"More time in the edit means more time to distil and maximise everything that has come before." - Australian Screen Editors president Danielle Boesenberg makes the case for greater time in post.
There are editors ready to cut their first TV show, but until they earn their first broadcast credit the door to working on a series stays firmly closed. Meanwhile, there's a shortage of TV editors. Australian Screen Editors president Danielle Boesenberg has decided to change things.
Elvis editing duo Matt Villa and Jonathan Redmond are celebrating a double triumph after backing up their Ellie Award for Best Editing in a Feature Drama on Saturday with the AACTA Award for Best Editing in Film on Monday.
The editors behind 'Nitram', 'I Met A Girl', 'The Furnace' and 'June Again' will compete for this year's Ellie Award for Best Editing in Feature Drama.
Netflix has put the call out for two entry-level post-production attachments to work on the upcoming 'Heartbreak High' reboot.
Andy Canny scooped Best Editing in a Feature Drama for 'The Invisible Man' at the 2020 Ellie Awards on Sunday evening, backing up his recent AACTA win.
Many feature producers fear the Federal Government's sweeping media reforms will spell the death knell of Australian features, forcing them and some writers and directors to focus on content for streamers or free-to-air broadcasters.
Nathan Mewett and Curtis Taylor’s 'Yulubidyi – Until the End' was named best Australian short and Marisa Martin’s 'Della Mortika: Carousel of Shame' best Australian animated short at the 28th annual Flickerfest International Short Film Festival.