ASE Newsletter 1998-01 Issue 20

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Index to ASE Newsletter Issue 20 - Jan 1998

From The President
* A HORROR STORY "... the editor chosen would be expected to do the whole edit including sound without pay or residuals, under minimal supervision from a well-known "qualified" editor - who would then come in at the end to "tidy it up" and take the full editing credit, apparently in return for the use of editing facilities."
* Scmoozing at the Melbourne Christmas Party
* The Photo-less Sydney Christmas Party!
* Kiss or Kill Editor Henry Dangar stood before a packed Lemac theatrette full of post types all intrigued by the journey he took with this film.- reviewed by Cindy Clarkson
* Letters to the Editor
* Avid Tips and Techniques - part III
* From the Secretary
* Who's Cutting What and Where?

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ASE Newsletter Issue 20 - Jan 1998

From the NEW President!

Denise Haslem

I have just returned, somewhat unhealthily, from polluted Calcutta. It was an incredibly difficult place to work in. The air so thick with fuel and dirt that by lunchtime you were already exhausted from lack of oxygen.

Now that I'm back in relatively clean air my brain is swarming with the things that are happening this year. Avid and Lightworks workshops are already on the drawing board. Melbourne has already established "Friends of the Committee", volunteers who create relevant sub committees. While in Sydney Dany Cooper is keen to get ideas and volunteers to start this years Conversations with Editors and Matthew Tucker is organising another picnic by the end of Feb or early March.

I think the consensus at the AGM was not to overload everyone with too many events this year, however, we don't want to lose the sense of unity and identity that we have built up. So its a fine line and we need as much input as possible as to what you would like to see happen.

Sydney is also on the lookout for a place to hold committee meetings every month so if anyone has any suggestions give us a call. We also need contributions to the newsletter. I would like to see some reviews of films, TV programs or books or articles of interest. A bit of discussion about the art of editing, not just the technology.

Lastly on behalf of all the members I want to thank Henry Dangar for his two years of committed passion to the ASE.

Also, to all the outgoing committee members, especially Barbara Bedford and John Pleffer, without whose untiring work we simply would not be where we are today, thank you.

And so to 1998, and we look forward to working together and building an even bigger, stronger and more vital ASE.

Denise

Copyright 1998

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ASE Newsletter Issue 20 - Jan 1998

A HORROR STORY

... the editor chosen would be expected to do the whole edit including sound without pay or residuals, under minimal supervision from a well-known "qualified" editor - who would then come in at the end to "tidy it up" and take the full editing credit, apparently in return for the use of editing facilities.

What kind of a deal is that?

The ASE received the following story from a member who wishes to remain anonymous. The sad thing is, this is not a joke, it is true. Any resemblance to any person or production is quite likely. Only the names have been changed ... a bit!


“ Knocking on Furphy’s Door”

“Furphy: (n) a rumour; a false story."



DIRECTOR Knock Knock!
EDITOR Who's There?
DIRECTOR Opportunity!
EDITOR Opportunity to what?
DIRECTOR Opportunity to cut a feature!
EDITOR (excited) Wow a feature film - this is a dream come true! My first feature!! - what's the catch?
DIRECTOR Well, you have to work seven days a week, morning to night, finish the cut in four weeks, do most of the sound editing and only receive the assistant editor credit - oh and by the way we won't pay you - not even residuals.
EDITOR Why should I work for no pay?
DIRECTOR Because you are inexperienced and in this business you need work to get work.
EDITOR But why would anyone believe I cut the film if I don't get the credit.
DIRECTOR Look, it will be great experience for you.
EDITOR So I will have to survive without rent money, food money, transport money, work my butt off and get no credit. Right?
DIRECTOR Right!
EDITOR What a joke!!

_
The really funny thing is that someone WILL do it, and I will always wonder if I should have done it myself ... hey, that's show biz!!

- name withheld


As this paper goes to print, three other editors have been approached and all have turned the job down.

Where the first editor was offered no money, no credit and no script, the second editor was offered a credit (perhaps the “qualified editor” dropped out?) but no money and no script, and the third was offered a credit, a script, a meal allowance and some discussion about getting a paid editing assistant - but still no money!

The fourth editor to be approached very nearly said yes to the offer of a credit, a script and a meal allowance, but was unwilling to go onto unemployment benefit in order to pay the rent! The Producers said that - get this - “anyway they would feel unethical in giving someone a job while they were collecting Unemployment Benefit”. This editor finally turned the job down when “meal allowance” was discovered to be less than that offered to editor number three! Editors are not idiots.

So it is a low budget feature and the producers can’t afford their own rent either ... but apparently the actors are getting paid. (Why? Equity strength does a lot.) But not offering a credit is insulting, and not offering deferred or residual payments is downright cheap.

Just as the editors in this story deserve congratulating for their stance on this, perhaps those involved in the original deal should feel just a little bit guilty?

Matthew Tucker, Fiona Strain

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ASE Newsletter Issue 20 - Jan 1998

Scmoozing in Melbourne!

New Melbourne Correspondent Richard Stal, a self-confessed “schmoozer”, reports on the Christmas Party held at the London Hotel, Port Melbourne

HELLO FELLOW EDITORS, my name is Richard Stal and I'll be your friendly newsletter correspondent as of this month. I'll be taking over from Cindy Clarkson, who has been doing a fantastic job co-ordinating articles for the newsletter.

Well, where do I start? The ASE Christmas Party is as good as place as any. The Melbourne Christmas party was held at the London Hotel in Port Melbourne on Friday 12th December and the turnout of ASE members was great. Walking into the bar where the party was held, I was immediately accosted by Roberta and Sioux who enthusiastically convinced me to buy some raffle tickets. ("Convinced" being an understatement...!) The relaxed ambience of the party was helped along by the laid back jazz sounds of "Rio Trio"

Being a relative newcomer to the ASE and editing in general, I was keen to meet other editors and discuss projects they were working on and other editing tidbits. Grabbing a complimentary red from the bar, I ended up talking to Adrian Vallis about his experiences with the Media 100. The great thing about the ASE is that it provides a wealth of knowledge to draw upon, especially for newbies like myself, and ASE members are very willing to impart advice as well as their time.

The highlight of the evening was the presentation of the lifetime achievement award to Brian Kavanagh (pictured above). A short compile of his extensive work over the years (put together by Steve Doyle, pictured below right witk Mark Atkin) was screened. Actually getting to see Brian was a buzz for myself, being the first time I had seen the legend in the flesh so to say.

After schmoozing (what a great term!) with a few more ASE members, I ended up at the bar talking to Bob McCaffrey, another Media 100 aficionado. Bob has put forth the idea of having a regular Media 100 column in the ASE newsletter, a kind of "troubleshooting" column. So look out for his possible column in future ASE newsletters.

All in all, the ASE Christmas party was a fun way to meet up with people who share a common interest in the art of editing and in ensuring that the editor is given due recognition for their integral role in post-production. So for you non - members out there - join the ASE soon! (Just don't let Roberta and Sioux try to sell you raffle tickets ...)

Richard Stal

Many thanks to the following people for ensuring the Melbourne ASE Christmas party was such a success:

Cathy Palanky, Tim Lewis for the SP Machine, Steve Doyle, Jill Rice & Peter Carrodus of the ASE Social Subcommittee, and Sioux Currie, Roberta Horslie & Cordelia Dewis for organising the raffle.

Copyright 1998

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ASE Newsletter Issue 20 - Jan 1998

Sydney Editors Splice the Mainbrace!


THE SYDNEY CHRISTMAS PARTY was held at the Museum of Sydney Cafe in the city.

The rain stayed away, and over 150 people turned out to party under the stars to the up-beat latin jazz music of Sandunga. Some dressed up for the occasion, some dressed down, but everyone wore at least a white cotton glove to keep them warm in the evening breeze ...

Due to an incredible oversight (or ten) no-one brought a camera to the event - neither us, nor any of the representatives of the press - so there is nothing for posterity (except the delicately coned fish and chips which I suspect some of us are still carrying around, posteriorly)

The food was delicious, the grog ran free and even dancing took place - some will remember the entwined bodies of Frans and Henry cutting a swathe across the dancefloor - despite the frantic efforts by some of us others to avoid it!

The highlight of the evening was of course the presentation to Sara Bennett, which kicked off with a very funny, entertaining and clever video made by Laura Zusters, Andrea Lang and their team.

Sara, resplendent in white cotton gloves (and trousers) graciously accepted the presentation - despite the speling mistake - proudly watched by her family, sister - and Mum, freshly flown in from Scotland.

Steven Wallace made a surprise speech of appreciation and encouragement to our noble ex-president, and presentated Henry with an expensive bottle of red. (No-one can remember if this was before or after Henry's dancing spree.)

As the night progressed the giant brie was aggressively hacked into, unlike the ASE website hopefully humming away on the nice old PC in the corner ... and editors showed their truly generous spirit by buying each other more of the free drinks, and freeing the helium balloons of their earthly shackles.

Carmen, Andrea and Laura got flowers and the rest of us got responsibly drunk - which may explain why so few of us remember the other big surprise event of the evening ... the Magician! So effective was his magic that no-one saw him come or go. In fact it's hard to determine whether anybody saw him - or his tricks - at all! We are still trying to decide what to do with the large white rabbit found hiding behind the PA system after the party.

A fine celebration was had by everyone. No blood was spilt, only champagne ... and sweat, particularly that of the hardworking party organizers, ably led by everyone’s' favourite party person Carmen Galan, with help from Pam Barnetta, Henry Dangar, Jenny Ward, Barbara Bedford, John Ley, Christian Gazal, Paul Healy, Lile Judickas, Marianne Bryant, Leigh Elmes, Christian McGowan, Lindy Monson, Dany Cooper, Ray Thomas and all the others.

Matthew Tucker

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ASE Newsletter Issue 20 - Jan 1998

JUMPCUT ... NO MUSIC ... "KISS OR KILL "


AN EDITOR'S FREEDOM

by Cindy Clarkson

We all know Henry Dangar and the Sound team won the AFI's this year for "Kiss or Kill". Congratulations people! In late October, Henry Dangar travelled to the warm welcome of Melbourne. As the lights came up after the screening, Henry stood before a packed Lemac theatrette full of post types all intrigued by the journey he took with this film.

Henry and Bill Bennett had previously established a working relationship when they collaborated on "Spider and Rose". "Kiss or Kill" was going to be cut in a style that Henry had always desired to do, but had never been presented with the opportunity before. There was little discussion with Bill about the editing before the shoot. Bill sent Henry a tape of a commercial he had done, cut in the style he wanted - he had used the commercial as an experiment so that if the jumpcuts didn't work, he wouldn't waste the 2.5 million budget.

During the two week rehearsals of the 60 page treatment, the dialogue was locked in as a twenty four day shoot didn't allow for experimentation with the script. There was no continuity person on the film, and Henry was pleasantly surprised at the crew and cast discipline. The actors were somewhat perplexed by what Bill was asking them to do but it became clear when they saw the VHS of the first scenes cut together.

Because of the style of editing chosen, the shots needed subtle changes of angle or focal length to optimise the potential of the jumpcuts. If the camera was moved too far from it's axis it would've made for a more standard shot and consequently a conventional cut.

The hand held camera enabled the camera operator to roam freely, so each take was continually reframing and focussing on different moments. This freedom added to the dynamics of the edit as well as energising the performances.

_

THE TYRANNY OF DISTANCE

Working at such a remote distance did create headaches. The DOP, who Henry didn't meet before the shoot, relied heavily on Henry's judgement. Besides sending a VHS copy of the telecined dailies, Henry would clip three frames off selected takes so the DOP had something to look at. Bill had mentioned to Henry that the film would have a fairly contrasty look, a kind of "modern noir". Without any form of reference, this comment was open to interpretation.

Everything was going well until about two thirds of the way through the shoot. The crew had moved to Port Augusta and took the opportunity to have a morale-boosting screening of selected rushes at the local cinema. Unfortunately the projected print looked flat and lifeless making the DOP extremely nervous. During the next 24 hours there was a flurry of phone calls. What Henry had viewed in Sydney seemed to be very different to what was screened in South Australia. It finally transpired that the luminance of the projector at Port Augusta was very low.

The shooting ratio was 13-1 and 85% of that was eventually work- printed. As there were no continuity sheets whatsoever, Henry's assistant Leigh Elmes created a database that became the continuity "paperwork."

_

TRUST YOUR INSTINCTS

Henry's day started by going to lab and looking at the print takes, then travelling to the telecine and grading the rushes so that it represented what he'd seen at the lab. Leigh would then sync the rushes in the Avid. This disappointed Henry as by the time he got to cut the material he was seeing it for the third time rather than freshly.

The first time he cut a scene was the scariest moment ... he showed Leigh what he'd just cut and the response was a shake of the head! Henry soon realised he had to stop thinking about the process and just do it. He did watch Goddard's Breathless to see what effect jumpcuts could have but besides that, trusted his instincts.

As the rushes took four days to travel from the Nullarbor to the lab it was impossible to ask for that extra shot that would help the edit. The crew would have travelled several hundred kilometers up the road by the time the shot was needed so pickups were out of the question.

There were no strict rules for this edit but there were times when it was obvious that the edit mustn't jump about. The decision was made to jumpcut immediately rather than wait so that the hectic style didn't disrupt the film's flow.

Henry wanted the first cut to be ready as soon as Bill arrived in the editing suite. During the first week, while he waited for feedback, Henry felt he cut conventionally. It was a confidence breaker having to wait five days for some reaction. Bill and Henry did talk every day, sometimes twice, so communication was happening throughout the filming process.

The first cut was per the script as Henry really needed Bill there before he could venture outside the defined boundaries of the story's structure. The parallel action featured in the film came in the edit as the two explored creative options. Henry's favourite scene is the one where the two detectives, (Chris Haywood and Andrew S. Gilbert), are eating breakfast at a roadstop. To him this scene captures the essence of the film simply and efficiently while adding a moment of humour. It was also the only time that Henry wished for a continuity person as the actor grabs a rissole instead of a strip of bacon in the wide shot which he very much desired to hold on.

Like any screening situation the film is vulnerable the first time it's exposed to people. So imagine Henry and Bill's nerves as they gave several FFC representatives a courtesy screening of "Kiss or Kill" off the AVID. It was at this time that Bill broached the subject of no music. Happily this didn't seem an outrageous suggestion to them so there wasn't a major ideological discussion.

Two weeks into the sound post period the picture was locked off. This was after several screenings on a video projector and one pos-conform, projected on the big screen. After seeing the workprint there were some minor adjustments before the reels were handed over to the sound team.

_

THE GIFT OF NO MUSIC

The sound for the film is 95% post sync due to camera noise. Originally there was a composer factored into the post production process, but as the shoot went on Bill came to the conclusion that there was no need for music. This freed funds in the budget which allowed them to spend four weeks in a studio re-recording the dialogue, giving Bill a chance to redirect the film as well as cement the feeling of seamless continuity in the performances.

Henry commented that an editor can only be as good as the director allows them to be. As the two had an already established relationship, the feeling was one of openness which added to the freedom of the edit. It was very obvious Henry really enjoyed doing this film. Oh lucky man.

Thanks must go to Henry for coming down and sharing his happy experience with an eager audience, our sponsors AAV, Digital Pictures, Lemac and Neil the projectionist, and of course Michael Church for his organisational skills. Can't wait for the next chin wag!

Cindy Clarkson

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ASE Newsletter Issue 20 - Jan 1998

Letters


1001 Thanks

Dear Everyone,

This is an overdue `thank you' to everyone for honouring me at the Christmas Party on December 6th.

Special thanks are due to Laura Zusters and Andrea Lang for the enormous amount of talent and hard work they invested in making the tribute tape and thanks to all those generous people who managed to say something `applicable' to camera.

I'm not sure who to thank apart from Henry Dangar, and I suspect Emma Hay, for singling me out for the honouring, but wherever you are out there, `thank you'.

Once again M Carmen Galan excelled in organising a great night at the MOS Cafe and I know that Pam Barnetta, Fiona Strain and Peter Litton were doing one or two things behind the scenes and probably Jenny T Ward was up to something too.

Island Films and all the other sponsors, A BIG THANK YOU for your generosity.

And a very special `thank you' to Chris Rowell for insisting on driving me home. I still have a licence thanks to her.

The difficulty in compiling one of these `thank you' lists is the embar-rassment of leaving someone out. So, if I have left you out, my apologies and thank you.

Wishing you all a great 1998.

Thank you again.

Sara Bennett.

------------------------------------------------------------------------

Making it Stick

I wish to make a complaint! This splicing tape doesn't stick!!! To my continuing dismay, as I rewind and play back the segment I've just shaped into a rough cut, at every edit there is a white flash at the top of the frame as the tape stretches. This distracts the director from watching the cut and irritates the hell out of me.

I had heard rumours that the tape these days for 16mm wasn't very good but this is beyond a joke. So I appeal to you out there to respond with two desperately needed pieces of information. Is there a superior brand of 16mm splicing tape available in this country and where can I get it!?!

You can contact me on 019 179 443 or cindy@ozemail.com.au Oh! If anyone knows the address or name of the manufacturers of frame to frame splicing tape I'd be grateful if you could enlighten me as I wish to enlighten them about their less than satisfactory product.

Cindy Clarkson

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ASE Newsletter Issue 20 - Jan 1998

Avid Tips Part III

Our intrepid editor is tied to the tracks, the locomotive is bearing down, we are about to dive full steam ahead into the world of 3D!!!!


IN PART 1 ... WE INTRODUCED the ace AVID editor, Basil Pappas & his Internet HOME PAGE full of tips & techniques.

IN PART 2 ... Basil tipped us through the world of Audio Rubber-banding, Keyboard Shortcuts in Title Tool & 2D Effects Nesting. (Not to forget - adding filler to the end of a sequence!)


AND NOW PART 3!!!

We pick up our journey through Media Composer ver. 6.5.1 at a crucial plot point (& after the 2nd ad break).

3D modules - Corner Pinning & Stamp/Clear
Corner Pinning allows the user to grab a corner of a frame and position it anywhere on the screen. This is typically used for pinning an image within a TV screen or some other frame boundary. Additionally, it can be used for drastic perspective distortion.
The Stamp/Clear feature allows the user to create multi-layered still image composites, in real-time, downstream of any effect. This is great for real time title builds, or Picture-In-Picture montages, or even logos which need to stay up for the entire show.

3D Titles and Imported Real Time matte keys with Alpha
These are now able to save their moves without saving the alpha (or key channel). This means you can now apply the move to other titles and Real Time matte keys.
To do this, when you save the initial title move, hold the option key down when dragging the effect icon to the bin. When it is saved to the bin it will say "without source". Then you will be able to apply just the parameters to future titles.


The 3D buttons
These are on the Command Palette so you can assign them to the keyboard.
Option double clicking on a closed 3D parameter pane opens ALL panes.
Option double clicking on an open 3D parameter pane closes ALL panes,
Option click on the enable button to restore the default slider positions of a closed category.
Hitting the LOCATOR button during PLAY in FX mode inserts a keyframe on the fly.
Attempts at direct manipulation NOT at the selected keyframe will create ANOTHER KEY FRAME at that point
Attempts at parameter slider mani-pulation NOT at the selected keyframe will change the HIGHLIGHTED keyframe AND show the changes to the image AT THE CURRENT POSITION.
SHIFT Key with direct manipulation adjusts in ten digit increments.
Option click direct manipulation causes the frame to update with real picture as you move it.

Titles & Moves
To get nice anti-aliased edges try leaving the border softness control on and give it a value of 22 to 24. The border still appears to be hard but the edges will be cleaner during motion and in off- axis positions.
To get acceleration / deceleration (similar to smooth motion in an ADO) go to spline and set the tension control to +100 for any two keyframes.


And so, it’s at this point we leave our intrepid editor. Safe in the knowledge that Basil is but a mouse click (or two) away, and that tomorrow is just another day. .. which contains Media Composer ver. 7 !!
(Thank God for sequels!!!)

1998

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ASE Newsletter issue 20 - Jan 1998

The Rambling Secretary's Ramblings


Fiona Strain

Well, Christmas is over, and we are all slowly settling back into the New Year routine. I am back at the Film School enjoying a bit of quiet catch up time with the students who are completing their slate projects from last year, and getting my brain ready for the onslaught when the new students arrive on Jan 27!

AFTRS NEWS

A couple of interesting documentaries have been completed with the start of the Documentary strand.

Unfortunately we did not have the funding for any documantary editing students last year (we do this year) but as a result had the services of Bob Burns & Melanie Sandford who edited these documentaries on dAVE. The overall standard of these productions is very high and interestingly have a quite big design element in them which provided extra editing challenges.

One of our third year slate productions (a docu-drama) called Something Honest has been accepted as a Short Feature in the Queer Screen Festival, to be screened on Sunday Feb 15th. Alison Croft has done a fabulous job editing a complex & demanding piece.

The editing Department welcomes six new students for 1998, two in the documentary strand and four in drama. All are female, which will leave Bin Li as our token male ! (we are not gender biased, just all the good talent was female this year ).

Committee News

Both old and new committees met in December to swap info, pass on plans and ideas and ensure that the systems that have been set in motion continue to move on with the addition of the ideas of the new committee members. We also shared a sip of bubbly (compliments of Dany Cooper..Thanks !).

The meeting dealt with wrapping up the year, outlining for the new committee how things are run on a general basis, and some forward planning for next year. Thanks to the generousity of our sponsors we will be able to continue to hold events that are are of interest to our members. We will continue to run the "Conversations with Editors" series, as well as hold screenings. It is important that we deal with films and issues which are current, and of interest to you, so please let us know if you have worked on, or seen a film that you want to talk about, or if an issue is sparking your curiosity, (or making you boil!).

Let any one on the committee know about your ideas, or call Dany Cooper, or Pam Barnetta who are our interim events subcommittee. We also need people to join the subcommittee for events, so if you'd like to join in along with your ideas, get in contact... We LOVE lots of help.

We will also be holding workshops on the Avid, and Lightworks. If you have any training issues, you can contact Leigh Elmes, and Peter Bradstock. They are heading our training subcommittee and will be organising things to make you more familiar with various techniques and pieces of editing equipment through the year.

_

Newsletter

The Newsletter continues to be a major voice of the ASE, and many thanks to Matthew for keeping it going at such an interesting and informative level. Matthew also transcribes the Newsletter onto the web, where it becomes a valuable contact for other groups overseas, as well as an archive resource. He does need help to do this, so if anyone has knowledge of website expertise and would be willing to help a bit, contact Matthew.

_

Christmas Party

Of course a lot of time at the meeting was dedicated to final details for the Christmas party, which involved a HUGE effort on the part of Carmen Galan.

So thank-you very much to Carmen for her time and organisation which took up some months of phonecalls, liaising with people and venues, organisation of equipment, vehicles, insurance, food, drinks, the printing of invitations and tickets as well as those wonderful gloves.

She was helped also by Pam Barnetta, Henry Dangar, Jenny Ward, Christian Gazal, Matthew Tucker (who roped in Christian McGowan from Film OZ as Technical Director), Lile Judickas, Leigh Elmes, Dany Cooper, Ray Thomas and Lindy Monson.

_

Thanks Henry

A huge thank-you is deserved for Henry and his gentle but persistent leadership. He has done a lot for the ASE over the last three years. He was always aware of the commitments of the committee and tried to ensure that we were organised in a way that we could all cope, and not burn out.

Nevertheless, he took on a lot of work himself giving a lot of his own free time to do much lobbying, organising, and being the face of the ASE. We owe a lot ot him in terms of gaining the confidence of our members, credibility in the industry, and the support of our Sponsors.

We shall hopefully continue to run as efficiently and happily. I think also we owe a big thank-you to his wife Belinda and his two boys, who musn't have seen much of Henry while he was President !

_

Thanks Barbara!

A big “thank you” to Barbara Bedford is also in order, as she kept the financial details in impeccable order, and dealt with the membership, endless nights stuffing envelopes for the Newsletter mailout, as well as ensuring that our legal and financial issues were in order.

Her commitment to the ASE has been absolutely whole-hearted, and we hope she will remain our trusted advisor.

Christian Gazal has been nominated as Public Officer for the ASE, as Barbara has stood down from that capacity.

_

Committee

Now that the committee has swapped over and the New Year has begun, we will have our first meeting of 1997 on the 2nd of February, and will continue to hold our meetings on the first Monday of each month.

Put the date in your diary, because you may want an issue to be put on the agenda, or to spread some news to the committee. Please be involved and in contact, because we are running the ASE for all of you - Editors, assistants, editing students, and our associates who support us.

Fiona Strain

Copyright 1998

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ASE Newsletter Issue 20 - Jan 1998

Who's cutting what and where?

Lile Judickas is working on another Richard Smith Extravaganza for the ABC - "Rumble in the Jungle" a 55 minute doco shot on DV CAM in 16 x 9 cut on AVID ver.5.51 68K QUADRA 950.

Paul Cantwell, ably assisted by Adam Spendlove, is working on "Future Eaters", a 3 - part Doco series, for the ABC & an English co-producer cut on AVID QUADRA 950.

Meredith Hopes, with assembly editor Robert Kabel, on David Goldie's NEXT BIG THING, "Burden of Proof" cut on AVID Ver5.5 P MAC

Cindy Clarkson ably assisted by Hend Eissa (yes she's ASE) are cutting Two Girls and A Baby, a half hour drama, for 8 weeks on 16mm. “Yep the 6-plate Steenbeck still says "Hello" every morning!”

Copyright 1998