Online archive copy of Newsletter 46 which was a printed newsletter:
Call for Nominations for the ASE Committee!
Creative, independent & energetic people required to take part in a dynamic and rewarding team effort.
Australian Screen Editors need a strong Committee of Management to guide it through the next year and to meet the new challenges that we have set ourselves.
Now is your chance to participate in your guild, to help change it from what it is, into what it should be.
We are looking for representatives from all fields of editing; documentary, news, commercials, television drama, infotainment, multimedia, online editors, features, corporates, assistant editors and students.
The only qualification necessary is that you are a financial full member of ASE. It helps if you love editing and have an email address.
You are expected to make a reasonable committment to attend monthly meetings, to contribute occasionally to the newsletter, and to participate to the best of your ability in brain-storming, decision making, organising ASE events, policies, and projects etc.
It can be great fun - and is a good way to meet other editors and industry professionals. And of course, it is understood that from time to time Committee Members may get very busy and thus not be able to participate fully. That’s OK - you do what you can when you can.
We are particularly looking for someone in Sydney to fill the role of Treasurer, and for this some familiarity with Quicken or MYOB would be necessary. So ... if you are interested in joining our teams, either in Sydney or Melbourne, or want to know more about what’s involved, please call Matthew on (02) 9413 8691
UPCOMING MELBOURNE EVENTS
Wednesday 25th October
Night with John Fleming at AAV
Discussion on high definition, wide screen 16 x 9, interactivity, surround sound
CHOPPER sound night with
Frank Lipson and Glenn Newnham
Watch your letter boxes
The Melbourne ASE Committee would like to send a big thank you to
ROBERTA HORSLIE & SOPHIE MEYRICK for their sterling performance as Trivia hosts at the Mid Year Drinks. Thank you both for your continual support of the ASE and all for making the evening so very enjoyable.
STRUAN ROBINSON from Apple Asia & MARK RABBICH from Buzzle
for their presentation of Final Cut Pro to the Melbourne crowd that gathered to see what all the fuss is about. Thank you for your time and your great presentation.
Melbourne editor Sophie Meyrick cut “A Telephone Call For Genevieve Snow” which won the silver Lion for the Best Short Film of
the Venice Film Festival just recently.
Editor: Sophie Meyrick
Post Supervisor: Roberta Horslie
Producer: Beth Fry
Director: Peter Long
Sound Design: Livia Ruzic
Sound mixed by Peter Walker
edited on Avid Film Composer,
shot 16mm B & W stock and finished as a film finish.
ANGST Screening- by Matthew Tucker
“If I’m going to lose all respect for you its gonna happen eventually, so the way I see it, it might as well happen now â€¦”
A small but enthusiastic band of ASE members met at the Fox screening rooms to watch an exclusive screening of Daniel Nettheim’s just-released feature ANGST with editor Martin Connor.
I’m not a film reviewer and don’t really want to be, but for what it’s worth I found that from a difficult start I soon warmed to the characters as their personalities emerged and the story took shape. They all had heart, and guts (which sounds awfully anatomical) and the film’s use of sex, violence and strong language was restrained and effective - in contrast for example to Human Traffic which I found gratuitous, unsubtle and boring.
Angst got me thinking about all the lovely and grotty people I’d ever shared houses with â€¦ about all the places I used to hang out after hours â€¦ how long it was since I last saw a bong spilt on the coffee table â€¦ and how video shops didn’t even really exist back then - but most of all it got me thinking wistfully about how ancient I suddenly felt!
Lots of bits of Angst were memorable, and there were some great lines - but I particularly loved David Thrussle’s score, Abi Tucker’s gothic Cleopatra, and the wintery blue lighting in the pub.
On the down side, I had problems with the amount of red herrings and un-developed plot points left hanging loosely in the wind ...
After the main screening, Martin screened some out-takes, some prior versions of scenes, a trailer and some videotaped audience research.
Prior to shooting, the cast had read the screenplay live in front of a small audience, and the whole process was videotaped. The intention was to gauge the success or failure of parts of the script with a view to optimizing performance and coverage for the final film. This process proved interesting but not always reliable, as many elements worked well in front of a live audience but proved difficult to reproduce on film.
Working with Assistant Editor/Post-production Supervisor Christian Gazal, Martin had a first cut ready on Lightworks a couple of weeks after the shoot ended.
This was followed by the first of a series of carefully controlled and videotaped test screenings in which the success of the characters and storyline was assessed.
The process turned up some interesting results as for example the audience found some characters instantly unlikeable, and so the Director and Editor had to find ways of recutting to achieve the desired result. Comedy, too was difficult to anticipate, as it turned out that the audience found certain scenes extremely funny, when the Director and Editor had their doubts – and vice versa.
Nettheim tried shooting several new angles in some scenes, but after trying a lot of versions, the simpler edit was often found to be the most effective. Also, many scenes and parts of scenes were found to be superfluous and were cut out entirely.
Another interesting element of the film that Martin spoke about was its marketing strategy, which coordinated print, press, merchandising and a colourful and popular website at: http:// www.angstthemovie.com.
(I looked at the website shortly after the screening, learned a bit about lock-picking and things to do with a potato - but as I write this, it seems to have vanished! Perhaps this is only temporary – try it and see!)
The round table Q&A discussion ended very late, thanks to Martin’s generosity and frankness about the editing process. Thanks for an entertaining and informative evening!
My thanks also to Liz Wright, and the projectionists from Soundfirm, our principal sponsors Atlab and AAV Digital Pictures, sponsor Avid, supporter Island Digital Post, ASE administrator Margaret Slarke and the helpers on the night for making the event a success.
Do you fully understand “widescreen”, “letterbox”, “14:9 vs 16:9”, “full height anamorphic”, “Hi Def” etc? Do you know how this will affect your editing?
Even if you do, come and listen to special presentations from our sponsors Atlab Australia, AAV/Digital Pictures and Avid Australia, and with the participation of Channel Ten:
“Working with 16x9”
Australian Screen Editors Inc
Annual General Meeting (AGM)
On Saturday 28th October
from 2pm - 5pm
At Film Australia’s Roxy Theatre
101 Eton Rd, Lindfield.
We will be presenting our Annual Report, and members will be able to endorse the Committee nominations for the next year and vote on several policy items on the agenda. Come along and have your say in how ASE is run and tell the Committee what you want ASE to achieve for you.
... and just in case you were wondering,
Refreshments will be available!
Letters To The Editor
What are you getting?
I am always very interested in issues of who’s getting what for what. I think it is vital given most of us freelancers don’t have real industrial protection on a day to day level, and seem to spend a hell of a lot of time haggling for money. I’m quite happy to out myself, having held at least 7 jobs this year with pretty different rates.
I for one am a bit sick of the quibbling over $50.00 for this and that, but have found that when it gets to that, the budget is usually shot to bits anyway and the production manager is desperate to save money.
Is anyone else finding that - although the pay levels haven’t moved for quite a while - nowadays there is the line “but its only a 40 hour week”. One part of me is delighted that I can theoretically get back 10 hours of my week, but is this realistic?
My best schedule this year was a 13 - yes you heard it - 13 week edit on a documentary which was enough to work 8 hour days for the first 9 weeks or so and then crank it up - as you do - but produced some nice work. On the other hand I’ve heard of editors say you just can’t not work 50 hour weeks minimum and produce good work. Obviously, the pay of $1,500 a week is pretty different if you work 40 vs 50 hours.
There are two issues here, but it does become part of the argy bargy of negotiating and trying to have a bit of a life in this crazed vocation we’ve chosen.
Conditions are the other crucial bargaining point. What is a standard rate for living interstate to work? Is it different for Melbourne or Sydney or the Gold Coast? Why do we have to say “and super” nowadays? Ignore this at your peril! Does anyone actually get holiday pay? Has anyone ever not got work because they aren’t a company?
Interested to know.
Frames, Fields and Sync - revisited by John Leonard
The August newsletter had a reprint from the MPEG newsletter about problems that can arise when cutting sound along with pictures on electronic edit systems. Unfortunately, while right on the money for the American and Japanese markets it was quite misleading for editors working in Australia and the rest of the world.
Firstly, unless you are working with NTSC systems as most editors would realise, you are not dealing with 30 fps (frames per second) video images. When working with PAL (except for one exception which is not worth dealing with) or SECAM the television frame rate is 25 fps. This applies even if you are working with so-called 24 frame edit systems! The fact is that if you are watching an image on a television screen in this country it will in all probability be running at 25 fps except in specialist facilities. However there are various factors that do contribute to audio cut problems regardless of television standards, two of which can jump up and bite you even if you are dealing with sound originally recorded at the television frame rate.
If you are working with pictures that have been digitised from Beta or VHS tape it is possible for there to be up to a Â½ frame timecode phase error with respect to video playback, depending on the accuracy of your tracking and the playback machine used. Since non-linear offline systems discard one field out of two, it is quite possible under worst case conditions for digitised timecode to have a full 1 frame offset with respect to pictures.
Note that if using the analog sound output, the sound phase will match the timecode phase. This means that problems from this cause will show up as a one-frame sync error throughout such a reel. Ensuring that your assistant verifies sync on every slate even though it has been precisely synced at your electronic lab is very good insurance against this problem.
Similar problems can’t easily arise when digitising from DAT tape since the timecode on DAT is encoded as part of the same signal that is used to encode the audio. There is a very much rarer problem on DAT which is related to timebase jitter and is associated with physical line up difficulties on the record or playback machine, but this will also usually show up as very noticeable audio problems.
The second major cause of clipped audio worldwide is due to different cut characteristics on different systems. On all non-linear systems (and on older tape-based offline systems) a cut is in reality a very fast dissolve, the length of which is called either the audio turn-on rate or the crossfade rate. This is true regardless of whether we are dealing with picture post or sound post. The reason that this is the case on computer systems is that if you perform a cut in the middle of an audio waveform you will hear a definite click on the cut. If instead you replace the cut with a sub-frame dissolve, subjectively you will hear a cut. But as a software designer where do you put your dissolve and how long do you make it? If you have a picture editing system that centres a 2-millisecond dissolve around the nominal cut point and a sound editing system that starts the same duration of dissolve at the edit point you will find that on very precise edits there is a potential for clipping. And unfortunately there is no guarantee that both edit systems will have the same duration of crossfade, and changing the crossfade rate will also shift the apparent cut point. In fact on Lightworks and Heavyworks systems the crossfade rate can actually be set up as a technical parameter in config.sys, which can potentially even further confuse the issue.
So what can be done? Well, I suspect that the answer is really given in the article on the facing page of the newsletter, Zen and the Art of File Interchange. More and more we are seeing some interchange standard like OMF and I believe in future AAF or AES31 used to supply the sound cut to the sound post house. But make no mistake – there will still be clipped sound edits due to the above (and other) causes! The simple answer is to provide sufficient handle length in the interchange file for the sound post facility to be able to trim the odd clipped sound edit that they encounter. In practice the problem is low currently and will remain that way.
However when using EDLs for conforming a sound cut we run into the same sorts of problems as outlined in the article but to a much lower order of magnitude. Where we can run into problems (and the Americans do too, although it wasn’t mentioned) is with sync relationship. If you are working with a 24 frame transfer and using software to relate the resulting 25 frame television material back to your 24 frame originals you will have up to a Â±Â½ frame error (or Â±1 field) depending on where your cut falls with respect to your duplicate field. The EDL formats used for interchange cannot track or identify this error, and so inevitable there can be (and you will get) a one frame error when you round the timecode to the nearest frame. You will find this on 50% of the edits in any production that uses this technique.
Note that this source of error cannot arise if you use 24 to 25 frame transfers and your edit software slows everything down to true 24 fps. At all times the edit system will know precisely the timecode associated with the image and sound even though the editor may not! However even this approach cannot fix all the potential problems.
For instance another source of error is I believe the edit room dynamics. Most edit rooms are not set up to be the precise sound monitoring environments that you encounter in a sound post facility. They simply cannot be – often two weeks prior to post-production starting the edit room did not even exist, and doesn’t continue to exist beyond the end of the life of the production. Secondly you will usually have several more or less noisy computer fans tending to obscure things like atmos, the clipping of which I’ve found to be a major source of embarrassment in my work. Finally although every editor that I know does his or her best to provide a clean picture and sound cut their emphasis is inevitably on the pictures and the odd sound bad ’un will get through to the keeper.
What it comes down to is that we are all human, and part of being human is that we do from time to time make mistakes. Given the room for error built into the post-production chain, it’s arguably amazing that we get anything finished to any level of professionalism at all! I can only reinforce that the last two paragraphs in the article do apply here and anywhere else in the world that I have worked and will continue to apply as long as there are people working in front flickering screens in darkened rooms.
In summary the sound editor will continue to save our collective bacons.
The ASE Committee would like to thank Simon and Kerry Dibbs from Island Digital Post for the use of their offices for our Sydney Committee meetings over the past few years.
(Island has now moved into new premises in Balmain -)
Blurring Offline/Online Boundaries by Dan Ochiva
(sample article reprinted from www.digitalmedianet.com)
The boundary between online and offline editing dissolved in the 1990s as non-linear editing systems grew powerful enough to manipulate the basic material of video post: uncompressed 601.
The interface to Discreet’s Fire includes controls for 3D DVE moves as well as a procedural-style overview.
However, that goal was reached only after years of experimentation and development. Initially, with the introduction of Ampex’s 2-inch (Quad) VTR in 1956, engineers devised the original version of videotape editing by teaching editors to physically cut the thick oxide-coated tape with razor blades. Swabbing a chemical solution over the tape was necessary to show where each video frame began.
In time, electronic cuts replaced the physical kind and a basic technique developed: A/B roll editing. Adopted from film-style “checkerboard” editing, this approach took hold as a method to create continuous edits, rather than the earlier stop/start type. Additionally, since graphics such as titles could be rolled in from a third tape machine, users often referred to the process as A/B/C roll editing.
Soon simple editing systems, controlled by a computer, made use of edit decision lists (an EDL delineates the in-points and out-points of edits) to automate the process. The phrase online editing came to represent a method of turning out a final, ready-to-air videotape.
This online process was inherently linear; users access the next image sequence only by rolling back-and-forth through many feet of videotape. To add graphics, even simple titles, editors needed to call upon someone working on a separate machine.
In the late 1980s, Avid’s pioneering Media Composer gained enough computing power and software sophistication to create a non-linear-style offline editing process that could supplement online work. By the mid-1990s, the non-linear style of offline editing gained enough refinement that some vendors, Avid among them, started touting NLE systems as replacements for online systems as well.
Today, the term “online editing” evokes that earlier era when strict differences held between online and offline editing. For some, the preferred term finishing is more accurate than onlining since non-linear systems are just as capable of turning out a final “finished” product.
Now, the definition of finishing has changed again, as the Internet defines another “must have” finishing capability. Increasingly, users expect to output a variety of video formats along with multiple streaming formats as they finish their projects.
Whatever the terminology, today’s editing system manufacturers are bringing their products into an increasingly competitive and demanding market. Computer technology improvements have gradually reduced distinctions among systems, so manufacturers are increasingly tailoring their product development to specialised niches. The following is a look at how some of the players see today’s finishing market and their positions in it.
Fire, Smoke, and Edit.
Competitive angle: Depth of the toolset and mixed resolution capabilities.
Discreet’s editing products range from the entry-level Windows NT-based edit to the high-end SGI-based editing flagships Fire and Smoke. The company positions its other SGI-based productsâ€”Flame, Inferno, and Flintâ€”as editing-capable effects and compositing platforms. Discreet claims certain advantages, such as developing (along with Avid) the concept of universal mastering. Also crucial: the ability of its high-end systems to mix various resolutions on a single timeline. At NAB 2000, Discreet announced products that will further integrate capabilities such as color correction within the timeline of its various products.
“I think the market is changing as the non-linear finishing industry keeps maturing,” says Patrick Byrne, product manager for Discreet’s Fire and Smoke editing products. “When people started to use non-linear editing for offline, they soon wanted to bring all those benefits to finish work, such as the ability to access any frame.”
The editor’s role has changed, too, further blurring the lines between offline and online work. “For instance, you see a lot more colour treatments in car commercials,” says Bryne. “While some of that is done in telecine, a lot of it is now done in finishing. I think that has changed the industry as far as the talent needed. You don’t necessarily just have a graphics person who runs the paint machine, or just an editor who just runs the editing console in the linear room. Now you’re getting people where both artistic talent and some visual editing talent come together.”
Byrne says the Discreet toolsets developed in response to editors who wanted to do more than just assemble a couple of shots together. “(Editors) found the ability to actually edit, composite, colour correct, and blend things together much easier in non-linear systems. Users wanted this in one workstation. Other tools they wanted included motion tracking and the ability to stabilise shots, all without having to run out constantly getting various bits and pieces from others.”
Competitively speaking, Discreet emphasises the capabilities made possible by its SGI platform, including the ability to handle 3D, something SGI excels at, according to Byrne. “We take advantage of the 3D capabilities that SGI offers so that you can seamlessly add 3D elements and 3D text into the compositing environment.”
Competitive Angle: All-in-one toolset for speedier finishing process.
Since becoming part of Avid, the Softimage DS interface designers made changes to better integrate with Avid Symphony and Media Composer.
For Softimage, becoming a division of Avid heightened the need to create a new version of Softimage DS that worked better with Avid’s history of editing innovations.
“We’ve made a lot of changes to DS in the last year and a half to make the editing interface more familiar to those coming from a Media Composer background,” says Mike Stodja, director of project management and marketing for Softimage DS.
According to Stodja, Softimage DS sports all the capabilities you need for finishing, non-linear editing, and compositing. “There has definitely been a blurring of lines in terms of capabilities within a system.”
But why buy the Softimage DS instead of one of Avid’s non-linear editing products? “The main difference (between Softimage DS and Avid Symphony) is that with Symphony, you’re looking at an editorial finishing system,” says Stodja, citing Symphony’s appropriateness for episodic television, which requires few multi-layer composites. “We see people purchase the DS system because the work they’re doing has a lot more graphics and effects components to it.”
Stodja notes that in the first years of non-linear editing, the EDL of the offline edit could not carry forward information on painting, compositing, or effects. “With DS you can do the offline, you can see what composites are going to look like, you can do the paint strokes, and all that work is preserved. For the client, it’s a huge benefit because you’re not spending hours and hours in the online finishing room just to repeat everything that you did in offline. We’re creating finishing systems that are fully capable of taking you from start to finish.”
All-in-one systems like Softimage DS have broad appeal to a number of different users besides a high-end facility, says Stodja, in particular those who are looking for a single system. “These customers just don’t have the volume to justify multiple systems. They’re buying the DS because it has so many toolsets within it that they’re able to do any kind of work. For example, Henninger Charlottesville (Virginia) bought a DS because they wanted a system so that they can handle any kind of work that is thrown at themâ€”a music video one day, a TV commercial the next, and some local cable TV show the following day.”
Editing Product: Media 100, iFinish, Media 100I
Competitive Angle: Extensive Internet capabilities.
Media 100’s Media 100i builds interactive “hot spots” into streaming video with its EventStream technology. “Now we’re taking that to the next level,” says Mike Savello, director of marketing at Media 100. “We’ve been transforming Media 100 into an Internet tools player, redefining online from its broadcast usage into the online of the Internet industry. We’re integrating capabilities that gear our products to producing both online quality from a broadcast perspective as well as online images from an Internet perspective.”
To that end, the company introduced Media 100i in July. Media 100i employs technology the company calls EventStream, which allows editors to add interactive elements to Internet video programming. Editors can build automatic or user-triggered events to start a Java application, or trigger an HTML or animated GIF, for example. Editors can also build in shopping links: by clicking on objects within the video, say, a pair of sunglasses, users are whisked to a page that enables them to buy the product.
Following the trend of adding further graphic features to nonlinear editing products, Media 100 released iFX in July. Developed with Artel Software, iFX integrates Boris FX’s video effects and processing capabilities into the timelines of Version 6.0 of Media 100 and Version 3.0 of iFinish.
Editing Product: Premiere
Competitive Angle: Entry-level pricing, integration with other Adobe products.
Adobe Premiere seems ubiquitous. It is low cost, while providing many of the features needed in a basic editing system. But with the growing popularity of Apple’s Final Cut Pro, which competes with Premiere, Adobe felt pressure to move to a more full-featured edit offering. One point Adobe now touts: the software works on a variety of hardware platforms, something Apple cannot offer.
But first, Adobe had to deal with the perception that Premiere did not have the toolset to compete successfully, even as an offline-editing program.
“Over the last year we’ve taken what was just a multi-media tool and turned it into a full-fledged, full-blown system,” claims Matt Douglas, Adobe Premiere product manager. Adobe delivered its first real-time product only in the past year: the new Premiere RT works with cards from Pinnacle, Matrox, and others.
One important key to Premiere’s growth, says Douglas, is the media abstraction layer integrated into the most recent versions of the software. A media abstraction layer creates a generic method for any hardware to access the program’s functions.
Adobe also opened the Application Program Interface (API) to further enable video card manufacturers to hook to the software. “We’ve talked a long time about what was going to winâ€”open architecture or proprietary systems,” says Douglas. “It’s pretty clear that open architecture systems on the desktop are taking over because they are more flexible and offer many more capabilities.”
For Adobe, securing its niche in the market involves the support of the rest of its product line. “What Premiere can offer that the others can’t is that we have integration with Adobe products,” adds Douglas. “Bar none, that is our greatest strength.”
Edit Products: Symphony, Media Composer.
Competitive Angle: Total Conform feature.
Avid Symphony, less than two years old, serves as the flagship for the company’s near-ubiquitous editing gear.
Avid’s flagship finishing system, Symphony, includes Ultimatte’s latest version real-time keyer.
Media Composers sold, Avid positions Symphony as the finishing platform of choice for all those MC EDL files. “The single most important feature on Symphony is Total Conform,” says Andy Dale, senior product manager for workstation products. “Symphony can conform any Media Composer project completely without having to re-do effects. Any decisions made in the offline are automatically carried forward to the online.”
Dale also points out that Symphony’s DVE runs at a smooth 10-bit colour depth (the MC’s runs at 8-bit), and features Ultimatte’s latest real-time keyer. The reason this is important: Symphony takes a rough edit done in Media Composer and reworks it to deliver a better-quality result. “Any 2D or 3D DVE move within Media Composer comes across to Symphony without any additional work on the online editor’s part. With a lot of other machines, say, if you’re conforming from a Media Composer to a Discreet Smoke or Quantel Editbox, you get an EDL that only carries across only SMPTE-type effects (i.e., a short list of basic effects and dissolves). Any other effect would have to be completely described by the offline editor and carried across to the online, and then totally re-created online on that system.”
So what are the markets for Avid Symphony and sister division Softimage’s DS? “Symphony is really the editorial finishing system,” Dale says. “It will excel in situations where much of the work is done in the offline part of the process, such as television shows and other projects that have a long offline process; and then, in many cases, a very short, focused online process.” Since the DVE moves and effects carry over, the Symphony editor might just need to do some colour correction and add titles before sending it out.
“We don’t provide offline solutions, nor are our systems intended for long deadline/low budget workâ€”there are many other very capable PC systems out there,” notes Mark Horton, Quantel’s group product manager, editing. “Instead, our Editbox architecture uses dedicated hardware, which gives very high performance for handling video.” (Quantel can use NT hardware, via a JAVA interface, to allow tasks such as plug-in processing to be performed in the background.) “The big strength of our systems is their ability to finesse and finish work quickly and easily and then re-version. We also uniquely have a 100-percent transparent archiving system which allows a complete rebuild of the showâ€”just what you need for re-editing.”
“We spent a lot of time in this release on project management,” says Rich Green, DPS Velocity product manager. “Users have to deal with many more formats today. They wanted to know how to deal with all this, including moving workstation files to other systems over network. Also in this update are methods for video output to the Web and all its different formats, as well as live editing capabilities so that you can have clips on the timeline. Currently, were working with incorporating effects applications more tightly to give people a far more seamless experience.” At Siggraph 2000, DPS introduced dpsReality HD, an NLE that integrates HD and SD edit capabilities as well as offering output to DVD and Internet formats.
FOR MORE STUFF LIkE THIS,
GO TO: www.digitalmedianet.com
A word about Associate Membership.
ASE’s definitions of the role of Editor and the entitlements to Full Membership are being reviewed and revised by the Committee to suit current work practices, and will be presented to the membership at the AGM for ratification.
In the mean time it is appropriate that the entitlement to Associate Membership be clarified.
Associate Membership is available to people that do not meet the qualifications of a Full Member but who are otherwise engaged in the post production of motion pictures or televisual productions or allied arts and sciences.
An entitlement to Associate Membership is a recognition of a non-editor’s interest, commitment and support for the aims and objectives of ASE.
Associate Membership is NOT AVAILABLE to editors or those that qualify for Full Membership.
Also, it is NOT POSSIBLE for a Full Member to renew their membership as an Associate Member.
An entitlement to Full Membership is a recognition - and an endorsement of sorts - of the individual’s established position in the industry as an editor, sound editor, assistant editor or negative matcher.
If a Full Member is having difficulty raising the annual membership fee we are happy to offer membership on a 6-monthly basis. Under special circumstances and upon request, the committee may choose to waive the membership fee.
Associate Membership is not an option to those who just want cheaper membership fees.
Matthew Tucker, ASE President
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Mike Reed Vic
Eliot Rifkin QLD
Chris Rowell NSW
Philippa Rowlands NSW
Bill Russo NSW
Ken Sallows Vic
Melanie Sandford NSW
Caroline Scott Vic
James Sdrinis NSW
Shawn Seet NSW
Grant Shanks NSW
Bilyana Sibinovski NSW
Margaret Sixel NSW
Michael Slater Vic
Stephen Smith NSW
Shaun Smith Vic
David Smith Vic
Simon Smithers NSW
Peter Somerville NSW
Rod Sommerich NSW
Igor Sosolovski Vic
Brett Southwick Vic
Susannah Spittle NSW
Tony Stephens Vic
Patrick Stewart NSW
David Stiven NSW
Fiona Strain NSW
Jacob Stretton Southall NSW
Ray Thomas NSW
Victor Trofimovs Vic
Matthew Tucker NSW
George Turnure NSW
Frans Vandenburg NSW
Nurin Veis Vic
Gavin Walburgh NSW
Jacqueline Walker NSW
Heather Walker Vic
Peter Walker Vic
Rachel Walls NSW
Amanda Wangmann NSW
Gary Watson Vic
Maryjeanne Watt Vic
Michael Webb NSW
Jane St V. Welch NSW
Robert Werner NSW
Allan Wood NSW
Ro Woods Vic
Gary Woodyard Vic
Peter Worland Vic
Julia Wright NSW
Ian I. Young NSW
Leonard Zech NSW
Laura Zusters NSW
Thank you everyone!
Every financial member is an individual sponsor of ASE, supporting its aims and objectives, and can share the credit for its successes.