ACE Member News

Ned Bastille – In Memoriam

On behalf of American Cinema Editors, it is with great sadness I announce the passing of fellow member and friend, Edward “Ned” Bastille (66). He passed away on December 21.

He was diagnosed with a stage 4 glioblastoma in February, and fought it powerfully, at home, with his wife Helena at his side. He will be deeply missed.

Alan Holzman, ACE Heritage Award

`

4th Qtr, 2019

The Invisible Art, Visible Artists (IAVA) seminar has become one of ACE’s annual flagship events. The wildly-popular program takes place every year at Grauman’s Egyptian Theatre in Hollywood and offers a rare opportunity to hear that year’s Oscar®-nominated editors talk shop. Interestingly enough, the man behind it all – prolific editor/director Allan Holzman, ACE – conceived of the idea while recovering from the flu. “It was quite a beautiful story actually,” says Holzman.

“My favorite children’s book is Miss Rumphius, which I’ve read in my daughter’s third-grade class. It’s a story about a young girl who assists her grandfather in making paintings of the ships in a harbor. Her grandfather says to her, ‘I want you to do three things in life: Live by the ocean, travel the world and do something to make the world more beautiful.’ About 20 years ago, I came down with a nasty flu. I felt like I wouldn’t live another day. The first day I felt well enough to go outside, I took a walk and reminisced about that book. I thought, ‘I’ve traveled the world. I live by the ocean.

But what have I done to make the world a more beautiful place?’ IAVA would my contribution to the world.” He explains, “Have a seminar the day before the Academy Awards®. All the nominees have to be in town. Have it in the morning so it doesn’t conflict with any other event.

Make it free and open to the public. Make it so you wouldn’t have to see the movie to appreciate it, but have it be more about the artistic process: How do you work dailies? How do you work with the director? How do you cut a scene? How do you work with music? Everyone answers the same questions so you don’t have a moderator trying to psychoanalyze the movie.

You have a discussion about the creative process. That’s all I wanted to communicate: the creative experience of editing.” By the time IAVA got off the ground, Holzman had already been in the business for over two decades as one of the premier documentary editors in town. He had earned two Emmys® for his work on Steven Spielberg’s Survivors of the Holocaust and an Eddie Award for the critically-acclaimed Old Man River. Not bad for a Baltimore kid who developed a noticeable stutter early in childhood. His stutter became something that he learned to embrace rather than overcome or use as an excuse to fade into the background.

He chronicles his journey in an autobiographical documentary called C-C-Cut: Autobiography of a Stuttering F-F-Filmmaker. The self-proclaimed storytelling stutterer cut his filmmaking teeth in Roger Corman’s camp. He soon went on to direct and/or edit a number of B-movie gems like Forbidden World, Out of Control, and Crazy Mama.

Around the time he met his future wife, composer Susan Justin, he began to add documentaries to his roster. This pivot would offer Holzman a new playground for his creative storytelling abilities.

One of his hallmarks on all of his documentaries is the lack of narrator to drive the story along. “I don’t like using a narrator in movies,” admits Holzman. “I have often tried using the speaker saying the same thing in multiple settings. It makes it more of a feature film because it is unpredictable and emotional. You’re not telling the story in a conventional way. You’re tying it through characters and characters are told through story. It’s really a way to keep the stories going and you can jump time.

The great thing about telling history through characters is it becomes a circular way of discussion. You don’t have to catch people up to where you were. You’re constantly experiencing the depth of the story in one way or another. You’re communicating culture. You’re not communicating facts. You’re communicating an experience, and scenes are the key to keeping people engaged because you can’t lose them for a second when you don’t have a narrator. The pressure is really intense to hold your audience.

Music is your narrative guide. A song is about three minutes and so is a scene. If the composer is into song structure you really can develop a beginning, middle and end in a scene.” It’s this passion for storytelling that led him to become one of the driving forces behind ACE’s Heritage Brunch. The first incarnation took place at a yacht club in Los Angeles over a decade ago where editors were invited for food, drink and a little gab session in front of the camera.

Holzman realized there was a whole class of editors who were assistants during 1940s and ‘50s who were unable to find work in film after completing their eight years as assistant editors. The editors who had trained them were still alive, working, and few had retired.

However, there was work in television. This group became the first great TV editors on shows like I Love Lucy and Mission: Impossible. They conducted 33 half-hour interviews in one day. Holzman recalls, “It was a very fun event. I couldn’t have done that or IAVA without Jenni McCormick [Executive Director of ACE]. She’s an amazing advisor, organizer and totally devoted.”

Even after nearly 50 years in Hollywood, Holzman has yet to slow down. He shares, “Four decades ago, I wrote a book on the art of editing that is about to be published. I wanted to reveal the art behind B-movie editing. The book is called Celluloid Wars: Lessons Learned from Making the Movie “Battle Beyond the Stars.” It will be followed by part two on directing.

Both books are based on daily journals I kept while working for Roger Corman on that film and Forbidden World (aka Mutant). He’s also working on a new fourscreen installation based on Martin Luther King’s “I Have a Dream” speech for Columbia, and penning his own memoir eloquently titled The Storytelling Stutterer.

Hollywood Kernel Panic

Last week there was a panic in the edit rooms from Los Angeles to Budapest. Apple computers running Avid Media Composer were getting an error message relating to a dongle, and upon restart the computers would not boot up.

This issue was solved. Google had pushes an automatic (and hidden) update to Chrome through its Google Chrome Keystone updater. The update was damaging the macOS file system, causing what’s called kernel panic. Here is Google’s explanation. https://support.google.com/chrome/thread/15235262?hl=en&fbclid=IwAR1AzJ-tvj5fYDLhF-nKek_tjWli3OW5XCGCArowY3EKJyGjOTKtIh9M-V0

This corruption only happens on macOS systems that did NOT have System Integrity Protection (SIP) running. SIP was added the Apple operating system starting with macOS 10.11 El Capitan.

Avid sent out an early email blast and Facebook post with a video of CEO Jeff Rosica explaining they knew of the problem and were immediately investigating.

It is not caused by Avid Media Composer. Nor is it caused by macOS. It is just that most Hollywood post uses Avid, mostly on Apple hardware, and some systems have SIP turned off. Certain older hardware can’t be installed with SIP turned on, because their drivers aren’t ‘signed’ or approved.

How do you know if you have the problem? There are three positive signs. 1) a VAR folder appears on the boot drive root, 2) an iLok error message appears, and 3) in the User Setting you are listed not as ‘Admin’ but as ‘Standard’. If you don’t have those three, and SIP is enabled, you are safe. After acknowledging that their update “may” have caused a problem, Google has pulled this update.

Do the following to make sure you are safe.

Test to see if your SIP is running. In the program Terminal, type the command: csrutil status  – then hit Return. If the response is ‘enabled’, your computer is safe. And you can turn wifi back on.

Then there are two files to delete, that prevent Google automatic updates.

In the Finder, hold down Option and click on the Go menu. Choose ‘Library’. Open the folder ‘LaunchAgents’. Delete the following files from this folder.

com.google.keystone.agent.plist
com.google.keystone.xpcservice.plist

And breathe easier.

Harry Miller, ACE
Editor Treadstone (and lots of other cool stuff)

ACE Annual Meeting 2019

`

3rd Qtr, 2019

Lea Yardum, who has been ACE’s publicist for more than two decades, was recognized with the Heritage Award for contributions to the organization. ACE President Stephen Rivkin, ACE, presented the award to Yardum before hundreds of members during their annual meeting, held June 4 at The Garland in North Hollywood.

Also during the event, new members received their plaques and Rivkin updated attendees on ACE initiatives. “Lea Yardum has fought tirelessly to elevate the awareness of editing through the media and has played a pivotal role in helping ACE to grow as an organization,” he said, presenting the Heritage Award. He added that ACE Executive Director Jenni McCormick considers Yardum “ACE’s personal rock star.”

Accepting the honor, Yardum said she was thrilled to receive an award “for doing something you love for persons and artists that you love.” She thanked the board for their collaboration, adding how lucky the members are to have their support. She especially thanked Rivkin and past presidents Mark Goldblatt, ACE; Tina Hirsch, ACE; and Alan Heim, ACE. She called McCormick her “soul sister.”

During the evening, Hirsch and Bonnie Koehler, ACE, announced the newest ACE members, and those that were in attendance received their plaques. This round of new members included Lee Haxall, ACE; Gabriel Fleming, ACE; Amy Linton, ACE; Ben Lester, ACE; Chris McCaleb, ACE; Daniel Nussbaum, ACE; Daniel Valverde, ACE; Darren Hallihan, ACE; Dirk Westervelt, ACE; Elisabet Ronaldsdottir, ACE; Isaac Hagy, ACE; James Ryan, ACE; James Wilcox, ACE; Jeff Buchanan, ACE; and Jeff Gilbert, ACE.

It also included Jeff Granzow, ACE; Jeff Malmberg, ACE; Jennifer Barbot, ACE; Kenneth LaMere, ACE; Kyle Reiter, ACE; Len Ciccotello, ACE; Luyen Vu, ACE; Mark Hartzell, ACE; Martin Singer, ACE; Matthew Philip Smith, ACE; Michelle Tesoro, ACE; Pamela ZiegenhagenShefland, ACE; Patrick J. Don Vito, ACE; Peter B. Ellis, ACE; Richard Sanchez, ACE; Robert Fisher Jr., ACE; Rosanne Tan (Colello), ACE; Ting Yu, ACE; Vashi Nedomansky, ACE; and Yvette Amirian, ACE.

Rivkin noted that in total this past year, ACE has added a record 57 new members plus nine associates. During the meeting, he also emphasized the importance of passing the torch to the next generation of editors. Citing the ACE Internship Program and Diversity Program, he said, “I think it’s fantastic and all the ACE members that contribute to these programs – I salute you.” Several former interns joined him at the podium to thank their mentors, including Qingya ‘Emma’ Li, Luke Palter and Katelyn Wright.

Past intern Tyler Nelson read a statement from Irene Chun who was unable to attend. Rivkin updated members on several initiatives and issues during the evening. For instance, he reported that ACE continues to fight those production companies of unscripted programs that don’t honor the ‘ACE’ acronym in credits. Also, he reminded members of the adjusted 2020 Eddie Awards schedule, reflecting changes to the overall Hollywood awards season schedule.

He also reported that membership requirements had been revamped, and that the ACE Board is finalizing details for a new International Affiliate membership. ACE Past President and current Vice President Alan Heim received a standing ovation for his many years of service, when Rivkin announced that Heim chose not to run for reelection.

He saluted Heim’s contributions of more than 20 years on the board to “build ACE into what it is today.” Meeting sponsor Avid provided Media Composer demonstrations and raffled two editing systems during the evening. Avid’s Michael Krulik welcomed members and thanked them as Avid celebrates the Media Composer’s 30th anniversary.

Letter from the Board 3Q19

`

3rd Qtr, 2019

Welcome to the annual CinemaEditor Television Issue. We hope you enjoy the feature stories on series including Bandersnatch, Killing Eve, Fosse/Verdon, The Good Place, Lorena and Game of Thrones. This issue also presents roundups of recent ACE events including its successful debut TechFest, as well as the Annual Meeting and EditFest London.

ACE recently announced the 2020 ACE Eddie Awards schedule – culminating with a Jan. 17 ceremony at The Beverly Hilton – and we want to add a reminder that there’s been a shift in timing to almost three weeks earlier than usual. This was prompted by a truncated awards-season landscape, ignited by the 2020 Oscars® moving up to Feb. 9.

Most notable for Eddie entrants, the television categories’ eligibility dates have changed. Television contenders must have aired between Jan. 1, 2019, and Nov. 1, 2019. Feature film eligibility remains the same
with contenders having to be released between Jan. 1, 2019, and Dec. 31, 2019.

The black-tie awards ceremony will again unveil winners for outstanding editing in 11 categories of film and television including: Best Edited Feature Film (Drama), Best Edited Feature Film (Comedy), Best Edited Animated Film, Best Edited Documentary (Feature), Best Edited Documentary (Non-Theatrical), Best Edited Drama Series for Non-Commercial Television, Best Edited Drama Series for Commercial Television, Best Edited Comedy Series for Non-Commercial Television, Best Edited Comedy Series for Commercial Television, Best Edited Miniseries or Motion Picture for Television and Best Edited Non-Scripted Series.

Submissions for the ACE Eddie Awards open Sept. 13 and close on Nov. 1. For more information or to submit for awards consideration beginning Sept. 13, visit the ACE website at www.americancinemaeditors.org.

ACE Tech Day 2019

ACE members and their Assistant Editors are invited to attend
ACE Tech Day – featuring ADOBE
Saturday, September 7th, 2019
9:30 am – 2:00 pm
Raleigh Studios, Charlie Chaplin Theatre
`

Join Adobe’s Film and Television team as they share a special sneak preview of new advances in Shared Projects and collaborative editing, leveraging Artificial Intelligence to unlock creativity, and featuring a special guest speaker. It will be an informative and lively day! Full agenda to come…

ACE Tech Day is an on-going event designed to help keep ACE Members up-to-date and in touch with the latest tools, workflows and formats. It’s a continually changing landscape and ACE Tech Day is one way to help keep you prepared for whatever challenges are thrown your way on your next project.

This event is for ACE members, their assistants, and associates – attendance is free of charge.
Please RSVP to the ACE office

All guests must present a valid ID for access to Raleigh Studios. Light breakfast and lunch included.

Click here for parking info

 

ACE International Affiliate Member Category

`

2nd Qtr, 2019

Following the ACE Board’s unanimous decision to adopt the new membership category of ACE International Affiliate Member, the hard work for the International Relations Committee began. We realized that you can’t just apply the same rules for prospective international members as we use for the general category of affiliate membership.

Like the ACE membership committee that interviews and recommends new members to the ACE Board of Directors, a similar procedure needs to be established for international members. In order to do this the International Relations Committee needs to recruit active ACE members who also believe in the global expansion of ACE. (Hint, hint!)

Since Hollywood and Los Angeles are still the central hub for the motion picture industry a lot of members and leaders of our international sister organizations have professional links here.
We’ve met many of them to discuss our plans and their thoughts about how we could and should work together. We’ve met with the principals of our Australian, Canadian and Dutch sister organizations. And recently, Isaac Itzik, president of the Israeli Editors Guild, visited Los Angeles. We discussed many things during our 90-minute meeting but the main topic was how the ascent of streaming services like Netflix, Amazon and Apple would impact our work and the industry as a whole.

Streaming shows in particular seem to vigorously transcend the traditional boundaries of national film industry standards, not only with international distribution but also investment in productions in motion picture markets like Israel. They seem to recognize that national content is not limited to the borders of a particular country. The international success of Bollywood productions is also made possible because there are large expat Indian communities in countries all around the world.

The Nigerian Nollywood productions serve a large swath of the African continent and you can imagine the revenue from untapped markets of the Mandarin language and culture will expand. Itzik says that with the interest of Netflix in the small Israeli market, its industry has started to realize that there might be additional markets for Israeli motion pictures for the small and big screen if you consider the Jewish diaspora around the world.

Original Israeli series are already available on Netflix in the U.S. and although Netflix is very secretive about viewership numbers, the fact that they put it up on their roster indicates that there is interest. Itzik feels that these developments make it especially important to join hands with ACE so we can work together to keep the editors’ creative integrity in the spotlight. An alliance with ACE also is important for him to improve the standing of editors in Israel as an important creative force in the production process.

Too often directors and producers think that editors are merely operators of the editing computers. He pointed out that there’s now the credit, ‘director of editing,’ like there’s the director of photography and camera operator on the set. When we unite globally and exchange our experiences we can work together toward elevating how editors are looked upon as an important creative force in the motion picture production and post-production process.

We also need to find out what the special needs are for our new international members and how we can explore, accommodate and create new venues here and maybe abroad that can cater to these needs. We’ve got a very exciting time ahead of us and we’ll work hard to make this global expansion a successful one with the help of our foreign sisters and brothers. The respect that editors deserve for their creative endeavors is a global issue that we need to face together.

ACE Installation Luau

ACE celebrated its annual board installation with a luau-themed celebration held Aug. 28 at the popular Toluca-Lake-based Italian Ca Del Sole. Generously hosted by Pivotal Post, guests wore leis and shell necklaces as they enjoyed Mai Tais and a range of hors d’oeuvres and spirits throughout the evening.

ACE President Stephen Rivkin, ACE, announced the new board members that were elected or reelected. They are Dorian Harris, ACE; Tina Hirsch, ACE; Carol Littleton, ACE; Michael Ornstein, ACE; and Sabrina Plisco, ACE; as well as Rivkin and secretary Lillian Benson, ACE, who were both reelected to their offices.

Associate board members are Kate Amend, ACE; Mark Helfrich, ACE; Eric Sears, ACE; Andrew Seklir, ACE; They join board members Jacqueline Cambas, ACE; Maysie Hoy, ACE; Bonnie Koehler, ACE; Mary Jo Markey, ACE; Kevin Tent, ACE; Vice President Alan Heim, ACE; and Treasurer Stephen Lovejoy, ACE.

THE ACE ACRONYM

Important points to understand about the ACE acronym
`

ACE is an honorary society of motion picture editors founded in 1950.

ACE members are required to place the ACE acronym after their name on screen credits or in any form of publicity in which their names appear in connection with motion pictures, television or related media.

ACE members are voted into membership on the basis of their professional achievements, their dedication to the educations of others and their commitment to the art of editing.

ACE is NOT a union or guild and should not be confused with the Motion Picture Editors Guild (MPEG).

ACE members are NOT required to be members of MPEG.

ACE members use the acronym when receiving screen credit on motion pictures, scripted and unscripted television programs, documentary films and others forms of visual media, similar to other honorary, professional organizations, such as the ASC (cinematographers), MPSE (Motion Picture Sound Editors) and CAS (Cinema Audio Society).
`

Please consider that hiring an ACE member means that you have hired the most experienced professionals at the top of their field, which is something that gives your shows a mark of distinction and prestige to be displayed proudly.

The vast majority of studios and production companies recognize and accept the ACE acronym, including:

`
FILM STUDIOS

Universal Pictures
Paramount Pictures
Warner Bros. Pictures
Sony Pictures
Columbia Pictures
Walt Disney Pictures
20th Century Fox
Lionsgate Films
Amblin Films

…and many others.

`
TELEVISION STUDIOS

20th Century Fox Television
ABC Studios
CBS Television Studios
NBC/Universal Television
Paramount Television
Sony Pictures Television
Universal Television
Warner Bros. Television
3 Arts Entertainment
A&E Television Network

…and many others.

The following companies still deny our members the use of the ACE acronym on their non-scripted/reality programing: and so may not be eligible for Eddie Award Consideration.

Smith & Company
BBC 1
BET
Bravo
Bunim-Murray Productions
CNBC
Discovery Network
Discovery Studios
E!
Esquire
Evolution Films
Finnmax
Greenhat Films
iTV
LeftField Entertainment
Lifetime
MGM Televison
National Geographics
NBC
Pilgrim Studios
Push It Productions
Revelations Entertainment
Shed Media
Sirens Media
TruTV
USA Network
VH1
Wall to Wall Television
Warner Brothers
Wilma Productions
World of Wonder