part of the process. When I found myself spending only 1 hour on a script and 2 weeks in the cutting room, it was pretty clear were my passion was.

My first break in the industry was... Working at Horizon Films with David Pulbrook (Ground Zero, Hotel Sorrento, The Cup).Horizon were really busy at the time doing the post on a Kid's Series called "High Flyers" as well as doing the "NO" adds for the republic referendum. They needed somebody who could type "Go" into a Lightworks and digitise hours of Beta SP tape. I was exposed to all sorts of things there from TVC's, Corporates, Music Videos, TV drama and feature films. We did the offline and online for the "Secret Life of Us" pilot in 2000 and that gave me access to the wider TV/Film drama world. Been a freelancer ever since.

The thing I love most about editing is... When you've got the time to get a cut singing and swinging so well you can dance to it.

The best tip I've got for aspiring editors…. Practise. I learn something new with every cut I do. It's just like playing an instrument. The more you practice the better you get and the more people will ask you to come and play with them.

If I wasn't in postproduction I’d be.... Home earlier.




'Meet your Committee'


…with ASE Victorian Committee Member Sasha Dylan Bell

ASE Victorian Committee Member Sasha Dylan Bell


I specialise in… starting in music video and trailers editing I have spent the last year or so specialising in tightly cut documentary shows, but am moving more into drama. I don’t know many editors these days who do one type of thing, so I really hate this question. I guess you could say I’m known for energetic styles.

My first break in the industry was... cutting a trailer/reel for a USA-based Aussie cinematographer, David Connell. It was reel to pitch him for a job on a Jerry Bruckheimer production, so in doing this that I had to really think bigger than I ever had done before. The gig taught me a lot about pace, music choice, production value and knowing one’s audience. The reel really was a springboard for so many jobs of different kinds that followed, both in USA and Australia, including to my recent first feature film, Michael Rymer’s “Face To Face”.

The highlight of my career so far... was a sitting in a test screening of “Face To Face” at Universal Studios. It was part of a series of screenings we did just before finalising the edit in LA. Being a first feature for me, the process itself, having the support of all the talented crew on this no-budget production and of course working with Michael Rymer was a truly amazing experience, but for it to all culminate in this legendary studio was to me personally and professionally something quite special. It was a dream for the film nerd in me, you know.

I was inspired to join the ASE committee... to surround myself with like-minded people working in the field. I wanted to place myself in a position to learn and to contribute. Basically, I wanted to put myself out there. So many of the top of Australia’s editors are in the committee and I felt and still feel so privileged to have access to them. Today I stay in the committee because I see so much energy and time from its members being put into making not just the editor’s role, but also the industry as a whole, a better place to work. Sounds soppy, but it’s about doing my part.




The ASE is important because... it really gives editors and post production professionals a place to come together. It’s a place, which supports new talent, putting them put them amongst peers and a place where experienced editors & postproduction crew can also learn from each other. It’s a place that supports making all of our working environments better. As I think this it sounds like a bit of a line, but it’s a place that’s run by people working in the industry everyday, not just sitting in an admin role of the industry watching from the sidelines, so it really stems from a place which cares what happens in post production.



'Meet our Sponsors'

…with Spectrum Films

Spectrum Films Managing Director Josh Pomeranz and wife Pip attending Cannes this year, for their involvement in 'Sleeping Beauty'.

Spectrum Films is synonymous with Australian Post Production.  Ever since the first steps by legendary founder Hans Pomeranz in June 1964, the Company's philosophy has been all about cutting room environment.  A place to not only work, but enjoy meeting those working around you.

The purpose built facility at Fox Studios was designed for that editing community spirit, with a central eatery and cutting rooms branching off.

It's this sole reason I am most excited to welcome Spectrum Films as an ASE Silver Sponsor.  We're both endeavoring to support our editing community.

The Pomeranz family is indeed an integral part of the Australian Film Industry.  As mentioned, Hans is considered a legend, being awarded an OAM for his contributions.  Then of course Margaret Pomeranz is a familiar face to The Film Show, being recognised for her Industry contributions with an AM.

Son Josh now helms Han's legacy and does a mighty fine job of it too.  Even brother Felix has paved a name with his on-set feature Data Wrangling.

Also a part of the Spectrum depth of experience is Mike Honey, Facilities Manager.  An AFI nominated Editor who told me of his experiences way back trialing TouchVision.  Now that's marking a time period.

Charles Gerrand has clocked a decade himself with the Company, to which his support service is well known and appreciated over their 25 odd AVID Media Composers.

Furthermore, Spectrum Films invest in Australian feature films.  From the early days of nurturing Noyce with Newsfront and Armstrong's My Brilliant Career, through to recent releases The Waiting City and Sleeping Beauty.

And if that isn't enough, Spectrum Films actively promote an Internship where by successful applicants get paid for 10 weeks experience in the facility.  This confidence building often leads to employment.

The recent list of credits is almost too long to list.  There's something special in these walls I tell you.

Animal Kingdom, Tomorrow When The War Began, Snowtown, Packed to the Rafters, Burning Man, Bait 3D, A Few Best Men, Storm Surfers 3D ... to name a few.

Check out their website





Checkout new ASE sponsors Digistor’s schedule at SMPTE 2011: 



Also checkout ASE sponsors AVID at SMPTE 2011:

Free registration to SMPTE:



AVID Media Composer Special Pricing Offer still available!

If you’re not getting what you need to succeed—or you’re a former Avid user who switched (we’d love to have you back)—we want to help make your choice easier. That’s why we’re offering Final Cut Pro (excluding FCP X) users another opportunity to purchase Media Composer 5.5 (with the Production Suite) for just $995 USD—that’s over 60% off the regular price!







Here’s a fantastic post by ASE Member Vanessa Milton on her experiences editing the documentary 'Nothing Rhymes with Ngapartji':



Also if you’ve missed all the talk about Final Cut X:



And a more comedic take:


And finally here’s the ASE TVC if you haven’t caught it already:






Director Julia Leigh on working with ASE Editor Nick Meyers on “Sleeping Beauty”

“… Nick (Meyers) and I went into the edit room for the process of the edit and you know, it’s very strange, it’s a very close working relationship. When you see the film you see we have an unusual shooting style. Scenes are sort of covered in one long shot, which might seem that there were very few editorial choices…. but in fact there was and we selected our performances very carefully. “


Until next time

The ASE Committee