December 2012


Greetings Editing Colleagues,

The elephants have been released into the wild!  Our bronzed 'Ellies' for these 2012 ASE Awards have now found homes.  Congratulations to the Winners, new Accreditees and our Life Member for your dedication to the craft, recognised by your ASE peers.  A full listing of names to follow.

Further congratulations to all ASE Members nominated in the AACTA Awards too.  The ASE will look to hold a panel discussion for the two editing categories early next year.

In concluding another wonderful year, I personally would like to thank the tireless efforts of all State Committees.  This selfless persistence to our editing community enriches our knowledge and experiences.  Your diligence is greatly appreciated.

And to the ASE Members, thank you for your support and encouragement throughout the year.  I hope you have enjoyed participating in the national growth of your ASE Guild.

Wishing you a relaxing and safe Christmas period and a very happy and prosperous New Year!

Let's find great comfort in supporting each other.


Jason Ballantine ASE

ASE President 



Winners are Grinners at the 2012 ASE Awards (L-R: Julian Harvey, Mark Atkin ASE, Peter Barton,  Andrea Lang ASE, Lawrie Silvestrin ASE, Roberta Horslie ASE, Orly Danon, Steven Baras-Miller, Martin Connor)

We celebrated editing in style on Saturday night with our 7th Awards and Accreditation Evening hosted by Julian Morrow of The Chaser. We hope all members in attendance thoroughly enjoyed themselves. If you have any thoughts or feedback on how the night went please email us on awards@screeneditors.com



Roberta Horslie ASE



Sally Fryer ASE

Lawrence Silvestrin ASE




Avid Award for Best Editing in a Feature Film

Burning Man, Martin Connor


Blue Post Award for Best Editing in a Documentary Feature

Paul Kelly - Stories of Me, Sally Fryer ASE


Adobe Award for Best Editing in a Documentary Program

A Law Unto Himself, Andrea Lang ASE


TwoDogs.TV Award for Best Editing in a Documentary Series

Australian Story – ‘Streets with No Names’, Steven Baras-Miller


Digital Pictures Award for Best Editing in a Television Drama

The Slap - Episode 1 ‘Hector’, Mark Atkin ASE


Videocraft Award for Best Editing in Television Factual

Go Back To Where You Came From – Series 2, Episode 1, Orly Danon


EFilm Award for Best Editing in a Commercial

Volkswagen Tiguan – ‘Cross Country’, Drew Thompson ASE


Autodesk Award for Best Editing in a Music Video

‘Bird on the Buffalo’ - Angus Stone, Peter Barton


AFTRS Award for Best Editing in a Short Film

The Wilding, Anthony Cox


Digistor Award for Best Editing, Open Content

Event Zero - Episode 4, Julian Harvey



It’s been another bumper year for the Victorian Branch and I have to thank the marvelous team that is the Victorian Committee. They have volunteered their time, energy and resources with minimum fuss to inform, entertain and promote post production in all forms. So thank you: Sasha Dylan Bell, Andrew Brinsmead, Rob Buttery, Karen Fleming, Belinda Fithie, Richard Greenhalgh, Jill Holt, Ryan Howard, Ka-Yin Kwok, Patrick McCabe, Rob Nairn, Dani Raulli, Dave Redman, Steven Robinson ASE, Maz Swierczak and Jaklene Vukasinovic. Please seek out the Vic AGM 2012 report for all the thank yous and acknowledgements – coming soon

Sadly Victoria is losing four of its long term committee members: Sasha Dylan Bell, Dani Raulli, Dave Redman and Jill Holt to greener, brighter pastures. If you see them in your travels make sure you cheer and applaud them as they go past they so deserve it. Of all of them Jill Holt has served the longest  - over eight years! As former chair Mark Atkins ASE says: The continuity of her presence over many years has provided the cement between the bricks - playing a vital role in keeping the committee together.” Another former chair Evelyn Cronk adds “Her contribution makes up another few hundred percent of this 1000% woman. All things change and as Jill assumes even more responsibility professionally, it is time for us to say thank you, many 'thank yous' to Jill for being Jill.” I couldn’t have said it better myself.

To all of them Dani, Dave, Sasha and Jill - their warmth, passion and commitment to the Guild has been stellar and on behalf of the membership that has benefited from your generosity I wish you the biggest brightest paths for the future.

Finally, I would like to thank the ASE community for the last two years as I am stepping down from the position of Chair. It has been amazing time and a thrill to speak and share your experiences. To the committee I can only continue with You Are Amazing!  You have embraced the rampage to raise the profile of the ASE in our state and it could not have been done with out you.

Have a fantastic festive season,

Cindy Clarkson

Victorian Chair. 



On behalf of ASE members from WA, I'd like to extend warm greetings and best wishes for the festive season to all members across the country.  Having just attended the Ellie Awards night in Sydney I'm still full of the wonderful sense of community that comes from spending time with a room full of fellow editors.  In 2013, we look forward to finding ways of sharing more with members around Australia.  And on a personal note, I'd like to say once again thank you so much to the ASE for my Accreditation.  It truly is a great honour and thanks to all those well wishers at last night's ceremony.

Lawrie Silvestrin ASE

Western Australian Chair.



We’re looking forward to a fast paced 2013 and hope to continue growing as we have in 2012. It's been a massive year and we'll make sure the next is even bigger.

Sean Lahif and Carly Turner,

Co-Chairs of the South Australian Committee

Sean also adds “GO THE CROWS 2013!”



This year marked the launch of the QLD branch of the ASE. The first 6 months of operation have seen numerous social get togethers, a bit of training, and fantastic a Editing & Post Production Symposium that drew national focus to the fresh face of the ASE in QLD (report below). I would like to say a special thank you to Axel Grigor for all his hard work and assistance over the last 6 months, along with the rest of the QLD committee. We have made great headway in bringing together the QLD community in the short time we have been together, and have a lot more in store over the next 12 months for both local and national ASE members alike. Of course a big thank you needs to go to our local members who's energy and enthusiasm have given life to the QLD branch and will make it possible for us to host more great events in the state. Merry Christmas to all, and a very happy New Year!

Best Wishes,

Josh Dawson

Queensland Chair.



We caught up with the Marketing Manager of Digistor Mark Richards, recently and got the lowdown on a company very much on the cutting edge of new technologies and post paths.  Mark provided us with a wonderfully insightful interview covering many topics such as product longevity, the biggest issues they see in the post production industry and a look at one their recent and extremely elaborate installations.

Mark Richards, Marketing Manager, Digistor


In a nutshell, what is Digistor?

Digistor is a supplier of professional solutions for digital media creation, management, storage and delivery. Traditionally, we have sold systems to help the leading broadcasters and post houses create TV and film content, but our customer profile is expanding as the market for digital content changes to support the multi-screen environment of today. Our customers' content is now delivered, not only to tv and film, but also to the web, iPhones, tablets, laptops, digital signs, gaming consoles and even into lifts! We provide the skills and expertise to design, install and support optimal solutions which allow our customers to productively deliver the very best creative content to anywhere their clients might request.

Why does Digistor support organisations such as the ASE?

Apart from the obvious promotional opportunity for Digistor to reach professional users for the solutions we supply, organisations such as the ASE allow us to actively support the community, information exchange and development of the local industry. We swim in the same pool as ASE members and we want it to be healthy and vibrant and we value the opportunity for dialogue with the industry. The ASE provides important services to its members and we want it to be successful.

What do you think the biggest issues are in the post production industry at the moment?

One of the biggest issues is that there are so many different ways to achieve the desired result. The products themselves have become comparatively cheap, but there are many products that can be integrated in a myriad different configurations. If the wrong choice is made it can be costly - in terms of hard costs, compromised quality and the inability to deliver a project. Which cameras do you use? Which file format do you choose? How do you implement the workflow through stages of the production to enable collaboration? How do you ensure safety of the data and find the media quickly? Will the infrastructure support the data load required? How do you transmit the media reliably and securely from one place to another? These are just some of the questions and this is where our consulting services can help - both for defining and for implementing the solution.

To read the rest of this insightful interview click here.



I knew I wanted to work in post when… I started fixing Media100 editing systems in 1994 to put myself through uni. Being around editors, post facilities and the general hubbub of production gave me the bug enough to quit uni and throw myself into post full-time.

My first break in the industry was… when I went for a job at a small post facility in London. I was ready to give them my spiel on why they should have me when the director threw my CV and reel aside, pointed to the Avid and a bunch of rushes and said "See what you can cut with that and I'll be back in two hours". Two hours later I had the job as the house editor.

The thing I love most about editing is… from the purely creative side, the all encompassing nature of the job. To treat the show with the respect it deserves you need to bury yourself in the details of the subject. On every show I work on I find myself knowing a lot more about a new part of the world. For instance I know a hell of a lot more about penguins now! There is also the continual perfection of the craft. Creating a space in terms of the team, workflows and technical efficiencies to dissolve the obstacles between the editors and the footage is also something I love to explore.

The best tip I’ve got for aspiring editors is... take your time! There are a lot of different roles and ways to get to them in post. I find a lot of people are trying to rush to the top. The better editors I have worked with have all taken the longer road and are much better for it.

If I wasn’t in postproduction I’d be… trying to get into post production 😉



“Revealing The Hidden Art” Creative Post Production Symposium 2012

A report by Angela Graf, Screen Editor/ASE Committee, QLD

L-R: Josh Dawson, Jeanette McGown, Jill Bilcock ASE ACE, Axel Grigor, Angela Graf, Roger Savage

As an editor in Australia, I have attended a number of industry conventions over the years, but to hear about an event specifically themed on editing and post production made me take notice. The Brisbane symposium comprised a 3-day workshop on Creative Post-Production, provided by Roger Crittenden and Griffith Film School’s Herman Van Eyken, with a Keynote address by Walter Murch.

To quote organiser Roger Crittenden, “It is editing that makes cinema a unique form and the more that all filmmakers understand the craft the better their work should be. At a time when digital processes might tend to highjack the real value of editing and when anyone can think they are editors simply by loading soft-ware on their PCs, I am proud to make a small contribution to the better understanding and appreciation of the potential value of all post-production.”

Accomplished international film editors such as Hayedeh Safiyari from Iran (A SeparationModest Reception), Jill Bilcock (Romeo+Juliet, Elizabeth, Moulin Rouge!), Mary Stephen from China and Sylvia Ingemarsdotter from Sweden (editor of many Ingmar Bergman films including Fanny and Alexander, Autumn Sonata) shared their work and experiences and were truly inspirational. I found the intimacy and immediacy of actually being in the same room together was energising (more gratifying than a webinar). The room felt alive with the desire to create, and tell more stories.

Most pro editors like myself have a firm handle on THE SCIENCE of technology, and want to be inspired by talk of THE ART of storytelling – the weaving of sound and picture; creating magic through rhythm, style and timing, and of course to have the chance to network and meet other people doing what we do. I found that this symposium was just that – a chance to be inspired, and share ideas with some of the best editors in the business today. Meeting Hayedeh Safiyari for example, was a true pleasure.

Read the full report here.





Disappointingly the new multi-channel Australian content requirement will not result in an increase in Aussie content on our screens. Although broadcasters are gaining license fee reductions the new regulations actually allow them to decrease their Australian content. With over 50% of our members currently working in television the ASE is highly concerned. Not only could Australian television industry jobs be in jeopardy but the community will lose if we see less Australian stories on our television.

Read more on the SPAA website here.







If you missed the Avid Webinar register here to watch it at your leisure.



Here’s an interview with The Sessions editor Lisa Bromwell ACE. Click here.


That’s it for 2012 folks... have a safe and happy Christmas period and hope you’re getting away from the edit suite! 

The ASE Committee

Australian Screen Editors Guild. Visit us on the web today http://www.screeneditors.com

We would like to thank our Sponsors for their invaluable support of our Guild in the year ahead. Please see their links below:

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