May 2012


Greetings Editing Colleagues,

Well the big news of this month is our Vice President Melanie Annan married.  I'm sure you'll join me in wishing Mel and her husband Luke all the very best for their future together.

The next big big news is we are very much in the throws of formalising a Queensland State Committee of the ASE.  The first meeting is scheduled for Sunday 20th May in Brisbane.  If you're in the area, give support to your local editing community and pop in for a drink and chin wag.  The Ship Inn Pub at Southbank, from 2:30pm!

Take a moment to read ex ASE President Dr. Karen Pearlman's discussion on Industry "Convergence".  Her current experiences with cutting a series of webisodes, has posed an interesting question to the longevity of our craft.

Gratefully, Karen wrote this piece for the enjoyment of ASE Members on the back of last month's call out for ENews content.

Also answering the call for Guild assistance was Marc Stimson, who we warmly welcome to the Executive Committee.  See Marc's intro in the 'Meet your Committee' section below.  Thank you Marc for your contributions, in advance!

The Members of Victoria and New South Wales have enjoyed free AVID training courses these past two months.  We're gearing up for Western Australia now too.  This is part of the ASE Mentorship and Training Program, financially supported by 'The Editors'

Local film releases include Bryan Mason and Sophie Hyde's handy work in 'Life in Movement', Scott Gray ASE collaborated with Scott Hick's in 'The Lucky One', as well as Kieran Darcy-Smith's film 'Wish You Were Here', edited by some hack.

And congrats to Dany Cooper ASE and Director Wayne Blair whose film 'The Sapphires' was accepted into Cannes Film Festival recently.

Imdb.com now recognises The Ellies Awards.  So start posting your previous nominations and wins.

A helpful link on the ASE website...

Pre-Employment Post Production Checklist

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




Welcome to Marvellous or Mad May – you pick.  There’s mention of events, peeves and a goodbye so read on!  We’ve already had the blockbuster Family Event thanks to the wonderful Belinda Fithie organising the event.   A huge thanks to the panellist Wayne Hyett ASE, Steve Robinson ASE, Dave Redman, Dani Raulli and Belinda for giving us the lowdown on how you deal with 100 days worth of footage from 35 cameras shooting around the clock.  That’s a shooting ratio of 2200 to 1!  Please have a look for the photo and article below.

On Tuesday the 15th of May we have Funny Business – the art of editing comedy. Julie-Anne De Ruvo, Ken Hardie and Chris Branagan three well-versed editors in comedy will enlighten you while you grin.  Come along to Swinburne University of Technology Building PA, 144 High Street Prahan, Lecture Theatre PA309 (take the lift to level 3). Thanks to Rob Buttery who has put his energy into making this happen and a big thanks to Jill Holt for once again allowing us to use the Swinburne Lecture theatre.

No it’s not over yet!  Rob Nairn has done it again and on Saturday 26th of May the ASE will be presenting a panel on editing as part of the Filmmaker Development Series of the St Kilda Film Festival.  So get down to All Saints Church 2A Chapel Street, St Kilda (opposite The Astor Theatre) for a 2.15pm start to hear Sasha Dylan Bell (Lemonade Stand), Megan Voevodin (Into the Sun) and Cameron Nugent (Spiderwalk) talk about their experience of cutting short films.  Or come and find our table at the industry day and say hi we’d love to see ya!

On a completely different note one of our sponsors ROAR digital is happy to hear from you about your pet peeve in post for the week.  So send your niggling thoughts to post@roardigital.com.au The best one will win a bottle of wine.  In the spirit of non-disclosure please leave names out of the peeve that’s nibbling you around the edges.

And so to the goodbye, Ka-Yin Kwok who has been a constant in the ASE filming, writing, editing cut downs for the web and responsible for the RSVPs last year has found the night shifts she is doing as assist is getting in the way of helping the ASE committee this year L so she is calling it a day. But she’ll return to the committee when she is back to daytime shifts J. The committee wishes her well in all her nighttime ingesting (whoever thought of the term was clearly a fan of Alien) and hopes she doesn’t develop too much of a moon tan in the process.  We’re holding you to your promise Ka-Yin!  We miss your smile already.


Cindy Clarkson

Victorian ASE Chairperson



(L to R) director Scott Hicks, actress Taylor Shilling, producer Kerry Heyson and actor Zac Efron


Adelaide-based KOJO is toasting two 21st celebrations in one with the star-studded premiere of The Lucky One.  The Adelaide premiere of the Hollywood feature film directed by South Australia’s own Scott Hicks was held at Event Cinemas Marion and marks Kojo’s 21st feature as well as the 21st birthday of the local company.

The film’s stars Zac Efron and Taylor Schilling were in attendance, as Director Scott Hicks personally campaigned for the Hollywood heartthrob’s attendance in his hometown.  KOJO had the privilege of working on post-production for this feature film, marking its 6th collaboration with Scott Hicks over the past 14 years.  KOJO Partner and the film’s VFX Supervisor and Colourist Marty Pepper says it is always a fantastic journey. KOJO ran the editorial, colour grade and over 150 VFX shots for The Lucky One from its Kent Town studios, in addition to Mr. Pepper attending the shoot in New Orleans.  Marty attended the world premiere in Sydney on Monday night on behalf of KOJO and personally supervised the final check of the film before it had its first screening.  Marty said the audience response was electric.

“It was a real thrill to see The Lucky One with an audience that really ‘got’   the film,” he said.

Sean Lahiff & Carly Turner

South Australian ASE Co-Chairperson



It's been another busy month in the West.  All of our members seem hard at work on various projects.  ASE WA has been attending a number of briefing sessions and industry group discussions run by ScreenWest (our local film funding body). We have been submitting suggestions to ScreenWest about ways to help grow the local post sector and it looks like the new funding guidelines will include extra incentives for postproduction in the west.  This should send a welcome signal that growth in the local post sector is a priority.  We've also been having discussions with the local chapter of SPAA about ways of getting more editing attachments into cutting rooms.  All the committee members should be congratulated for their lobbying.

The Convergence Review has been released and we'll be scrutinising the report and participating in the inevitable debate that follows.  The report includes recommendations about things like media ownership, media content standards and production and distribution of local content.   We recommend you all download and read it.  http://www.dbcde.gov.au/digital_economy/convergence_review#report

On the social and cultural side, we had another Sundowner this month.  A small but dedicated and enthusiastic turnout at The Garden for an afternoon of sharing and exchange of cutting room stories...and few cheeky ones.

Also, we were very pleased to be able to present a Q&A screening of the movie Big Mamma's Boy, edited by ASE member and WA committee member Beckett Broda.  We were thrilled also that director Franco Di Chiera could fly over from Melbourne to participate.  He and Beckett provided some fascinating insights into the making of the film and their approach to writing, filming and editing comedy film.


As for coming events, we are in the process of organising an advanced Avid course similar to those offered in Sydney and Melbourne.


Lawrie Silvestrin

WA ASE Sub-Committee Chairperson



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)



Ex-ASE President Karen Pearlman recently responded to the current ASE Presidents callout for articles from the members.

It always surprised me, when I was president, when members said they thought no one would be interested in what they had to say.  I know from talking to members, and being one myself, that the opposite is true!  So, when I caught myself thinking the same thing thought I’d better walk the walk and not just talk the talk.  My next excuse was: ‘oh, but I don’t have time’.  Then I remembered I’d heard that line before, too.

…to read more of this article click here


“The Family” ASE Victoria Event

by Malgorzata Swierczak


(L to R) Dave Redman, Daniela Raulli, Steve Robinson ASE, Belinda Fithie and Wayne Hyett ASE


With up to 44 cameras running 24/7, 100 days of filming, approximately 15,000 hours of footage and a roughly 2200 to 1 shooting ratio, ‘The family’ certainly posed some of the most unique and fascinating challenges when it came to the Edit suite. On Wed the 2nd of May, Editors Steve Robinson ASE, Wayne Hyett ASE and Dave Redman and assembly editors Daniela Rauli and Belinda Fithie, gathered at Swinburne, to discuss openly the process they developed on a project, which was constantly being shaped and redefined throughout the entire editing period.

…to read more of this article click here


An Interview with Ken Sallows ASE

By Sophie Turnball

Ken Sallows is a very experienced and talented film editor. He started when he was only 17 years old with no previous experience and learnt everything he knows today, changing from job to job and taking on anything that comes his way. He has meet many influential people along the way who have guided him and shared their knowledge helping him become the talented man he is today. At almost 60 years of age Ken has no interest in retiring from the film industry just yet but is still seeking varies jobs here and there. Some of his most known Australian films he has edited are Chopper (Andrew Dominik, 2000), Crackerjack (Paul Moloney, 2002), Proof (Jocelyn Moorhouse, 1991), Gettin Square (Jonathan Teplitzky, 2003) and his personal favourite, Malcolm (Nadia Tass, 1986).

…  to read more of this interview click here


'Meet the Member'

…with Axel Grigor

ASE Member Axel Grigor


Swedish-born Axel Grigor suspects a childhood obsession with Lego, coupled with a lifelong fascination with Australian films, conspired to draw him to Australia and the editing profession. With numerous feature and short docs under his belt, his next project is starting up a local ASE branch in Queensland.

I knew I wanted to work in post when… I took over editing duties on my first short film. It hit me like a ton of bricks: filmmaking comes down to choices made in the edit. Everything else is just exciting/exhausting foreplay.

My first break in the industry was…  creating my own break by teaming up with director Faramarz K-Rahber on feature doc ‘Fahimeh’s Story’ (2004). It was nominated for two AFI awards and won the Independent Spirit Award at IF. After that the proverbial ball started rolling.

The thing I love most about editing is… the diverse bunch of people and stories I get to hang out with. Never a dull moment. Except for the dull moments.

The best tip I’ve got for aspiring editors is... don’t wait around for a break. Find a story, a team that can capture it and then put it all together. Tackling the whole process will make you a better editor and filmmaker.

If I wasn’t in postproduction I’d be… writing an alternative cookbook on innovative uses of Swedish blueberries. Then adapting it into a screenplay.



This month, the Executive Committee is please to announce our newest member Marc Stimson.

'Meet the Committee Member'

…with Marc Stimson


New ASE Committee Member Marc Stimson

Marc Stimson knew he wanted to work in film after spending Christmas day with a distant uncle 'who worked in film', a phrase muttered with reverence by all the family members when he was out of earshot. It was 1975 and at the ripe old age of eight I was impressed...or was suckered in. Anyway, at the time I had no idea who he was, and had never heard of his films. I was too young. But I remember liking his sense of humour and quirkiness. He had a camera with him at all times, a Hasselblad, and was always directing people into poses. I had a fantastic day.

I knew I wanted to work in post when… working on a newspaper in London I got the chance to work with the paper's promos team on a TVC. While the ad was clichéd, and typical of a Murdoch tabloid paper in the late 80s... nope we didn't have mobile phones back then, but I believe some of my contemporaries were attempting to hack fax machines. I really enjoyed working with the tape-to-tape editors - it was the latest technological breakthrough at the time so I was led to believe.

My first break in the industry was… while working as a scriptwriter for a Sydney agency I was asked if I could edit, I was (relatively) young and (still) naive so immediately said, of course, and managed to get through it thanks to. However I realised this wouldn't last and got myself on an Avid 101 course, I think it was AVID 3 and David Forsyth gave the weeklong class. A week later the agency bought Final Cut Pro. Ten years on. Final Cut has gone and we're back on AVID, thank goodness!

The thing I love most about editing is… Watching the story unfold as you put all the elements in place.

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

While good stories do have an innate ability to tell themselves, it's your understanding of the plot, the characters and the emotion surrounding the story that gives it the edge.

If I wasn’t in postproduction I’d be… a DOP... wait... errr...



The ASE will proudly feature updates of our sponsors each month to tell us what they’ve been up to recently and what exciting things they have installed for 2012.

One of the ASE’s Gold Sponsors, AVID took the recent NAB conference by storm. NAB is considered the world’s largest industry event for broadcasters and was held in Las Vegas last month. Avid launched a multitude of next generation products and took home multiple awards.

Once again their flagship software Media Composer 6, received several accolades while Interplay Sphere took home honours with the inaugural InBroadcast Editing award. Interplay Sphere is considered the next generation of Avid solutions, it’s cloud enabled which allows professionals the ability to acquire, access, edit and finish stories from anywhere.

Avid also announced additions to its server and storage lines, advances in digital asset based workflows and it’s next generation graphics solution; Avid Motion Graphics. To get more info on all of these products and advancements, visit http://www.avid.com.

Congrats to AVID for their recent successes and a huge thanks for their continuing support of the ASE; recently renewing their sponsorship for another year.



By Gwen Sputore 


2012, ‘Media Composer’s Tips and Techniques’, lectured by ASE Member Dave Forsyth

As part of the ASE commitment to supporting its members, we began a series of national training sessions.

In 2011, a one-day Avid Media Composer 5 training session was held, with Avid Accredited Trainer Dave Forsyth.  The training was divided into three different areas: Media Composer for Final Cut Pro Users, Tips and Techniques and Advanced Effects.  The day was so successful that all sessions were filled within 24hrs of being advertised.  It was a great response, and showed us that training was something our members really wanted.

…to read more of this article please click here



Link to Post Production Checklist from our site:


Link to informative transcript from our Just What Are You On event (NB - if you are not a member you will not be able to log in to see it):


And for anyone that has missed the fantastic ASE promo:




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 http://www.aacta.org/MEMBERSHIP



“You know, people always think if you start out as a film editor, you shoot less footage. Actually, just the opposite is true. I tend to grab as much coverage as I can because as a former editor I know how important it is to have those few frames.”

Robert Wise (Editor of “Citizen Kane” and Director of “West Side Story”. “The Sound of Music” & “Star Trek: A Motion Picture”)



Until next time

The ASE Committee