Dany Cooper receives the Elle from Titus Randall.
The editors of Breath, Backtrack Boys and Blue Murder: Killer Cop part 2 were among the recipients of the 2018 Ellie Awards presented by Australian Screen Editors.
Hosted by comedians Eliza and Hannah Reilly, the awards were handed out on Saturday night at the Eternity Playhouse in Darlinghurst. In addition, the veteran Edward McQueen Mason Ase was accredited by the guild.
Avid Award for Best Editing in a Feature Drama
Dany Cooper Ase – Breath – presented by Titus Randall.
Audio Network Award for Best Editing in a Documentary Feature
Andrea Lang Ase – Backtrack Boys – presented by Jess Ossington to Sally Fryer.
The Blue Post Award for Best Editing in a Drama
Bill Russo Ase – Blue Murder: Killer Cop Part 2 – presented by Rachel Knowles to Peter Crombie.
Spectrum Films Award for Best Editing in a Documentary
Sam Hart & Harriet Clutterbuck Ase – Hawke: The Larrikin and the...
The editors of Breath, Backtrack Boys and Blue Murder: Killer Cop part 2 were among the recipients of the 2018 Ellie Awards presented by Australian Screen Editors.
Hosted by comedians Eliza and Hannah Reilly, the awards were handed out on Saturday night at the Eternity Playhouse in Darlinghurst. In addition, the veteran Edward McQueen Mason Ase was accredited by the guild.
Avid Award for Best Editing in a Feature Drama
Dany Cooper Ase – Breath – presented by Titus Randall.
Audio Network Award for Best Editing in a Documentary Feature
Andrea Lang Ase – Backtrack Boys – presented by Jess Ossington to Sally Fryer.
The Blue Post Award for Best Editing in a Drama
Bill Russo Ase – Blue Murder: Killer Cop Part 2 – presented by Rachel Knowles to Peter Crombie.
Spectrum Films Award for Best Editing in a Documentary
Sam Hart & Harriet Clutterbuck Ase – Hawke: The Larrikin and the...
- 12/17/2018
- by The IF Team
- IF.com.au
Rowan Woods. Aftrs has appointed new heads of directing, documentary, cinematography and visual effects.
Head of directing is Rowan Woods, head of documentary Rachel Landers, head of cinematography Kim Batterham and head of visual effects Susan Danta.
.I am thrilled to confirm these new members of our team across the Discipline areas. Rowan, Rachel, Kim and Susan each have impressive careers as filmmakers as well as in teaching and I know our students across the curriculum will benefit from their incredible expertise and experience,. said Aftrs CEO Neil Peplow.
Woods, an Aftrs graduate, has a list of directorial credits that include The Kettering Incident, Nowhere Boys 3, The Straits, Little Fish and The Boys
Landers has been a lecturer at Aftrs since 2009; most recently she has been the subject leader for Non Fiction, developing and running the BA (Screen) and teaching the Master of Screen Arts.. A filmmaker and historian, Landers...
Head of directing is Rowan Woods, head of documentary Rachel Landers, head of cinematography Kim Batterham and head of visual effects Susan Danta.
.I am thrilled to confirm these new members of our team across the Discipline areas. Rowan, Rachel, Kim and Susan each have impressive careers as filmmakers as well as in teaching and I know our students across the curriculum will benefit from their incredible expertise and experience,. said Aftrs CEO Neil Peplow.
Woods, an Aftrs graduate, has a list of directorial credits that include The Kettering Incident, Nowhere Boys 3, The Straits, Little Fish and The Boys
Landers has been a lecturer at Aftrs since 2009; most recently she has been the subject leader for Non Fiction, developing and running the BA (Screen) and teaching the Master of Screen Arts.. A filmmaker and historian, Landers...
- 10/19/2016
- by Staff Writer
- IF.com.au
Roland Gallois, Aftrs' new Head of Editing.
Aftrs has unveiled its new Heads of Producing, Screenwriting, Editing, Sound, Radio, Design and Interactive.
Head of Editing is Roland Gallois, Head of Sound is Stephen Murphy, Head of Producing is Peter Herbert, Head of Screenwriting is Dr Pieter Aqulia, Head of Radio is Fyona Smith, Head of Screen Studies is Matt Campora, Head of Design is Igor Nay and Head of Interactive is Catherine Gleeson.
.This is an impressive group of people who will bring tremendous skills and creative vision to their roles," said Aftrs CEO Neil Peplow..
"As the School implements its new strategic plan, Future Vision 2021, these Heads of Disciplines will take responsibility for their specialist subject area across the entire suite of course offerings, ensuring integrated learning and a cohesive, comprehensive approach."
Roland Gallois' credits in the cutting room include features Samson and Delilah, Slow West, The Hunter and Manny Lewis.
Aftrs has unveiled its new Heads of Producing, Screenwriting, Editing, Sound, Radio, Design and Interactive.
Head of Editing is Roland Gallois, Head of Sound is Stephen Murphy, Head of Producing is Peter Herbert, Head of Screenwriting is Dr Pieter Aqulia, Head of Radio is Fyona Smith, Head of Screen Studies is Matt Campora, Head of Design is Igor Nay and Head of Interactive is Catherine Gleeson.
.This is an impressive group of people who will bring tremendous skills and creative vision to their roles," said Aftrs CEO Neil Peplow..
"As the School implements its new strategic plan, Future Vision 2021, these Heads of Disciplines will take responsibility for their specialist subject area across the entire suite of course offerings, ensuring integrated learning and a cohesive, comprehensive approach."
Roland Gallois' credits in the cutting room include features Samson and Delilah, Slow West, The Hunter and Manny Lewis.
- 8/29/2016
- by Staff Writer
- IF.com.au
Screen Australia says it has not mismanaged its finances by spending its annual production funding in just six months - a state of affairs which it says reflects the strength of the local film industry.
The government screen agency revealed in mid-December 2012 that it had spent its entire annual $42 million drama production allocation due to the unprecedented number of quality feature film and television projects seeking support. The shock announcement was reminiscent of the agency's abrupt decision to cut its investment cap in 2009 while several films were mid-financed. That decision.threw several major Australian productions into dissaray including The Tree and the biggest box office hit of.2010, Tomorrow When the War Began (Omnilab Media had to increase its investment at the last minute to ensure production).
Overspending on such a scale has never occurred before, even going back to the era of Screen Australia.s predecessor funding arm, the Film Finance Corporation.
The government screen agency revealed in mid-December 2012 that it had spent its entire annual $42 million drama production allocation due to the unprecedented number of quality feature film and television projects seeking support. The shock announcement was reminiscent of the agency's abrupt decision to cut its investment cap in 2009 while several films were mid-financed. That decision.threw several major Australian productions into dissaray including The Tree and the biggest box office hit of.2010, Tomorrow When the War Began (Omnilab Media had to increase its investment at the last minute to ensure production).
Overspending on such a scale has never occurred before, even going back to the era of Screen Australia.s predecessor funding arm, the Film Finance Corporation.
- 2/6/2013
- by Brendan Swift
- IF.com.au
The Hollywood machine loves selling audiences ‘the new project from the creators of…’ a certain box office hit or a critically acclaimed film. It looks great on the posters, but most times it doesn’t guarantee anything.
There are times, however, when such a reference is not just an empty marketing tool, but a real promise of the aesthetic and creative capabilities of a close-knit group of collaborators.
Here I Am, from the creators of Samson & Delilah, is one of those cases. Married couple Beck Cole and Warwick Thornton have created a powerful creative partnership with producer Kath Shelper. They call themselves the ‘Trinity’ and together they’ve made critically acclaimed short films and documentaries, as well as Australia’s 2009 Camera d’Or winner at Cannes.
“Warwick, Bec and I have been working as a team for the last seven years,” explained Shelper.
“We work together on all of our...
There are times, however, when such a reference is not just an empty marketing tool, but a real promise of the aesthetic and creative capabilities of a close-knit group of collaborators.
Here I Am, from the creators of Samson & Delilah, is one of those cases. Married couple Beck Cole and Warwick Thornton have created a powerful creative partnership with producer Kath Shelper. They call themselves the ‘Trinity’ and together they’ve made critically acclaimed short films and documentaries, as well as Australia’s 2009 Camera d’Or winner at Cannes.
“Warwick, Bec and I have been working as a team for the last seven years,” explained Shelper.
“We work together on all of our...
- 6/15/2011
- by Colin Delaney
- Encore Magazine
The work of editors is often overlooked. Miguel Gonzalez found that, as if that wasn’t bad enough, they now have more footage to work through but not more time to do so, and tight budgets mean assistant editors are becoming a rare luxury.
“It’s like cuttting off three of an editor’s fingers,” said Underbelly editor Deb Peart about the absence of assistant editors during the crucial moments of the editing process.
Due to budgetary reasons, assistants are frequently taken off jobs once the film has been shot, and then brought back at the end.
“I started as an assistant, learning from sitting with directors and editors and observing them work together in the cutting room and watching the cut develop. They’re now taking away that period of learning from assistants, because when they’re doing rushes they’re chained to their desk, getting what they can...
“It’s like cuttting off three of an editor’s fingers,” said Underbelly editor Deb Peart about the absence of assistant editors during the crucial moments of the editing process.
Due to budgetary reasons, assistants are frequently taken off jobs once the film has been shot, and then brought back at the end.
“I started as an assistant, learning from sitting with directors and editors and observing them work together in the cutting room and watching the cut develop. They’re now taking away that period of learning from assistants, because when they’re doing rushes they’re chained to their desk, getting what they can...
- 1/13/2011
- by Miguel Gonzalez
- Encore Magazine
Taking place December 5, the Australian Screen Editors Guild Awards is a ceremony which recognises the achievements of editors in the art of filmmaking. This year the contenders for Best Editing in a Feature Film include Luke Doolan (Animal Kingdom), Nick Meyers (Balibo), Dany Cooper (Beneath Hill 60), Alexandre de Franceschi (Bright Star) and Adrian Rostirolla (Coffin Rock). Previous winner of the award for his work on the highly acclaimed Samson and Delilah, Roland Gallois (pictured), understands better than anyone the essential contribution an editor makes to a film. It's a role that's often not given its due.
- 12/3/2010
- FilmInk.com.au
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