In celebration of its 30th anniversary, Melissa Parry S.A.G.E, Chairperson of the South African Guild of Editors, reveals all you need to know about the organisation.

The South African Guild of Editors (SAGE) is a voluntary, non-profit organisation which represents post-production professionals including film and video picture editors, assistant editors and sound editors. SAGE aims to promote the art of editing.

Originally formed in 1994 to address pay parity issues in the industry, since its inception SAGE has become a recognised player in the film and television industry. 

With more than 170 active members, the guild represents both seasoned experts and rising stars in the South Africa film and television industry today.

SAGE welcomes membership applications year round. The SAGE accreditation team carefully approves all applications, and requires a current CV plus three references.

We also award the acronym, S.A.G.E, which indicates peer recognition of excellence in a field. The application is rigorous as the acronym is not simply a recognition of past achievements, but is a testament to a contribution with the editing community, a distinctive filmic voice and an individual who upholds the craft and the post-production industry in its entirety. As such, it reflects more than simply the length of one’s career, rather an awardee is someone who represents outstanding commitment.

WHAT IS THE MISSION AND MANDATE OF SAGE?

A core mission for SAGE has always been building a community, and we continuously advocate for fair compensation and working conditions for all members of the post-production industry.

We represent post-production professionals’ interests at industry and government levels through our membership with the South African Screen Federation (SASFED) – the national federation of independent film, television and audio-visual industry organisations in South Africa.

We are also members of TEMPO, a federation that connects associations of film editors from all over the world. Established in 2019, TEMPO currently has 35 members from North and South America, Africa, Europe, Asia and Oceania, thus connecting over 8000 film and TV editors worldwide.

Through this connection, we try to inspire and support each other by sharing our experiences and knowledge. We organise and promote courses and lectures for editors and assistants and support new talent. We help each other in legal, social and equality matters by raising professional standards worldwide.

The TEMPO network also actively promotes the art and craft of film editing by organising masterclasses that can be joined and enjoyed by anyone who is interested in storytelling. 

Find out more about TEMPO at https://www.tempo-filmeditors.com/

Additionally SAGE has a relationship with American Cinema Editors (ACE). This program is for experienced and well-established editors living and working outside of the U.S., who are members of an editing organisation, recognised by ACE, in their own countries. 

After validating applications, the ACE International Relations Committee conducts an interview from which a recommendation is made to the ACE Board of Directors, which votes on admission.

International Partners may be invited to upgrade to full Active membership, and the use of the ACE designation in their credits, at the discretion of the Board, if they have been a member in good standing for a minimum of 2 years, and have worked for a minimum of 72 months on projects that have US distribution, either as a theatrical release or via a form of national broadcast.

The ACE International Partnership Program recently launched a podcast, Global Editing Perspectives, and episode 2 features South African editors Avril Beukes, ACE, (based in Los Angeles) in conversation with our ACE International Partners from South Africa – editors Vuyani Sondlo, Melissa Parry S.A.G.E, Nikki Comninos S.A.G.E and Ula Oelsen S.A.G.E.

WATCH IT HERE: https://editfestglobal.com/aces-global-editing-perspectives-podcast-ep-2/

WHAT ARE THE KEY BENEFITS OF JOINING SAGE?

Community
We would like to ensure that editors are not kept in isolation, a problem which tends to come with the nature of the job. To this end we aim to increase communication between editors for morale as well as technical and/or creative support.

Socials 

We hold social events where editors get to meet their contemporaries, and are able to share their experiences and expertise.

Networking & Connection through the WhatsApp Group  

Through the WhatsApp group, members offer each other technical support and advice. We also share our experiences, ask each other for advice regarding job offers, schedule concerns and contracts, as well as the occasional laugh. 

Workshops/Panels

We host masterclasses, workshops, seminars and screenings. 

In light of his book ‘Order In Chaos’ we had the pleasure of hosting editor Niels Pagh Andersen – one of the foremost film editors in the world whose films, it can be argued, have forever changed the landscape of documentary filmmaking and continue to do so – in SA for masterclasses and screenings in Cape Town and Johannesburg in 2023. We had the privilege of listening to and engaging with the documentary editing master taking us from dreams to nightmares, life experiences to edit room tales and tricks. We were once again reminded of the need for dialogue, community, collaboration, fear, doubt and love in the stories we tell.

In February 2023, SAGE, in collaboration with the AFDA and WITS film schools and The Centre for The Less Good Idea, hosted two special events at each institution. The events featured Walter Murch, the Academy Award-winning film editor and sound designer renowned for his groundbreaking contributions to modern cinema. 

At AFDA, Murch presented a screening of Coup 53, a documentary film he dedicated nine years to creating. Meanwhile, at The Centre for The Less Good Idea, Murch engaged in a conversation with renowned artist William Kentridge, reflecting on their collaboration for the episodic series Self-Portrait as a Coffee Pot, currently streaming on MUBI. During both events, Murch shared insights into his artistic process, his approach to working with film and narrative, and the pivotal role of editing in storytelling.

In 2022 we partnered with TEMPO and Netflix to host the first VFX editor course of its kind in South Africa. This course was aimed at those who want to make a career as a VFX editor and provide Netflix with a repository of VFX editors to access for their projects in the country.

Job Offers

For producers looking to hire, we provide a verified list of members and their post-production skills. We also send out job opportunities to our membership mailing list.

Advocacy Work

We represent post-production professionals’ interests at industry and government levels. SAGE remains steadfast in our advocacy efforts alongside key organisations like SASFED, DSAC, ICASA, and the Department of Employment and Labour (DEL), making sure our members understand the broader context of these partnerships and how they directly benefit from them.

At the DSAC stakeholder engagement in August 2024 at the CCI Ministerial Bosbaraad, Simon L Makwela, on behalf of SAGE, highlighted two critical points that deserve further attention: 

1. A significant concern in our industry is the nature of contracts binding freelance film and television professionals. These contracts often fail to provide adequate protections or benefits. Moreover, there’s a pressing issue with how the Department of Labour views these professionals – not as employees, which impacts their rights and entitlements. 

2. It’s crucial to recognise that post-production professionals, represented by SAGE, form the last line in the value chain of film and television media production. Our work is essential in bringing the final product to the screens, yet our position at the end of this chain often leaves us vulnerable to budget constraints and time pressures. 

These issues significantly impact the livelihoods and working conditions of many talented individuals in our industry. As we continue our discussions with stakeholders, including the Department of Sport, Arts and Culture, we must ensure these concerns are addressed to build a more equitable and sustainable film and television sector in South Africa.

WHY SHOULD PEOPLE VISIT THE SAGE WEBSITE?

Our website ensures that many producers have quick access to contact details and the experience of our members. We provide more detail on request.

Resources on our website include a Rate Card, Contract & pre-employment checklist.

Each year we assess and publish a rate card, which is accessible on the website behind a paywall. This gives gives members an excellent starting point for wage negotiations.

We provide various other employment-related documents, including an independent contractor’s contract, plus a more informal pre-employment checklist.

Rates Reporter & Survey

Since 2015, SAGE has been running two webforms on our website. One collects job offers from producers, which we forward to our members. The other collects reports of job offers from editors. Since each offer is submitted in the same way, we can make deductions about the average offer being made. The Rate Reporter is completely anonymous and we encourage members to report every job offer they receive, regardless whether they accept it or not. The more information we have, the more reflective of the industry our report will be.

Post a Job:
https://editorsguildsa.org/jobs/new

Rate Reporter:

https://editorsguildsa.org/pages/294-Rate_Reporter

Find out more about Rough Cut Lab Africa (RCLA) 

Rough Cut Lab Africa (RCLA) is a pan-African intervention supporting independent documentary films in the rough cut stage, with a specific focus on nurturing story editors on the continent. The director and editor are matched with expert African storytellers for consultation and comradeship. African films, African feedback!

Rough Cut Lab Africa was conceived and implemented by documentary filmmaker and SAGE editor and long running Executive Committee member Khalid Shamis in collaboration with the South African Guild of Editors (SAGE) and the Encounters South African International Documentary Film Festival (Encounters) in 2017.

Shamis and SAGE had identified the need for such an intervention because access to expert industry advice from outside of ‘first world’ consultative frameworks during the final editing stages of a project is instrumental to shaping the success of documentary films as filmmakers complete their vision with integrity and enter the marketplace. 

Find out more at https://editorsguildsa.org/pages/308-Rough_Cut_Lab_Africa

WHAT ARE YOUR STRATEGIC OBJECTIVES FOR THE UPCOMING YEAR?

Built on 30 years of supporting our members, fostering collaboration, and advocating for the highest industry standards, thanks to the dedication of our voluntary Executive Committee, we are focused on creating a more inclusive, proactive, and sustainable future for our members.

To ensure our longevity and growth, SAGE is prioritising the diversification of our funding sources. This will involve exploring new partnerships, grants, and initiatives to secure long-term financial stability for the Guild.

As such we have submitted funding applications to DSAC with the aim to develop critical investment in training programs that will empower the next generation of post-production professionals and bridge the gap between seasoned experts and rising stars, while working to create a more equitable and transformed post-production landscape.

We are also actively seeking to broaden our existing partnerships and establish new partnerships with film festivals across the country with the aim of creating greater visibility on post-production professionals and their crafts. Our aim is to have an award for Best Editor at all film festivals, while participating in conversations about the post-production sector and the art of editing.

WHAT ARE THE MAIN CHALLENGES YOUR MEMBERS ENCOUNTER?

Unfortunately, due to the unregulated nature of our industry our members encounter:

• stagnation of rates across the industry
• payment disputes
• scheduling issues, such as insufficient time being allocated to post-production

WHAT ARE YOUR THOUGHTS ON THE CURRENT STATE OF THE FILM INDUSTRY IN SOUTH AFRICA AND WHAT WOULD IMPROVE THE INDUSTRY FOR EDITORS?

The shift in the market since 2020 from linear to streaming has created a scarcity in jobs worldwide, as cinema has declined in numbers and brands and advertisers have moved their spending to more targeted social media platforms. This has ended a lot of traditional linear television jobs as a number of major shows have been canceled by broadcasters as they are losing revenue due to this shift, alongside international competition and the long periods of load shedding which are thankfully no longer as much of a problem at the moment.

Historically we have the talent, skills and infrastructure in South Africa, however, producers, government entities and departments, as well as, government as a whole need to realise that Post-Production is an independent sector that has the potential to attract investment and international work that is produced outside of this country. 

Globally many countries facilitate work, such as VFX amongst other things, on productions that are not local to their countries. However, we need the right incentives to make us attractive on the global stage.

Contact SAGE at in**@************sa.org.

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