ONFILM July 2012

juLY 2012 $7.10 incl gst

NZ’S SCREEN PRODUCTION INDUSTRY MAGAZINE on f ilm . co . nz

Red House over yonder Filmmaker Alyx Duncan on her debut feature The Red House 9 421902 251047

Digital filmmaking with Eternity director Alex Galvin NZFC chief Graeme Mason updates the sector Tooling up with super slow motion cameras

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contents News and views

JUly 2012

4 A private view Onfilm columnist Doug Coutts and cartoonist Barry Linton are looking for screen production ideas.

Editorial page 5 The 2012 NZ International Film Festival cometh, says editor Steven Shaw; cartoonist Andy Conlan pokes fun at the ease of digital filmmaking.

Short cuts 6 Philip Wakefield rounds up NZ box office and television news from the NZ screen industry.

12 COVER: Photo: Meng Jia and Lee Stuart from Alyx Duncan’s debut feature The Red House, screening as part of the 2012 NZ International Film Festival. Photo: © Alyx Duncan.

Growing the industry 10 NZ Film Commission chief Graeme Mason reports back from Cannes and offers his perspective on the NZ film industry.

Feature 12

Red House over yonder

I nspired by growing up on a small island as part of a cross-cultural family, filmmaker Alyx Duncan worked with her father and stepmother to make The Red House, which will screen at the 2012 New Zealand International Film Festival.

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Digital filmmaking feature

17 From here to Eternity Peter Parnham talks to filmmaker Alex Galvin about his latest project Eternity, a digital feature shot in Wellington, Hawke’s Bay and Hong Kong.

Publicity tips 20 Publicist Sian Clement offers advice on getting your electronic press kit ready, including filming behind-the-scenes digital footage.

Tooling up 22 Peter Parnham takes a close-up look at a range of new digital cameras on the market that are capable of shooting in super slow motion.

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Short and sweet

elen Martin talks to digital filmmaker Campbell Cooley, who H brought together two very different painters –Yu Shin-ya from Taiwan and Fernando Pacheco from Brazil – in his short film The Colours Duet.

Volume 29, Number 7

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16 Review: The Last Dogs of Winter Helen Martin reviews a new documentary screening at the NZ International Film Festival from prolific NZ filmmaker Costa Botes.

Editor: Steven Shaw (editor@onfilm.co.nz), 021-905-804 Contributors: Andy Conlan Doug Coutts, Helen Martin, Peter Parnham, Philip Wakefield Ad Manager: Kelly Lucas (admanager@onfilm.co.nz) 09-366 0443 Production Manager: Fran Marshall Designer: Cherie Tagaloa New Subscriptions: www.onfilm.co.nz/subscribe Subscriptions Enquiries: subs@mediaweb.co.nz, 09-529 3000 Pre-press and Printers: PMP Print

A legal view 27 Legal experts David McLaughlin and Emily Jackson discuss the vital importance of Letters of Inducement for the screen industry.

Onfilm is published 11 times a year by Mediaweb Limited, which also publishes The Data Book.

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Regulars

Across the ditch 26 James Bondi, our ex-pat spy based in Australia, rounds up industry news from the Lucky Country.

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Production listings

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The contents of Onfilm are copyright and may not be reproduced without written permission. © 2012: Mediaweb Limited While Onfilm welcomes unsolicited contributions addressed to the editor, no responsibility can be accepted for their return unless accompanied by a stamped, addressed envelope.

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JUly 2012

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A private view

Where there’s muck there’s brass As regular readers will be aware, the Tosh Club management is not one for letting an by doug coutts opportunity go begging. Very often.

Admittedly we were caught napping when “NZ Gots Talent” gots too big for Avalon and went looking for larger premises – we had interests in a huge warehouse in South Auckland they could have used but left it too late to get the brochure, and the warehouse, tarted up. And then when they decided not to use the host broadcaster’s OB facilities, we could have gots in there as well, if the grip truck we have a share in hadn’t needed a new rego and a complete set of tyres. Luckily someone on the NZGT staff had a few contacts so the show will go ahead as planned. And the host broadcaster will still get to screen the show, even if they don’t collect rent, hireage or crew fees.

Still… once bitten, twice inoculated. So when the news broke earlier in the month that one of the country’s largest but relatively unheard of production houses was going belly up, the Tosh Club executive made damned sure they weren’t going to miss out.

BrownNose Entermation has been in the business for years, competing against some of the biggest names in independent television production and losing spectacularly most of the time. A lot of the problem was being based in Auckland but not knowing the smart coffee shops to be seen at or the right drug dealers’ names to casually drop into the pitch meet-

ings. But BrownNose also had a knack for leaping on the bandwagon just as the horse dropped dead, or riding the shirt-tails while the rest of the shirt was being lost in a poker game.

And let’s face it, if you’re going to succeed as an independent production company you have to know which formats to adapt and which to update. There’s an aphorism favoured by failed writers running screenplay courses which says there are only seven basic stories. Reality formats can be summed up in much the same way, but replacing “seven” with “one”. (Yes, and making “stories” singular. Thank you, pedant.)

Anyway, BrownNose closed its doors and without even a polite letter of thank you (for nothing) to NZOA, put everything up for auction. It duly appeared on the auction company’s webpage and made interesting viewing. There was the usual collection of tatty office furniture, antique computer hardware and boxes of unused MII and Hi-8 tapes. But hidden away, nestled between the mahogany credenza and a

signed photo of Andrew Shaw (stained) was reality gold – a locked filing cabinet marked “Proposlas”.

At the Tosh Club, as luck would have it, we have an innate ability to decipher typos in an instant (not as fast as we can create them) and realised quickly there could be some untapped second rate ideas to steal or update. A simple click on the Buy Now button and we were in. (The key was gaffered to the side of the cabinet with “key” written on the tape.)

There were some obvious discards, such as the quiz show where contestants get to answer multi-choice questions in the hope of winning enormous sums called “Anyone Want To Be Rich?” with options such as Email A Neighbour and Call In The Cheap Seats, where little attempt had been made to disguise the origins apart from whiting out the earlier production company’s name.

In some cases there were several layers of white-out.

Then there were the budget adaptations, like “Run Around the Place” where teams of contestants are given

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cryptic instructions on how to find their way around a shopping plaza in order to win teeth-whitening vouchers and elocution lessons.

Some concepts were potential winners although casting them had been a problem. “Foxtrot with the Famous” showed promise but finding enough celebrities to fill the rosters had been a major hurdle – apparently the rejects from Masterchef wouldn’t cut the mustard with the sponsor.

But there was one that we think could be a real winner. All the groundwork has been done, everything has been costed out and there are no loose ends to tie up. All we have to do is get a spare channel on Sky – and face it, they’ll sell to anyone – run a cable from a Freeview box through a delaying device set on two hours and send it to the play-out suite.

Then we just select TV One, put a “+2” badge on it and sit back.

Money for nothing and we can call ourselves broadcasters.

Views

Andy Conlan’s view

Ed’s note The Festival cometh

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ith the 2012 NZ International Film Festival starting in Auckland on July 19 and rolling out to the rest of the country very soon after (see www.nzff.co.nz for all the dates), it’s high time to remind you all to get along and see locally made short films, films and documentaries.

Yes, there’s plenty to see in the international line-up – take your pick between Michael Haneke’s Palme d’Or-winning drama Amour, Wayne Blair’s feel-good musical comedy The Sapphires, or Wes Anderson’s latest offbeat film Moonrise Kingdom. If you’re looking for a fun ride into the Incredibly Strange unknown, see Drew Goddard’s cult thriller The Cabin in the Woods.

There’s also plenty to pick from in the international documentary department, including West of Memphis, the Peter Jackson and Fran Walsh-produced film from director Amy Berg, about the long road to justice for the three young men who were convicted for the murder of three boys in Arkansas in 1994. For something lighter, see Searching for Sugar Man, about “lost� Mexican-American folk musician Rodriguez.

But importantly, go see the local stuff. As well as the debut of Alyx Duncan’s dramatic feature film The Red House (see the feature story on page 12), there are some fantastic NZ docos and short films to catch up with. We take a quick look at Peter Young’s The Last Ocean and Paora Joseph’s Tatarakihi: The Children of Parihaka, and Helen Martin reviews Costa Botes’ The Last Dogs of Winter – but there are many more NZ docos, including Dan Salmon’s Pictures of Susan, about “outsider� artist Susan King, who stopped talking in 1955 and hasn’t spoken since, and Paul Janman’s Tongan Ark, about what is probably the world’s tiniest and poorest university, in Nuku’alofa. If you’re looking for a short film recommendation, factor in Zia Mandviwalla’s Night Shift, which ran in competition at Cannes earlier this year, and Sam Kelly’s Lambs.

The Festival programme is out now, so get ready to enjoy this calendar event, which in its 44th year is still one of the big highlights of winter in New Zealand.

Steven Shaw, editor

Sam Neill announced as ambassador for Tropfest NZ

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ropfest, the world’s largest short film festival, has announced that Sam Neill will become an official ambassador for the inaugural Tropfest NZ, to be held on January 27, 2013 at the TSB Bowl of Brooklands, New Plymouth.

Neill joins Tropfest NZ ambassadors actor Martin Henderson, director/producer/actor Katie Wolfe, actor Robyn Malcolm and director/screenwriter Vincent Ward. More ambassadors will be announced in the coming months. “Finally, the brilliance that is Tropfest on our very own shores,� says Neill, who is currently shooting new TV series Harry with Oscar Kightley. “I am fizzing at the thought, and thrilled to be part of it. Filmmakers of Aotearoa – start your engines!� “We are delighted that an industry heavyweight like Sam has come on board to encourage New Zealand filmmakers and celebrate their stories,� says Tropfest founder and director John Polson.

A prize is offered to the best director. The winner receives return economy tickets to Los Angeles, five days accommodation and $500 cash courtesy of the Motion Picture Association (MPA) and The New Zealand Federation Against Copyright Theft (NZFACT).

Open to the public and free to attend, this event has been designed to encourage filmmakers from the grassroots level up. Entries are now being accepted from any Kiwi keen to participate in Tropfest NZ. Films cannot exceed seven minutes and must contain Tropfest’s Signature Item (TSI), which in 2013 is “GUMBOOT�. Competition details can be found at www.tropfest.co.nz.

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Short cuts

By Philip Wakefield

Coming soon to a home theatre near you

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wo of this year’s NZ Sunday Theatre commissions will be released next month on DVD, along with the first series of Hounds.

Screentime’s Safe House and Siege, which opened this year’s season, will go on sale on 15 August with bonus content.

Siege was the highest rating of this year’s NZ dramas, averaging 8.7%-13.3% of key demographics and winning its slot.

It was highly acclaimed, with The Dominion Post’s Jane Clifton hailing the docudrama as “one of the most effective pieces of dramatised history you could hope to see”.

The DVD will include the documentary Screentime made that screened the same week, Siege: The Real Story.

Safe House also is being packaged with an extra: an earlier true-crime dramatisation from Screentime, Bloodlines, which previously hasn’t been released on DVD. Hounds is due on 22 August after a successful late-night run on TV3.

Ratings have been variable but it opened strongly off the back of enthusiastic reviews from former Onfilm editor Nick Grant in the Herald on Sunday (“sheer absolute joy”), Paul Casserly in the NZ Herald (“kind of like Packed to the Rafters on drugs with dogs”)

and Stuff’s Pattie Pegler (“original, understated and thoroughly well written”).

Blakey is another notable local release for August while Shihad: Beautiful Machine is due in September.

From across the Tasman comes producer Des Monaghan’s latest Underbelly variation, Bikie Wars: Brothers in Arms, and coinciding with the August 2nd theatrical release of Abraham Lincoln: Vampire Hunter is the directto-disc Abraham Lincoln vs. Zombies.

Action/horror diehards also can thrill to Julia’s Eyes and The Raid while leading next month’s bluechip arthouse/indie discs are A Dangerous Method, A Separation, The Forgiveness of Blood, Martha Marcy May Marlene, Le Quattro Volte, Women on the 6th Floor and Mysteries of Lisbon.

On August 3 Shock Entertainment will release all three series of Jimmy McGovern’s Moving On, which has been airing on the Rialto Channel, along with the Star Wars parody that was “light years ahead of its time” (and apparently George Lucas’ favourite), Hardware Wars.

It comes to DVD uncut with a director’s commentary, unauthorised foreign remake and “newly restored wires and strings”.

The vintage Richard Boone western series Have Gun Will Travel is being dusted off on

Hounds, out on DVD in August.

DVD 55 years after it went to air and spruced up in new editions are sporting documentaries Hoop Dreams and Baseball (with Tenth Inning).

Of particular interest to film buffs will be the Ridley Scott documentary, Prophets of Science Fiction, and the 25-disc Classic Matinee Collection that includes Great Expectations, To Paris With Love, A Tale of Two Cities, Love Story, Caesar & Cleopatra and The African Queen.

Hobbit to cap off box office year

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ot even the prospect of two Peter Jackson blockbusters bookending the year is likely to see 2012 set a box office record.

The yardstick to beat remains 2010, when juggernauts Boy and Avatar helped exhibitors and distributors to amass $176.5 million in takings.

But if the rest of the year continues as strongly as the first half, which got a $5 million-plus kick-start with The Adventures of Tintin, and if part one of The Hobbit nails the box office in December, then 2012 could top $170 million.

The cumulative box office for the first six months was up about 10% on the same time last year and only 4% behind 2010 for the year to date.

Standout business has been spread across a broad mix of movies, from blockbusters like The Hunger Games ($5.8 million) and Sherlock Holmes: A Game of Shadows ($3 million-plus), to quality dramas like The Iron Lady ($2 million-plus), The Descendants and Tinker, Tailor, Soldier, Spy (each of which delivered $1.5 million) and family movies (The Lorax topped $2.7 million).

But arguably an even bigger surprise than The Avengers being the year’s #1 release – $87 million at last count – was the older-skewing comedy The Most Exotic

Marigold Hotel rivalling Hunger Games, which opened at the same time, with $5.3 million.

Men In Black 3 and Prometheus were strong in May and June – respectively the year’s sixth and eighthhighest grossing releases – while July’s Snow White and the Huntsman, Brave and Ice Age: Continental Drift filled the industry with holiday cheer.

The Adventures of Tintin kick-started the year for the NZ box office.

Snow White had the fourth highest Image copyright © 2010 DW Studios L.L.C. All rights reserved. opening weekend ($858,585) and Ice Age 4 the 10th ($605,319).

World Cup to contend with later in the year it is hoped At presstime, The Amazing Spiderthe industry will deliver an annual box office not too far man, Katy Perry: Part of Me and Ted were tipped to be from the level achieved in 2010. the next big money-spinners.

“The next six months looks to be set to deliver more “Clearly the quality and breadth of product have been key ingredients in delivering these healthy results, impressive results with major titles such Dark Knight assisted in no little measure by the return to operational Rises in July, The Bourne Legacy post the Olympics and Madagascar 3: Europe’s Most Wanted for the family status of several key multiplexes in Christchurch over the past six months,” Motion Picture Distributors Association market in the September holidays, and, of course, the highly anticipated The Hobbit: An Unexpected Journey in president Peter Garner says. mid-December, to name but a few. We really are in great “Notwithstanding the Olympics in July/August, which shape overall with product.” will have some impact on business, without a Rugby

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By Philip Wakefield

Short cuts

CBS coup critical to Prime’s progress

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rime’s first output deal with a Hollywood big gun will give it not only the firepower but also the arsenal to take aim at TVNZ and MediaWorks.

The key to the CBS Studios International acquisition is less about landing the next CSI phenomenon and more about having continuity of supply to build a consistent schedule across the day.

Until CBS’ output deal with MediaWorks lapsed, Prime largely relied on the open market for content.

It’s had a low-volume pact with Lionsgate but with all the Hollywood majors tied to TVNZ and MediaWorks, it’s been vulnerable to such trading variables as what’s on offer outside of these deals and who’s bidding for it.

For instance, until last year Prime was regularly acquiring BBC documentaries and drama. But since TVNZ rediscovered their desirability, skyrocketing prices have pushed this product out of Prime’s reach.

Adding CBS shows won’t work wonders for Prime’s ratings overnight, as it’s a conservative supplier that delivers far fewer new series each year than Warner Bros or 20th Century Fox – and MediaWorks will continue with its existing CBS fare for the life of those dramas.

For a mini-network like Prime, CBS is a good match.

The deal doesn’t saddle the broadcaster with children’s shows and movies that would be redundant on a schedule targeting 25-54 year-olds.

CBS isn’t as flashy as its rivals but the studio is renowned for a consistent and sensible series development strategy.

Like Prime, the US network has an older, male-skewing demo and its series attrition rate is low.

And even though even one of CBS’ brightest new prospects, Elementary, could take a couple of seasons to build momentum, in the short term Prime will benefit just from having up to 24 episodes of a high-calibre drama to schedule rather than scratching around for three or four short-run, leftover series (from typically the BBC or ITV) to fill the same slot.

As well as adding more ‘A’ titles to primetime, Prime will have enough inventory to improve and revitalise its daytime schedule, which could help to build peak-hour viewership.

Budgeting certainty is another advantage. Although the CBS deal will cost Prime several million dollars a year, chances are some of the per-hour rates won’t be significantly higher than what Prime would have to pay on an increasingly competitive open market.

Moreover, being CBS’ NZ partner gives Prime kudos and could help to open doors to similar deals, as being associated with a Hollywood heavyweight enhances a broadcaster’s credibility.

While MediaWorks chose not to renew its CBS terms and invest the money in local content, CBS would have been anxious about the broadcaster’s viability given the media coverage of parent company Ironbridge Capital’s financial turmoil.

CBS also would have been peeved about MediaWorks mishandling some of its top shows.

The Good Wife was relegated to latenight last year and won’t resume until next year at the earliest while after two seasons another blue-chip drama, Blue Bloods, has still to make it to air.

Factors such as these and how broadcasters conduct their negotiations can be as important as the bottom line in clinching a deal.

While it’s surprising TVNZ didn’t use its clout to sew up CBS, it’s already overBeauty and the Beast, and below, Emily Owens MD, two shows flowing with series commitments from from the CBS stable coming to Prime.

WB, Disney and ITV – which wouldn’t have thrilled CBS. Initially, it will be largely business as usual on Prime Why be fourth cab off the rank on a major as well. Having more traditional, older-skewing US drama competitor when you can be first on a smaller rival?

With Prime, they will have a showcase for all their in peak-hour won’t look like a flip-flop as they’ll sit comfortably alongside Downton Abbey, Top Gear and the shows, not just the few TVNZ might have cherry-picked.

British whodunits.

Moreover, the scheduling of these shows is likely The next output deal up for renewal is NBC-Universal, to be more stable whereas the competition between which MediaWorks might have been better to quit than TVNZ and MediaWorks can see series abruptly pulled CBS given its track record of late and preponderance of from primetime. cable product that doesn’t translate to free-to-air primeLosing CBS isn’t a big blow for MediaWorks given its time in this market.

Fox and NBC-Universal deals, burgeoning local content If MediaWorks starts to see a return on cranking up slate, and ongoing CBS series like NCIS and CSI (although many of these are rapidly ageing and newcomers its local content output, don’t be surprised if this deal lapses too. like Hawaii Five-O haven’t fired).

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JULY 2012

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Short cuts

By Philip Wakefield

Rating a Mention

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mash, a US series that tanked in the Nielsens, was rescued from cancellation by time-shifted viewership ratings that, on average, increased viewership of each episode by 2.5 million people – but NZ media buyer John Dee says analysis in this market, which started this year, has yet to reveal significant differences between live or overnight and consolidated ratings …

Maori TV’s longest-running series, Kai Time, has just started its 10th season … More European drama series are creeping into primetime, albeit not on free-to-air: this month Sky’s SoHo screens Forbrydelsen, the original, Danish version of The Killing, and next month will premiere French drama series The Promise, while the Rialto Channel will screen from September the first 13 episodes of the original Wallander … Rialto also will screen seasons of Italian, German and French cinema in July/August, September and October/November respectively, and retrospectives devoted to Mike Leigh (August), David Lynch (September), Alain Resnais (October) and Lars Von Triers (November) … NZFC sales and marketing chief James Thompson reports video on demand fees remain limited in most territories but intensifying competition in the UK – the second biggest VOD market after the US – is encouraging innovation and improving returns, with one of NZ Film’s older titles securing a “good, five-figure flat fee” for a week-long run at less than 50 pence a download …

The Screen Directors Guild is running a master class with Toa Fraser (No. 2, Dean Spanley) in Auckland on July 28 … Script to Screen’s first annual two-day forum, The Big Screen Symposium (September 1-2, University of Auckland), will include a case study of Mr Pip by producers Robin Scholes and Tim Coddington, and executive producer Tim White … Sundance 2012

Forbrydelsen, the original Danish version of The Killing, screening on Sky TV’s SoHo this month.

winner Ben Lewin also will attend … At its last board meeting, the NZFC approved production financing to restore Utu and greenlight Giselle (producer Matthew Metcalfe, writer/director Gaysorn Thavat) … The team behind Kiwi Flyer, which opens theatrically on September 27 (a week after Robert Sarkies’ Two Little Boys), has received NZFC early development funding of $3000 for Kiwi Christmas (producer Tim Sanders, writers Andrew Gunn and Tony Simpson, with Simpson directing) … Sanders also is producing, with Matthew Horrocks and Adrian Burr, a Guy Hamling screenplay to be directed by veteran Hollywood filmmaker Paul Schrader called My Name Was Judas – it received $69,847 in NZFC advanced development funding … On the festival circuit: Seven Kiwi shorts competed last month in the Palm Springs International Shortfest: Abiogenesis, The Dump, Eeling, Meathead, Milk and Honey, Monifa and Snow in Paradise …

Ebony Society, Dr Grordborts Presents: The Deadliest Game and Das Tub were selected from 15,000 films to compete for US$500,000 in the inaugural Your Film Festival … Heavenly Creatures, Once Were Warriors, An Angel At My Table, In My Father’s Den, Boy and a newly remastered version of Whale Rider will screen in eight major German cities next month as part of the Frankfurt Roadshow … The NZFC has offered Premiere Shorts executive producer roles to: Robin Scholes, Short & Sharp (Nick Ward, Michelle Turner), and Blue Harvest (Steve Barr, Paul Swadel, Daniel Story) … The NZFC will launch a new website in October following trenchant industry-wide criticism of its efforts to date … It’s also preparing a publication about current New Zealand films and filmmakers that will be circulated to foreign sales companies and festival programmers at all major international festivals and markets.

Who’s got the most talent?

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he free-to-air majors are increasingly banking on local shows to bolster their ratings and stop the viewer exodus to Sky. Whereas TV One, TV2 and TV3 have all lost audience share this year in the key 25-54 and 18-39 demographics, Sky has enjoyed double-digit growth.

Cue TV One, with funding from NZ On Air, bankrolling NZ’s Got Talent – the channel’s first entertainment extravaganza since Dancing With the Stars went off air three years ago.

An airdate hadn’t been announced at presstime but it went into production late last month, just ahead of TV3’s premiere of The Block NZ winning its time slot.

The first episode didn’t rate through the roof but it helped TV3 to win the night with its target audience, 25-54 year-olds – no mean feat given the gangbusters appeal of TV2’s top-rating sitcoms.

“With New Zealand’s Got Talent and The Block, it will be interesting to see which one engages the most with New Zealanders,” veteran media buyer John Dee, of JDee Media, says.

“The marketing support behind both shows is and will be significant. To date I’ve been impressed by the marketing for The Block.

“Given New Zealanders’ love of property and the fact the show features real people – it’s not personality-driven

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– it has the potential to do well.

“New Zealand’s Got Talent, I believe, will probably start well, as interest will be high but that interest could drop away quickly.

“I have reservations about the judges who have been selected. Jason Kerrison, from all accounts could be very good, but Rachel Hunter and Ali Campbell are a worry. Do they have any appeal with those under 40?”

The importance of networks having shows like these, and controlling every aspect of their development, production, programming and marketing, is underlined by the popularity of TV One’s MasterChef NZ and TV3’s The GC. “Local programmes can be very successful and we now have a generation of New Zealanders who probably embrace local programming more than older New Zealanders, for whom local programmes had a cringe factor,” Dee says.

“In the last few years TVNZ has been talking strongly about the need to develop more local content in order to have a point of difference. Their concern is that overseas programming is expensive and there is increasing risk that New Zealanders will access these programmes before they air in New Zealand.

“MediaWorks’ budgetary issues have probably force them to embrace this view, especially with the success of some of their locally-produced programmes.

“MasterChef and The GC became the two most talked-about programmes (of last month). They proved TV programmes can still generate talk, not just at the water cooler but in today’s world across various social media platforms.”

But it’s another type of platform – pay TV – that most concerns network executives.

Four is the only network to have increased its peaktime share this year – and sharply.

Against the TV2 demo of 18-39, TV One, TV2 and TV3 have shed shares of about 7% each while Four’s has rocketed by 30%.

“Four is performing well and exceeding most people’s expectations,” Dee says. “The move by MediaWorks to reposition Four has paid dividends.”

But Sky is also gaining. Its share of the 18-39 demo grew by 14% and its 25-54 share is up 17% – whereas TV One, TV2 and TV3’s 25-54 shares have declined: One’s by 13%, 2’s by 8% and 3’s by 2%.

Dee reckons Sky’s growth also is bad news for its own free-to-air channel, Prime.

“With programmes like Boardwalk Empire and Mad Men now screening on SoHo well ahead of when they end up on Prime, Prime will now struggle to grow.

“The reality is Sky will screen more and more top shows before they go on Prime.”

Short cuts Whitireia purchases NZ Film and TV School

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hitireia New Zealand Limited has purchased The New Zealand Film and Television School in Wellington. The school will become part of the Whitireia group as of July.

The Film School will continue to operate as it does now, with the same course content and philosophy. The school, which has a strong presence in the marketplace and within the film industry, has been operating as a private training establishment in Wellington since 2000 and currently offers tertiary education to around 50 students each year.

“We are delighted with this development,” said Don Campbell, Whitireia group, chief executive. “The school will complement our programmes in the area of arts and it will provide an important strategic addition to the Whitireia arts hub with our Performance Centre and Media Training Centre in Wellington.”

The Film and Television School location, brand and campus at Vivian Street, Wellington will be retained, as will the one year Certificate in Film and Television Production programme.

Whitireia is committed to retaining the strong industry relationships that the Film School has built up and the existing partnerships that are a feature of their success.

“The purchase will provide the school with increased support and access to resources,” says Jane Kominik, trust board chair at the School. “Being part of the Whitireia group will enable the school to extend and improve the current offering to students and will provide it with a sustainable future.”

“The Film School looked for the best fit in selling their institution to us,” says Campbell. “The school performs well against educational performance indicators and is in a stable financial position. The purchase makes for a great future in this area of tertiary training for both institutions.”

NZOA unveils discussion paper on doco funding

Hobbit puts hairy feet up

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rincipal filming on the back-to-back Hobbit films finished this month, with filmmaker Peter Jackson making the following announcement on his Facebook page: “We made it! Shoot day 266 and the end of principal photography on The Hobbit. Thanks to our fantastic cast and crew for getting us this far, and to all of you for your support! Next stop, the cutting room. Oh, and Comic Con! Cheers, Peter J.” Media reported that an estimated 3500 cast and crew members of The Hobbit headed to the wrap party at the TSB Bank Arena in Wellington.

The Hobbit: An Unexpected Journey is due for release December 14 while the second film The Hobbit: There and Back Again is scheduled for December 13, 2013. The world premiere is being held in Wellington on November 28.

Kelly Martin to join South Pacific Pictures

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outh Pacific Pictures has announced that Kelly Martin will be joining the company in September as associate chief executive.

For the past 12 years Martin has been with Mediaworks TV3 where since 2006 she was TV3’s director of programming.

Martin will work with CEO John Barnett and managing director Chris Bailey, bringing her knowledge of local and international audience wants and needs to the company.

Barnett and Bailey expressed their delight in the appointment, saying that Martin would be an excellent leader for the company through the next decade.

“South Pacific Pictures is without doubt one of New Zealand’s most outstanding production companies,” said Martin, “and I am thrilled to have the opportunity to work alongside and learn from the best in the business. I am very much looking forward to this new and challenging role.”

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Z On Air has uploaded a discussion paper on documentary and factual programme funding as part of its rolling reviews of various funding activities.

The funding agency is encouraging stakeholders to make their submissions. The paper can be viewed online at www.nzonair.govt.nz.

Documentary NZ Trust co-director Dan Shanan has welcomed NZ On Air’s call for submissions.

“This is timely given the Mind The Gap session at the recent Screen Edge Forum,” he says, “where funders, government, production companies, academics and filmmakers were united in their acknowledgment that there is a gap in the support, funding and broadcast of documentary films. The meeting gave Documentary NZ Trust the mandate to lead the work on and develop some possible new and additional solutions to this problem.”

“While the focus has been on the demise of TVNZ 7 and the last public TV broadcaster, the gauntlet must be taken up to ensure that documentary remains a meaningful part of our broadcasting diet,” says DocNZ Trust co-director Alex Lee. “We want the younger generation of viewers to value the importance of documentary in protecting the independent, democratic and thoughtful voices of our community.”

The Documentary NZ Trust will run a series of meetings to obtain feedback for the NZ ON Air discussion paper and continue working to address the documentary funding gap. NZOA is looking for feedback by 24 August.

NZ On Air has also released NZ On Air: An Evaluative Study, 1989-2011 by Paul Norris and Brian Pauling, an informative and much-needed history and assessment of NZ On Air’s last two decades, with a chapter on drama and comedy

by Dr Trisha Dunleavy of Victoria University and another chapter on children’s TV

by Dr Ruth Zanker from the Broadcasting School at the Christchurch Polytechnic Institute of Technology (CPIT). Visit www.nzonair.govt.nz to view or download.

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Growing the industry Graeme Mason, chief executive of the New Zealand Film Commission, offers his perspective on the NZ screen industry.

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ew Zealand film is a fantastic brand recognised the world over. We are known for big-budget sweeping epics starring awe-inspiring scenery, tiny-budget imaginationgrabbers, world-leading technology, prop creation and post production and incredibly talented and committed cast, crews and visionaries who bring the magic of cinema to life.

While we celebrate our successes they make us even more determined to grow the screen sector, which is of significant value economically and culturally as well as being a key driver in raising awareness of our country internationally. Each financial year,

we at the Film Commission set out a plan to assist in making this happen.

We aim to promote our films on the international stage and to help our filmmakers connect with producers and leverage finance sources offshore. We also work closely with various parts of government to assist in their diplomatic, trade and industry goals.

Each year we travel to several film festivals and markets with a number of goals on the agenda. We go to support competing and screening films and filmmakers, promote the local industry, promote the country, act as conduits for filmmakers with overseas producers and investors, work to sell New Zealand films and to build and strengthen useful relationships. While in Cannes recently we initiated a series of roundtable sessions for New Zealand producers and potential producing partners from the likes of the UK, Ireland, Wales, Australia and India. This has already advanced some projects significantly and is something we will look to replicate in future years.

In Cannes this year we were proud to support Zia Mandviwalla with her short Night Shift in competition and Kirstin Marcon’s The Most Fun You Can Have Dying in the market. We received a number of pre-sale offers for films on the slate and supported producers

Zia Mandviwalla.

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who had their own slates of projects ready for international consideration and support. We conducted hundreds of meetings to bring those filmmakers together with people who can help get projects to the big screen and to build relationships on behalf of the producers who’ll have their slates ready to travel with us in the future.

This effort to help pave the way is sometimes done at festivals and markets and sometimes as part of Government to Government delegations. Our work on behalf of the Government to strengthen cultural ties as part of bilateral trade talks opens up a world of opportunity for our filmmakers and industry and plays a part in wider government goals. To date we’ve been involved in bringing 13 co-production treaties to bear, the most recent being South Africa, Israel and China (TV), and we are currently involved in negotiations with ChineseTaipei. That’s 13 markets made more accessible to our producers. We are involved in the application, negotiation and certification of the resulting co-production projects – which helps support more films to get off the ground.

Another area of current focus is building on our relationship with the film industry in China. The ChinaNew Zealand Film Co-Production Agreement was signed in 2010. Like

the other co-production treaties it clears the way for producers in both countries to take advantage of each other’s strengths while cutting down on red tape. In this case our filmmakers get access to generations of expertise, a whole new approach to the art, a booming industry and one of the world’s fastest growing economies. In China the increasing appetite for film has reached a level where the number of screens being added to the market each day is approaching double figures.

Travel is a core part of our business as defined in our establishing legislation and we always budget and plan to take advantage of opportunities which represent good value for money. This applies to our extensive development programme, which is driven by the desire to help both aspiring and established filmmakers go on to bigger and brighter things.

Support for short filmmaking develops skills for use on feature films. Our filmmakers are great at making shorts which frequently screen at festivals and in competitions all over the world – helping sell the overall New Zealand film brand. This also allows aspiring filmmakers to build useful contacts and hone their craft.

There are a huge number of other development initiatives we organise for filmmakers – most of them (like

Kirstin Marcon.

JULY 2012

www.onfilm.co.nz

Views

Night Shift.

much of our international work) conducted from our Wellington office.

The next major event on the calendar is the Melbourne International Film Festival and 37° South. This year we expect to have our largest delegation yet and we’ll take advantage of the event’s close proximity to bring producers with at least one marketready script together with local and international film financiers.

Being a small industry by international standards, we seek to break ground where we have strengths and wherever possible learn from our equivalent agencies overseas. A good example of this is our attendance at the Screen Producers’ Association of Australia conference where we can get together to discuss matters including distribution, financing and production, while also meeting with our

Our work on behalf of the Government to strengthen cultural ties as part of bilateral trade talks opens up a world of opportunity for our filmmakers and industry. individual counterparts to compare approaches to initiatives such as incentive schemes.

Our greatest motivation is to help Kiwi stories get made into great Kiwi films. We want to help those films and the talent and industry behind them be celebrated both here and overseas. Growing an appreciation of

our cinema helps bring money into the industry and develops an appetite for New Zealand – supporting our country’s overall economy.

Fortunately we operate in the international sphere with both commercial pressures and a cultural brief allowing us all to celebrate New Zealand’s film successes overseas. Our in-

ternational agenda is one of the many things we look forward to discussing at the industry get-togethers we are hosting throughout the country this month. We are keen to get feedback to ensure we can work together to help filmmakers grow the industry and celebrate both national and international successes.

The Big Screen Symposium T

he inaugural Big Screen Symposium, a two-day conference designed to bring people who make films together to be inspired, informed and entertained, is coming to Auckland in September.

“This event is a direct response to the film industry’s need for a platform that brings local and international talent together,” says Big Screen Symposium spokesperson and Script to Screen board member Matt Horrocks.

“We’re really excited to hold this event in Auckland and believe it will drive greater innovation, growth and insightful discussion within the film industry.”

This year’s symposium is a dynamic, two-day programme, packed with workshops, panel discussions and

case studies involving the crème de la crème of the local and international film industry.

“This will be a terrific forum for the creatives in the industry to get together and discuss the current situation and future opportunities,” says John Barnett, CEO of South Pacific Pictures.

Amongst a stellar line up of talent, the Big Screen Symposium has confirmed American independent film producer Ted Hope as keynote speaker for 2012. Hope knows the film business inside out, having been at the forefront of indie film for over 20 years. His films, including 21 Grams (2003), The Savages (2007), and American Splendor (2003), have earned numerous Academy Award nominations, as well as the most awards

for any producer at the Sundance Film Festival. Hope’s experience and passion for film makes his symposium address and presence at the Big Screen Symposium an unmissable opportunity for New Zealand filmmakers.

Also confirmed to speak at the event is Ben Lewin, whose film The Sessions (aka The Surrogate), starring John Hawkes, William H. Macy and Helen Hunt, won the Audience Award and a Special Jury Prize at the 2012 Sundance Film Festival.

The Big Screen Symposium is for everyone who makes films and everyone who wants to get into filmmaking. It will provide a wealth of insights, nuts and bolts information and discussion about the big issues facing filmmakers today.

Dr Shuchi Kothari, director of screen production in the Department of Film, Television and Media Studies at The University of Auckland says, “The Big Screen Symposium will be a critical forum that brings together various stakeholders in the film and television industries with the aim of taking stock of current practices and developing strategies and new directions for future growth. Anyone interested in the content and contours of screen production in New Zealand must attend.”

• The Big Screen Symposium takes place 1 - 2 September, 2012 at the Owen G Glenn Building, University of Auckland Business School. To find out more, visit www.bigscreensymposium.com.

www.onfilm.co.nz

JULY 2012

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Filmmaker Alyx Duncan’s father Lee Stuart and stepmother Meng Jia. Images: Copyright © Alyx Duncan.

Red House over yonder Director Alyx Duncan talks about the making of her feature film debut, The Red House, which has its world premiere at Auckland’s New Zealand International Film Festival on 29 July.

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n intimate portrait of married couple Jia and Lee that traces their journey back to Jia’s homeland of China, The Red House was inspired by growing up on a small island as part of a cross-cultural family and also from the experience of my parents almost moving overseas four years ago.

My non-actor father and stepmother play the lead characters, but the film is a fictional essay rather than a documentary. While the narrative springboards from some basic aspects of Jia and Lee’s real lives (they’re a mixed-race couple who’ve lived together in NZ for ages), the story is invented.

The scriptwriting process was partly one of devising. We used a digital camera as a tool to draft rough scenes, then scripted and re-shot the scenes, using the real people as building blocks to reach a poetic truth.

In making The Red House the central idea I started with was, ‘Is home the place we come from or is it something we carry inside us wherever we go?’ All my work incorporates nostalgia (and it seems at least one fish, usually dead). I decided to make The

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Red House as a way of analysing the nostalgic quality and where it comes from, in order to either shed it or enable me to wield it to better effect.

Budgets and team building I made the film with very limited means, which I think has been beneficial for my development in that it

making films, but in the future I’d love to work with more realistic budgets, and a dedicated producer and writer.

Finding the budget has been an ongoing challenge! I have faced the usual obstacles and disheartening moments of being turned down on multiple occasions. In some cases my funding applications were successful

It would have been less work in post if I’d stuck with one camera. forced me to really push myself. I had to produce as well as direct for much of the project, and also shot a proportion of the film myself. In this situation you have to stay focused to keep driving the project towards completion. This increased my experience, endurance, motivation and also gave me a solid appreciation for the input of my incredible collaborators.

My career goal is to continue

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but I was granted much less than I applied for, which sounds ungracious, but can feel a little bit one stepforward, two-steps-back when you’re in the middle of it. Inevitably it’s been necessary to self-fund a significant proportion of the budget.

The total budget for the film by the time we finish is $130,600 including GST. Proportionately this has come from The Screen

Innovation Production Fund (13.8%), Independent Film Fund (23%), Asia NZ (8%), NZ Film Commission (10%) and self-funding the rest (44.5%).

The film could never have been made the way it has been without the wonderful support of all these funders. Development opportunities with Doc Station at the Berlinale Talent Campus and an artist residency with the Institute for Provocation in Beijing were also both instrumental in getting the project off the ground.

When you’re making a film on such a small budget you have to rely on yourself to do much of the work and then cultivate a small committed team who believe in the project and whom you have total trust in. My work becomes stronger from working with intelligent people who nurture and challenge the ideas and the implementation along the way. I’m grateful to all The Red House’s contributors (see page 28 for production listings).

Much of my early work was possible by pulling massive favours. You can create amazing small works in this way the first, second and maybe even the third time. But in the end, unless you can pay back those favours this creative

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Lee Stuart and Meng Jia relaxing at the Red House. Images: Copyright © Alyx Duncan.

When you’re making a film on such a small budget you have to rely on yourself to do much of the work and then cultivate a small committed team who believe in the project and whom you have total trust in. method will have a detrimental effect on your ability to maintain and grow healthy working relationships. It can also undermine the potential of your team and product.

Unless you pay people or ensure you all share some real level of authorship in the work, it’s hard to expect people to commit over a long process. For me it was essential to provide collaborators with a modest yet reasonable daily rate or, when this wasn’t possible, at least provide a small fee and cover costs. Whatever the arrangement, everyone has to be happy with it or it becomes counterproductive.

Camera choices We started shooting on a P2 and EX1 with a letus kit and stills lens, which we chose because it was what I could afford at that stage. By early 2010, when I was heading to China for the second time, the Canon 5D and 7D had just arrived on the market. I bought a 7D because it was affordable, I could operate it myself, and I thought using an SLR to shoot the film’s China sections would be ideal because it’s inconspicuous. I would look like a

tourist and theoretically be able to shoot in public more easily. For the most part this was the case, although I did have a small brush with the law there…

Working with these different camera formats was just something I had to deal with, but I wouldn’t choose that path again. In the end the raw footage varied in resolution and the P2 and EX1 footage has been trickier to grade in the online. Ultimately this doesn’t hinder the communication or style of the end product, but it would have been less work in post if I’d stuck with one camera.

Shooting with a 7D or 5D has its limitations. In China the light is much softer, so shooting exteriors wasn’t a problem technically, whereas in New Zealand it’s so easy to blow out the whites. Even with filters I haven’t found it that great. They cut the light but make the image murkier and harder to grade.

Family obligations and negotiations I chose to work with my parents because I wanted to place the idea in the real environment of my childhood home. When I started the film

I thought it would be a documentary in which the house was the main focus, with the human ‘characters’ intended as background extras rather than central to the story. As we started shooting, however, I found I was more drawn to them than anything else, so I guess you could say I ended up casting during the shoot.

Working with my parents has been amazing and horrendous at the same time. It has been a great process coming to know them both in a way that I didn’t before, and I feel huge gratitude for the gift of their performances and commitment to the process, which required much more time and effort than any of us initially appreciated.

There were moments when our child-parent relationship was particularly helpful. At one point I was detained by the police in China and the fact that my parents really were my parents helped me hold onto my footage. I implied that I was just making a home video of our family holiday.

There have been tricky moments as well. For much of the process my stepmother thought I was completely

crazy and what I was making would turn out boring and a huge waste of money and effort. My father occasionally had serious doubts about the point of it all. At one stage when I was syncing the sound, I became so disheartened listening to our arguments during the pre-roll, I wanted to give up the project entirely.

I’d also given my parents the right to veto anything in the material, so my biggest fear was I’d show them the film and they’d declare it not worthy of release. I was so nervous I just kept putting off showing them.

When I heard from Bill Gosden that the film was accepted into the film festival and my application to the Film Commission for finishing funds was partially successful, I couldn’t delay it any longer – I needed to know if my parents approved before I could officially accept Bill’s invitation and the grant.

The moment of reckoning came about three quarters of the way through their first screening. My stepmother turned to me and said, “It’s a movie! It’s actually a good movie. It has ideas in it!” My relief was enormous, and after that the

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Jia and Lee at an airport in China. Images: Copyright © Alyx Duncan.

final pickups and voiceover recording progressed much more smoothly. I probably should have showed it to them earlier.

Post: before, during, after Editing started the moment we had shot the first couple of scenes. Inspired by the methods of Fellini and Chaplain, The Red House was shaped as we were shooting.

The camera and editing definitely played a part in the scripting process, which at points involved workshops with the cast, editing and assessing these scenes, re-writing the script and then re-shooting the final product.

Of course, my parents are not actors but they are playing facets of themselves within a fictional narrative.

In directing them I created situations, beats to hit, and a story arc for them to

play within, then asked that they react within each scene as themselves. This is the main reason the camera and the

Filmmaker Alyx Duncan.

rather than on the page.

Development editing began straight after the first shoot at the end

post/development process has taken about three-and-a-half years.

The definitive edit by Daniel

The camera and editing definitely played a part in the scripting process, which at points involved workshops with the cast, editing and assessing these scenes, re-writing the script and then re-shooting the final product. editing tools were such an important element of the scripting. They enabled us to hone the idea in the room

of 2008 with Paul Wedel, and we also had two weeks test editing the initial China footage mid-2011. So the whole

Strang has taken 55 days, over several sessions, during the past year.

We started the edit again from the

Local docos at Film Fest Onfilm previews two locally-produced documentaries that will screen at the New Zealand International Film Festival.

The Last Ocean Director: Peter Young.

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he Last Ocean is a documentary from Peter Young, one of NZ’s leading nature and wildlife cameramen. The man behind the camera on shows including Hunger for the Wild and Get Fresh With Al Brown, Young is now a key figure in the international movement to end fishing in the Ross Sea. “Initially I did just go to the Ross Sea and start filming,” says Young, “in hindsight I had no idea what I was getting myself into. One thing led to the other, I went there and filmed the wildlife and I saw that we were fishing in this very pristine place. I heard from the scientists, I got a feeling for what this issue was about. I thought it wasn’t right, it wasn’t what we should be doing there.”

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Young talked to politicians and fishermen, and he turned from being a cameraman into someone who had a position and had something to say.

“The more I got involved the more I felt this story had to be told. Our argument is that it doesn’t matter how well managed this fishery is, it shouldn’t be operating in the last untouched ocean on Earth. We don’t go down to Fiordland and start pulling kiwi out of the bush and selling them.

We shouldn’t be down in the Ross Sea pulling Toothfish out.

“They are planning to take out 50% of the key predator in that ecosystem,” says Young, “that’s going to alter it without a doubt, change the balance. To the

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scientists there, they describe it as a living laboratory, one of the last places they can see ecosystem processes happen in a natural way.

“It’s just really important that we have these last untouched areas on Earth.”

Young says he was in a unique position, having filmed in the Ross The Last Ocean. Image: Supplied.

Sea and not being tied down with how to use the footage. major international movement now. It’s “I knew that if a doco was a powerful story and New Zealand has a going to create awareness that I had key role in the issue.” to set up a trust and a foundation. We created The Last Ocean Project (see www.

• http://tinyurl.com/cwul9y5 lastocean.co.nz) and it’s turned into a

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Alyx Duncan and Lee Stuart in China.

beginning and tended to work two to five days a week, with breaks for new shooting periods, other work/project commitments and giving the film time to rest in both our minds. This figure doesn’t include all the logging, transcoding, sound syncing, or development editing. We edited the final film on my laptop and I stored the footage with an external 8TB exchangeable multi-drive storage unit. We had 73 hours of footage, including all test/ development footage as well as the final shoots.

House warming I’m thrilled to be launching The Red House at the NZIFF and of course hoping for positive reviews that encourage wider distribution.

I’ve just heard the film has been accepted into the MIFF 37°South:

Breakthru Screenings, which is really exciting. It means it will be screened to a number of international distributors and festival programmers in Melbourne next month. This is also a great opportunity for me to personally present the film to far-flung industry players during the festival and market there.

The strategy from there is initially focused on international festivals.

It’s my first feature and I want to make more, so getting this film up on screens is really important in helping me raise funding and support for future projects. I think there’s also potential it could be picked up by some overseas broadcasters and emerging non-traditional platforms, but that’s a secondary priority for now.

• www.nzff.co.nz

Jia and Lee prepare to leave the island.

Tatarakihi: the Children of Parihaka Director: Paora Te Oti Takarangi Joseph.

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aora Joseph’s film Tatarakihi: the Children of Parihaka, produced by Gaylene Preston, documents a ‘journey of memory’ taken by a group of Parihaka children, who travelled to the South Island, following in the footsteps of their male ancestors who were taken south and imprisoned after the Taranaki land confiscations of the 1860s. The film is narrated by the children and combines footage of their hikoi – some of it shot by the children themselves – with archival photography.

Paora Joseph won Best Up and Coming Director and Best NZ Short Documentary at last year’s Documentary Edge Festival for his film Hiding Behind the Green Screen. He says it took some time to find the right way

and time for Tatarakihi: the Children of Parihaka.

“This opportunity came to me where I could basically jump on the bus with some children who lived at Parihaka,” says Joseph. “They were going to pay homage really to those sacred places where the ploughmen and the fencers had been incarcerated.”

The trip took around two weeks, going from Parihaka to Wellington then going around the South Island and coming back again. “Having the people and the children, the descendants of Parihaka telling this story is really powerful,” says Joseph. “It’s the people of Parihaka telling their own story.”

• http://tinyurl.com/bme5grf

Tatarakihi: the Children of Parihaka. Image: Supplied.

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Review

The Last Dogs of Winter Costa Botes and Caleb Ross push documentary filmmaking to the end of the earth. Reviewed by Helen Martin.

Documentary NZ 2011 Lone Pine Film Productions prods Costa Botes, Caleb Ross dir/ writer/ed Costa Botes camera Costa Botes, Caleb Ross sound Darren Maynard, Underground Sound, Phil Burton original score Tom McLeod featuring Brian Ladoon, Caleb Ross.

97min Costa Botes’ blog http://costabotes. com/the-last-dogs-of-winter/

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here do you go to find extraordinary people doing extraordinary things? The end of the earth is a good place to start and there he is, this dogged man, hunkered down at the Arctic fringe, fiercely pursuing a dream

his opponents regard as a complete and ruinous folly.

To the uninitiated it certainly appears mad. And bad, or so tourists visiting Churchill, Manitoba first believe when, along with the wild polar bears they have anticipated, they also see dozens of Canadian Eskimo Dogs chained up and living 24/7 in the snow. “Do they just sit here all day?” one woman asks, incredulous.

She and her fellow passengers on the tour bus quickly learn that, far from the animal abuse they think they

Costa Botes. Images: Supplied.

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are witnessing, these dogs have learned how to live in one of the harshest climates on the planet. Added to that, the dogs are central to a conservation project driven by intrepid local, Brian Ladoon, who since 1976 has been committed to saving the Qimmiq breed from the extinction awaiting them if no-one intervenes.

A lot of people don’t like Ladoon.

They don’t like his methods and they don’t like how he behaves, and it is one of this film’s many strengths that his opponents are given a voice. But most of the running time belongs to Ladoon, his beautiful dogs and the glorious frozen landscape, with the layers of narrative evoking increasing admiration for and understanding of the man and his cause. “It’s not everybody’s cup of tea,” he acknowledges, “but you know what?

I don’t drink tea.”

There is another significant character in this riveting story. Caleb Ross is a New Zealander who, wondering what to do after a failed relationship, took on the challenge of working alongside Ladoon, feeding and caring for the dogs, scaring off polar bears when they come to steal the great frozen lumps of shredded chicken that form their main diet, and remonstrating with interlopers wanting to exploit the photographic

Caleb Ross.

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opportunities without contributing to the project of keeping the breed alive.

A former actor, Ross met Costa Botes in New Zealand during the making of the television series The Tribe, and it was from this connection that Botes, who is at his happiest as a filmmaker documenting the lives and passions of driven people, saw an opportunity to capture a singular story on film.

And so, alongside the vagaries of Ladoon’s mission, we are also party to Ross’ journey as he describes his time in Churchill as an outsider who has become a trusted insider, a person at a loose end who now, in this moment at least, “gets a chance to explore other parts of himself”. Taking roles in front of and behind the camera, as the shoot progressed Ross’ contribution as second camera and co-producer became an important addition to the intrepid twoperson crew of Botes and his wife Jennabeth. (See Onfilm, October 2011, for the story of the making of the film).

Visually gorgeous, with a compelling narrative and a beautiful contemplative soundtrack that perfectly suits the observational style, this is one 2012 New Zealand International Film Festival documentary that should not on any account be missed.

• www.nzff.co.nz

Digital Filmmaking

Filming actor Simon Vincent in the Hawke’s Bay for Eternity. Image: Copyright (c) 2012 Eternity Productions Limited.

From here to Eternity Working outside the established feature film process on your own production means you can mix genres, but shooting digitally or on a low budget can also create preconceptions. Filmmaker Alex Galvin asks you to put all that aside for his latest project Eternity, writes Peter Parnham.

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here is scientific research that says people perceive the taste of wine according to the price, and you can ruin the taste of a perfectly good wine simply by telling people it is cheap.

But if you hide the price – surprise, surprise, you have to judge your tipple solely on its merits.

Alex Galvin asks you to do the same thing with his new feature film Eternity. Forget any back story about the budget or how it was made and judge it only by what you find in the cinema, he says.

Galvin wrote, directed, and shares producer credits on the film, which is now nearing the end of post production in Hong Kong.

The production encapsulates what digital filmmaking is all about. Many films are shot digitally, but in the last few years digital filmmaking on cheaper cameras has flourished. And like that cheap wine sans its price tag, if you don’t know in advance, even experts can be forced to re-evaluate their quality assumptions.

Galvin had to take time off from his day job to make the film, but

dismisses any idea that it was shot by running around with a handicam for a few days.

“We were the exact opposite,” he says, “We had four years to make it look as good as we can.”

The movie was shot in blocks totalling about 25 days, in Wellington, Hawke’s Bay and Hong Kong, starting late 2010.

“I’m hoping it will look as if it had a several million dollar budget because for every location we spent a lot of time planning each shot to make sure it has as high production

value as possible,” says Galvin.

He would like you to drop any preconceptions about genres as well. “I have always been interested in classic murder mystery and I am also a science fiction fan,” he says.

But for Galvin a classic murder mystery is a Sunday Theatre kind of genre that doesn’t work in a feature film, because there is no threat to the protagonist.

“I wanted to have a murder mystery element, my idea was about a Continued on page 18

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Actors Elliot Travers and Amy Usherwood in Eternity. Images: Copyright © 2012 Eternity Productions Limited.

From here to Eternity Continued from page 17

police detective in the future. To be promoted or to be tested, you go into a virtual simulation. But something goes wrong, a virus attacks the game and the hero has to solve the mystery in order to get out and get back to the real world,” he says.

While combining the two genres created interest, he says it was difficult to get conventional funding because marketing people looked for a single genre to pigeonhole the movie, a constraint he believe underestimates the potential audience.

“I’m very optimistic that it will have broad, mainstream appeal,” he says.

Galvin is upbeat as the movie nears completion, which has taken a while because there are hundreds of visual effects shots.

“Hong Kong is the real world and New Zealand is the game world, and it is supposed to be perfectly clean and stylised. Even if we filmed at 6am on a city street with no cars we had to remove any signage, any marks on the concrete, anything that wasn’t perfect.

“But once you do that with some shots you open a Pandora’s Box and you have to do it with every shot in the film, so we’ve gone through and

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got rid of a lot of imperfections. It makes a big difference but it is not the New Zealand you know, it is a stylised, heightened New Zealand.

Hong Kong is more handheld, a bit rougher,” he says.

On the Hong Kong streets they shot with a small crew, a task made easier by their choice of camera, a Canon 5D Mk II.

clothes on or the wrong locations or if it’s not lit correctly, then they could have a post production disaster on their hands.”

For Galvin, time management is the key to completing the production on time and on budget while achieving a high quality look.

“I’m grateful to have done the low budget approach on my first two

It was difficult to get conventional funding because marketing people looked for a single genre to pigeonhole the movie.

The upside of the Canon 5D is that it is relatively cheap for a camera that produces a big screen, shallow depth of field look. The trade-off is that it is primarily a stills camera and not optimised for digital filmmaking as purpose-built video cameras are, leading to compromises that filmmakers must work around as best they can.

“Preparation is enormous in every aspect,” says Galvin. “If people don’t know what they’re dealing with, if they have actors with the wrong

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films, it has given me a real respect for people’s time,” he says.

“We planned out every shot in advance through pre-visualisation software called FrameForge. Each scene was created as an animated sequence, and then we also created traditional storyboards to refer to as well.

“It is much easier to do this in our living room three months before shooting, than on set when everyone is hanging around.”

Director of photography Matthew Sharp shares Galvin’s focus on time management. He says shooting recently with a Red Epic has shown up pros and cons compared to the Canon 5D. “I like a lot of the Red gizmos and gadgets like the Redmote, which is something that speeds up our workflow,” says Sharp, “but the set up time is a lot longer at the beginning and end of the day, and between shots.

“With the Canon 5D on Eternity the quick set up between shots helped a lot,” he says.

Sharp is also adamant about the benefits of planning with pre-vis software, especially since he does his own camera operating.

“I knew in advance what lenses we would use – in the software you can set a camera to a certain focal length.

There was no messing around on set or confusion about what we were going to do. We blocked the action and then for continuity we would show the pre-vis to show how it would all cut together.

“For the first half hour we were there, while everyone else was setting up, I could just focus on the lighting, which worked really well because everyone else knew what they were doing based on the pre-vis, and I could put a little bit more time into the look of the scene, because I knew everything else was going to work.

Alex Galvin, Matthew Sharp and crew filming in Wellington.

Elliot Travers as Richard Manning in Eternity.

“It’s quite amazing going back and looking at some of those shots and at how similar they are to what we had pre-visualised.”

With many of the completed visual effects in place, Sharp attended a test screening a few weeks ago.

“I’d always seen how things were going to look in my mind, but actually seeing them on screen, I was blown away,” he says. “It took Alex and me about a year and a half or more to do

the preproduction work on it before we started shooting – including the pre-vis of every single shot – so it is quite hard to watch your own work, with fresh eyes.”

And that’s all Alex Galvin is asking for. Forget the digital filmmaking back story and go see Eternity with fresh eyes.

If people don’t know what they’re dealing with, if they have actors with the wrong clothes on or the wrong locations or if it’s not lit correctly, then they could have a post-production disaster on their hands.

– Alex Galvin

• Eternity is scheduled for release in late 2012/early 2013. www.eternity-thefilm.com

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19

Publicity tips Unit publicist Sian Clement discusses the many aspects of putting together feature film publicity and press kits, including shooting behind-the-scenes footage. “

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nowing what I know now, publicity would be one of the first meetings I have,” says Tony Simpson, director of the children’s film Kiwi Flyer (due for release in September). “There are so many more aspects to it than there used to be – not just the publicity, but the website, TV ads, social sites, posters and trailers, and even different trailers to suit different demographics.”

In addition to writing press releases and coordinating any on-set visits by journalists, a unit publicist’s job is

to provide media both at home and abroad with all the materials they will require for the film’s release.

This starts with the question, “What’s the film about?” Once this has been decided, the key cast need to be advised how the film is being positioned so that they can promote it the right way in any interviews they may undertake.

It’s a good idea to add the publicist’s phone number to the call sheet. If a journalist does turn up on set, it’s not necessarily advisable for the unit guy or

Behind the scenes, Kiwi Flyer. Image: Supplied.

security firm to be commenting on the film – “Well there’s this guy, right and he meets another guy, right…” – It is much more preferable to say, “Please call our publicist on this number for any information you need.” That way we’re all commenting on the film the same way, describing it concisely or staying tight-lipped if required.

If there are journalists visiting the set, it is also advisable for crew to be careful what they say. Not only when talking about the film, but when mentioning other media: “Oh yeah Close Up were just here talking to Orlando.”

“What? But we were told we couldn’t talk to him?!” etc.

One of the most important delivery items are the stills. Even in this day and age when productions are often shot on DV, it is extremely rare for stills to be taken directly from main camera footage. This can be both a matter of quality and price. It is not a convenient process to take them from 35mm film and even with HD DV the image size would only be good for a 6 x 4 still.

It can also be a bit of an issue to pull stills from the film itself and the cost depends on how picky you are about which frame you want to use. “Fashion photographers in the US are now using RED Epic cameras running in video mode so they get 25 shots per second,” says DP David Paul. “But they’d only use those frame grabs for magazines, not billboards or posters – and they’re high-budget cameras.”

Even if the camera image is of suitable quality for a newspaper or magazine, the POV may be too wide, too close or not in portrait format as may be required. The standard New Zealand Film Commission delivery requirements call for images to be between 18-20MB and they like between 75 and 100.

“The stills photographer’s shots are usually the first images the public will

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see of a production,” says DP Donny Duncan. “They are often what make people decide if they want to see a movie or not, so those images need to be an accurate representation of the style and intent of the director and the cinematographer.

“I’ll go out of my way on set to ensure that the stills photographer gets a decent crack at it,” says Duncan.

“There’s often only one ‘sweet spot’, with regards to composition on small sets and I’ll try to make sure they get a turn shooting from there. I’ll also endeavour to get them access to sets and lighting resources where needed, to shoot after main unit has moved out.

“Low light levels on night-time scenes are often a huge challenge for stills and I recently found myself with the shoe on the other foot. While shooting production stills (amongst other roles) on Mister Pip with DP John Toon (ACS, NZCS) in Bougainville last year, I was up against some amazingly low light levels from his Arri Alexa camera, rated at some ungodly ISO on low-key day interiors. Bringing in sharp and steady action still shots with a very slow shutter speed was a serious challenge. I realised what all those stills people had been grumbling about for years!”

If there’s really no room for the stills photographer but it’s an absolutely vital shot, run the scene again – just for stills.

It’s only a matter of a few seconds and it can make all the difference.

In an ideal world, a stills photographer would be treated as essential crew and should certainly be kept appraised of any schedule changes. If, as with many local productions, there isn’t the budget to have a stills photographer on set every day, it is important that the key scenes to be covered are worked out as efficiently as possible.

It is also advisable to have a whole

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Tooling up Among all the gazillions of Vimeo and YouTube online videos right now there is a small burst of creativity happening. Don’t worry, it won’t take long to get past the hardy clichés of bursting water balloons and slow-motion bouncing breasts – they were just um, camera tests. By Peter Parnham.

T

Queenstown-based DP Ben Ruffell with his Red Epic and Red Scarlet.

Sony NEX-FS700P/K Full HD Super Slow Motion 4K Super 35 CMOS Sensor

he spontaneity is driven by a new Sony NEX-FS700 camera that puts ‘super slow motion’ into the hands of ordinary folks, shooting on an honest to goodness everyday HD camera.

The reason for the excitement is that shooting super slow motion usually means renting a Phantom camera from an outfit like Panavision. The big daddy of the Phantom cameras is the Phantom Flex, which shoots full 1080p HD video at up to 2570 frames per second (fps).

It needs a properly trained technician and a data transfer station, but at 2500 fps the wine or motor oil seems to hang in the mouth of the bottle before curling around in space – when played back at the ‘normal’ speed of 25fps it is 100 times slower than normal.

You have to shoot in bursts of a few seconds but this is no problem as it gets boring really quickly – at say 2500fps, one second in real time takes 100 seconds to play out, or over three entire commercial lengths.

The Sony FS700 doesn’t approach the Phantom’s speeds but at around $12,000, this is a camera you can take to the park for a bit of fun – for example a High-Fashion, Slow-Motion Food Fight (see vimeo.com/43064629).

The FS700 will record 240fps at full HD resolution, enough to make a

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JULY 2012

A2Z Technologies’ David Epstein with the Sony NEX-FS700. www.onfilm.co.nz

plucked chicken flying through the air look good and gross at the same time, but not enough to truly glorify explosions or stop bullets.

The camera will go up to 960fps or 40 times slow motion, but as the speed climbs the camera uses more internal processing to disguise reduced capture resolution, something it does appreciably well, but something you would need to be careful about.

The Phantom Flex works the same way. If you are prepared to shoot something akin to standard definition video you can go to 10750fps, which is plenty of resolution when shooting for iPads and uploading to Vimeo but far less than normal television commercial quality.

Camera company Red has also been selectively boosting speeds recently.

The Red One camera was regarded as clunky by some and with almost religious fervour by others, but either way in the past the choice was simple: you shot with a Red One or you shot with someone else’s camera.

It is not that simple anymore. The new Red Epic and the Red Scarlet are smaller, lighter and both claim 5K sensors (an image 5120 pixels wide), but Queenstown DP Ben Ruffell says the Epic is in effect a 5K camera and the Scarlet a 4K camera.

The Epic and Scarlet both boast 13.5 stops of dynamic range – a measure of the ability to shoot bright and dark areas in the same images. That’s more or less normal for a top level camera these days, but Red says it increases to an exceptional 18 stops when HDRx is turned on.

Again, Ruffell’s practical advice is that it can be a godsend in the right situation on the Epic, but is not practical on the Scarlet because that camera doesn’t work at normal shooting speeds.

The Scarlet can shoot 4K resolution at a little over twice normal speed – that’s half speed when played back. The Epic is better; it can shoot up to 150fps at 4K resolution. But at 300fps it has to record data at 12 times as fast as normal, a task it finds impossible, so it takes only 2K worth of image from a ‘window’ in the middle of the sensor, a cropping technique also used by the Phantom camera to reduce resolution at its highest frame rates.

Digital Filmmaking

There are good technical reasons for doing it this way, and there is nothing wrong with 2K, the resolution of most digital cinema projectors.

However, the effect of cropping the sensor is the same as putting on a much longer lens. If you are shooting at normal speed with a particular lens and decide to shoot at 300fps, you either shift the camera or do some maths and change to a much wider lens to get the same angle of view in frame.

What seems clear with the new Epic and Scarlet cameras is that the devotion of Red owners remains undimin-

ished, and maybe that’s not surprising.

You get a lot for your money – a 4K or a 5K camera.

But in all the excitement of smashing watermelons in slow motion for fun, there is a detail on the Sony FS700 that should not be overlooked. Right now it functions as an HD camera (1920 pixels wide), but inside it has a 4K sensor. It doesn’t mean much now, but with a grunty output already fitted on the back of the camera and a firmware update hopefully due later this year, it will be a 4K camera before long. Watch out.

Vision Research’s Phantom Flex digital high-speed camera.

Zombies win gold at 48Hours T

eam Noise and Pictures are the brand new 2012 48Hours Grand National Champions. The Wellington team took home top honours at the 48Hours Grand Final at the Civic Theatre in June.

The third time entrants scored $60,000 in cash and prizes and the coveted Golden Ape for their horror film Brains?. They also took home the awards for Best Script and Best Makeup.

The subversive zombie comedy, complete with a zombie dinner party, enthralled the audience and international judges alike, who called it “hilarious, original and surprisingly touching”.

“We’re really ecstatic to have won, and to be here with some legendary competitors is pretty overwhelming,” said team leader Giles McNeill.

Runner-up for the second year was team Lense Flare with their one-shot/crime film The Girl with the Clover Tattoo. Third place and Best Animation was Sir Peter Jackson’s Wildcard, team Mukpuddy, for their romantic comedy Love In Decay.

The competition has clocked up its first decade and a total of 4062 films. To mark the occasion, TVNZ U Live host Rose Matafeo presented the award for the Greatest 48 Short of All Time to 2011 champs Grand Cheval.

“The 10th year of this competition has been as fierce as ever,” says founder Ant Timpson. “Every time I think I’ve seen it all, these guys pull another trick out of the bag. We have some seriously talented filmmakers in New Zealand, and I’m proud that 48Hours gets to give them the kudos they deserve.”

• Watch the winners at http://www.v48hours.co.nz/2012

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JULY 2012

23

Short and sweet

By Helen Martin.

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ampbell Cooley, who happily admits he can barely use a digital camera or editing software and got into filmmaking on a dare, was delighted to have his self-funded short film The Colours Duet selected for screening in the 2012 Documentary Edge Festival.

A meditation on the meeting of minds between two very different painters, reserved Taiwanese Yu Shin-ya and flamboyant Brazilian Fernando Pacheco, the film is charming, absorbing, thought provoking. Does this mean that anyone with a good idea and the will to make it happen can make a successful short film? Helen Martin talks to Campbell Cooley to find out how he did it.

Yu Shin-ya and Fernando Pacheco. Images: Supplied.

Tell me a bit about your background.

I was born and raised in the States.

My family moved around quite a bit so there was no one place that I could really call home. I earned a Bachelor of Fine Arts in theatre and spent several years acting and directing, but then about 15 years ago I got involved with a Kiwi girl and followed her over here.

After I moved to New Zealand, I made the switch from theatre to film acting.

What work in film and television have you done so far?

I’ve worked on quite a number of television shows, including Xena, Hercules, Shortland Street and Legend of the Seeker. I tend to play a lot of bad guys for some reason. Most recently I was a bounty hunter on Spartacus. That was a lot of fun! I’ve been in several mainstream and independent feature films, including World’s Fastest Indian and Wound.

I also do a lot of voice work, which I really enjoy.

At what point did you start making films?

I got into filmmaking on a dare six years ago when a colleague challenged me to make a short film, knowing I had no previous experience or equipment.

So I wrote a black comedy called The Hit, called a few friends who had their own gear and somehow managed to make a film. The production values were a bit rough but audiences loved the story and it even won a few awards at several local festivals, including Best Short Film (Dunedin Fringe Festival), Most Promising Filmmaker (Magma Film Festival) and Best Emerging Director (Big Mountain Film Festival).

I subsequently got roped into directing a few more projects, including The

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Heist, which made it into festivals in Romania, Greece and Italy. Since then, I’ve also directed for the V48 Hours film competition.

Recently, a radio host referred to me in an interview as The Reluctant Filmmaker and I suppose in a way that’s accurate. I don’t really want to be known for making films, but somehow I keep getting lured back into it.

What inspired you to make The Colours Duet?

My friend Yu Shin-ya, who sold his medical practice in order to pursue his painting, told me in early 2011 about Brazilian painter Fernando Pacheco whose artwork he’d developed an affinity for while visiting Brazil. He was so inspired by Fernando’s artistic style and use of colour that he felt challenged to begin painting in ways that were outside his creative comfort zone. He told me Fernando was going to be visiting New Zealand and suggested I make a film about him.

Despite how fascinating Fernando is, I wasn’t totally sold on the idea because I felt there was something missing from the story. Then later when Shin-ya was showing me some artwork he’d done in ink he suddenly said, “I don’t have a lot of colours in my life.” In that moment, I saw the story was about how Fernando had inspired Shin-ya to begin experimenting with colour. That was the spark necessary to give the film life.

How did you film your subjects?

I love stories about unlikely friendship.

And Fernando and Shin-ya could not be more different. Shin-ya is very still and contemplative, while Fernando is quite flamboyant and unpredictable.

To help emphasise their differences I filmed them in environments that complemented their personalities and had them do their interviews in their native languages of Mandarin and Portuguese. This caused me huge headaches during post-production but I felt it was a small price to pay for reinforcing the East meets West motif. Also, I edited the film so the two painters are only seen in the same shot at the very end.

You made very good use of Debussy’s music.

Shin-ya did 12 ink paintings while listening to The Preludes of Debussy. To pay homage to his creative process, I did the same thing with the film. I let the music inspire me in telling the story. I don’t care for the works of Debussy, so listening to his music for inspiration was

Digital Filmmaking

a challenge. I spent three months listening to The Preludes to find sections that would best complement the narrative.

Consequently, the selections used to underscore their actions yielded some wonderfully quirky results.

Given your inexperience, how did you cope with the technicalities of making a film?

When it comes to the technological side of making a film I’m pretty useless.

I haven’t been to film school so I have only a basic understanding of how to use a camera, lighting, audio equipment, editing software, etc. As a result my films can sometimes have a few rough edges.

I just used what little equipment I had at my disposal and winged it.

I’d have to say that most of the major hiccups during the filming were the result of scheduling conflicts. The biggest stress probably occurred when my postproduction schedule of two months was reduced to 10 days because Fernando wanted to take the film back to Brazil to screen at his next art exhibition. I’m pretty sure several glasses of wine were consumed during those ten days.

What assistance did you have?

Very little, actually. My flatmate eventually volunteered to help shoot the seated interviews and I later asked a few friends to shoot some random elements involving the art exhibition seen at the end of film. But for the most part, I was on my own.

What was your reaction to being accepted into the Documentary Edge Festival?

I was shocked. Despite being pleased with a few aspects of the film, I had no plans to submit it because it didn’t seem to me to be polished enough.

It’s really quite a fluke that it got into the festival. I had wanted a second opinion on the Mandarin translation so I dropped a copy off to (Documentary Edge Festival director) Alex Lee to get some feedback. I didn’t know they were in the build-up to the festival. A week or so later Alex and Dan Shanan told me they really liked the film and wanted to screen it. All my doubts washed away after that. I can’t thank Alex and Dan enough for their faith in it.

How did the screenings go?

The audiences really seemed to like it.

I got wonderful feedback from a lot of people. Fernando has since been in touch with me to say the film has also been very well received in Brazil.

Plans for future films?

Several years ago, I began researching the events surrounding the clown bashing incident during the 1981

Springbok Tour. What started out as an attempt to make a simple short film has slowly evolved into a much more epic story that I’m struggling to keep simple. While I’m extremely proud of the research I’ve achieved, trying to tell this story without funding or resources has taken its toll. If I ever get it done, there’s a good chance it’ll be the last film I ever make. But then, I think that’s what I’ve said after all my films.

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JULY 2012

25

Across the ditch

Kiwis, pooches and hipster film cats Our expat spy provides his idiosyncratic take on the Aussie film and television industry.

I

regularly celebrate the achievements of talented Kiwis who cross the ditch and

by JAMES BONDI do well in Australia, and I’m very proud to be able to do so.

But it’s hard to praise the performance of Paul Henry, now cohost of Channel Ten’s Breakfast show.

Australia has media commentators of all political stripes: smug, redneck journos; racist, mean-spirited shock jocks; permanently outraged lefties; bone-dry economists; and some who will attack the disadvantaged, and anyone who doesn’t share their views, purely to bolster their ratings and readership. Some are genuinely funny, flawed as the base for that humour may be.

The new boy hasn’t got their unerring aim for the hot buttons. Phil Wallington at ABC’s Media Watch opined that a dry sense of humour, claimed for Henry by Anthony Flannery – ex-TVNZ exec and now director of Channel Ten’s news and current affairs – is “certainly not tawdry buffoonery as practised by Paul Henry”.

It seems Australian TV viewers agree. Ten’s Breakfast audience regularly drops below 30,000 viewers, compared to 10 times that on the rival Channel Nine and Channel Seven morning shows.

Henry seems out of his depth

Publicity tips Continued from page 20

day scheduled for the poster shoot.

This image is what is going to entice people to see the film, so it needs to be given some importance in the production process, much like a second unit production as make-up, wardrobe and some props may also be required. It’s also a good idea to discuss the concept in advance with the stills photographer who may have some valuable input and to ensure they have the right equip26

JULY 2012

over here. He is just not funny (although he does try so very hard) and it’s too easy to grab the remote and flick to another channel. I never saw what he did on NZ television but it’s hard to see what the fuss was about. He comes across as a boring twerp, without the charisma that’s a basic for any morning TV show host.

If I didn’t love youse all, I’d hope he’d get a plane back to Godzone very soon. Be warned, if Breakfast’s ratings keep plummeting that may happen sooner rather than later! ***

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omments in last month’s Onfilm about the demise of public broadcasting in the Land of the Long White Cloud made me realise how lucky we are to still have the ABC here. Like the BBC, Aunty regularly broadcasts intelligent, informative current affairs programmes, great docos and high quality TV drama. Much of that drama is locally produced and the industry is eternally grateful for all the work the ABC commissions.

That includes shows like Mabo, The Slap, Rake, Miss Fisher’s Murder Mysteries and upcoming telemovies Jack Irish and Cliffy, mini-series Devil’s Dust (from Kiwi director Jessica Hobbs) and John Clarke’s Sporting Nation. Now that’s dry Kiwi humour!

ment with them on the day.

Most features also require an EPK, which stands for Electronic Press Kit. It is quite separate to a ‘making of’, but elements of it can be used for that if desired. In addition to B-roll (behind the scenes footage of the filming process), it also includes interviews with the key cast and filmmakers, some key scenes from the film and a trailer (when ready).

This is an absolutely vital marketing tool usually used by overseas news or current affairs programmes to look like they were on set themselves: “We

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While pollies periodically grumble about the ABC’s perceived political bias (it’s a good sign if everyone’s unhappy sometimes!) Australians of all persuasions would sorely miss this excellent network if our lot followed the NZ Gummint’s dubious example and put it to the sword. ***

I

t’s film festival season here in Oz and the 59th Sydney Film Festival closed after record attendances.

Numbers at films and talks grew by 10% to 122,000. CEO Leigh Small says they were “elated by the positive festival buzz in the city this year… again almost 50% of the sessions were over 90% full.”

Next up (from 29 June) is the popular 5th Dungog Australian Film Festival. It’s a great reason for a weekend in this picturesque Hunter Valley town. Accommodation gets so stretched that some of the wealthier members of the film tribe have bought holiday homes there. This year a street parade will feature a tribute to the biggest Australian film in years, Red Dog. From the festival website: “Pet owners are encouraged to bring along their pooches of all shapes and sizes… The parade will include 20 horsemen, cars, tractors and even a helicopter, as well as a performance by Singleton Town Band. Get down early to watch the Dungog

caught up with Peter Jackson on the set of The Hobbit…” with behind the scenes footage, a few comments from the actor and if available, an edited scene.

One option is to use an external two-person crew (camera and sound) to obtain B-roll and on-camera interviews (these are usually undertaken by the publicist) with the key cast and filmmakers. This is a very intense period, much like a mini production of its own, with only two or three days to obtain all the material required.

Alternatively, a separate EPK person can be on set shooting for much of the

High School Band play at 10:30 and reserve a prime spot to catch the parade.”

As the main street is all of three blocks long and these are fit country dogs, there’ll be a lot of nervous cats heading under verandahs and bolting up trees. That’s the furry kind with paws – the hipster film cats will be right up front, adorned with trilbies and vintage Ray Bans.

Then just when you thought it was safe to come down, the 61st Melbourne Film Festival kicks off on August 2 with The Sapphires as the opening film. Bring it on! ***

I

n this industry we all like to have a drink or two. And why not? We often need it! But have you ever thought of giving up the booze for a month to raise funds for charity?

Dry July, the Australian organisation that raises funds to help make things easier for cancer patients, now has a Kiwi offshoot. Check out the website at http://nz.dryjuly.com/ and make a donation on behalf of your Kiwi Dry July colleagues who are abstaining for a month to help make life easier for NZ cancer patients. I was told the Kiwis had expectations of raising $50k but even before July started they had already raised nearly $120k. Per capita, I reckon NZ will outdo Oz by the end of the month!

production, obtaining more informal footage, perhaps for social media sites, as well as formal interviews for the EPK. Choose the camera person carefully.

They need to have a good understanding of when it’s appropriate to talk to cast, to stay out of eye-lines and not film what the ‘A’ camera is shooting.

On an early occasion in New Zealand the producer suggested we use a film school student. Unfortunately this also involved arranging his transportation to and from set. I explained to him that there would never be an occasion when we would need to use his footage

A legal view

Letters of Inducement Letters of inducement are widely used in the screen industries, and they are vitally important when production companies are dealing with individuals through service companies.

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ost commonly seen in deals between production companies and directors, producers and even actors, letters of inducement are primarily used to ensure that even though an individual is contracting through a company, they are still personally bound to fulfil the obligations of the contract in question if required by the production company.

Letters of inducement are part of a larger deal structure which is termed a “loan out” arrangement. In a loan out deal, an individual contracts with a production company through a limited liability company, which effectively “loans out” the individual’s services to the production company.

All remuneration for such services will be received by the services company, which will then be responsible for paying the individual their share of any income.

This loan out arrangement is generally a way for an individual to contract through a more tax-efficient legal structure (for example, a limited liability company) while ensuring the production company is not disadvantaged in terms of guaranteed access to the individual’s services.

A letter of inducement essentially provides the production company with a personal guarantee from the individual that they will abide by the commitments undertaken by their services company.

Any individual who uses a services company to enter into such arrangements should ensure that they also have a written agreement with their services company (particularly if such company is not solely controlled by them), to ensure that details around the provision of services, payment of

of what was being shot on film, but that I needed him to gently zoom in and out of the action and concentrate on capturing the action off-set. At the end of the production I had endless hours of scenes from the film and two usable shots of our lead off-set; one in which he was extremely distant and the other in which he was enveloped in a mass of cigarette smoke.

I’ve also used camera operators, which can be good if you’re prepared to sit through a lot of footage of the inside of a camera, the inside of the camera truck, changing reels and the

remuneration and their liability are sufficiently clear.

There are certain key clauses which from a production company’s perspective should be included in a letter of inducement. Most importantly, the letter of inducement should include a clause acknowledging that the services company has the rights to the individual’s services. In addition, a clause should be included providing that if the services company breaches any provision of the main agreement, the production company can require that the individual personally remedies such breach.

Also, if the services company ceases to exist for some reason, the production company should have the ability to require that the individual fulfils the service company’s obligations. These clauses will all work together to essentially provide that the main agreement will remain on foot, and the production company will obtain the benefit of the individual’s services as originally intended even if the services company is no longer involved.

A production company will often want to include an indemnity clause.

Such a clause will provide that the individual agrees to bear the cost of any loss associated with a breach of the letter of inducement or the main agreement by either the individual or the services company.

Another important reason for including a letter of inducement in a loan out type arrangement is so as to ensure that the chain of title – that is, ownership in all rights associated with the film or television programme – remains secure. A letter of inducement provides further assurance

dark room. It’s not just about getting a good shot, but getting the right shots, especially when the cast or director can seem quite evasive or camera-shy.

Please don’t assume that just because the director called cut what you’re filming isn’t important. Maybe that’s the key moment when the director goes to talk to the cast. If the camera’s pointing your way, it is not necessarily focused on you – quite possibly what is going on behind you – so please don’t pull faces or crack a joke unless you’re sure. And if you do happen to walk through the shot, please just keep

An individual contracts with a production company through a limited liability company which effectively ‘loans out’ the individual’s services to the production company. that any rights which an individual may receive or create in relation to a production, including moral rights, can be appropriately dealt with to ensure that the production company controls or has full waivers of all applicable rights in relation to the production.

Loan out arrangements can be a useful deal structure for individuals who are looking to run their activities through the most tax-efficient structure possible. It should however be remembered that although an individual may be contracting with the production company via their services company, the effect of a letter of inducement is such that an individual’s direct liability to the production company will be largely unchanged. Consequently loan out arrangements and letters of inducement should not be seen as a way for an individual to completely avoid liability under an agreement.

As there will be some cost involved in establishing the services company and related legal arrangements with the individual, it is important that before going down this route an in-

going about your business casually.

Similarly, if an interview is taking place on camera please be respectful. It is not helpful or professional to pull faces at the interview subject, point lasers at them or generally distract them.

Not to mention drop gear, call out to other crew, fart off camera or comment on your fart off camera (all genuine examples).

It is particularly unfair on the interview subject who can lose track of their thoughts, get flustered or have to repeat that awesome remark which sounded so good the first time, but

dividual is confident that the initial cost of establishing the structure will be more than recovered by the financial benefits to them over time.

For production companies, provided that letters of inducement are clearly and accurately drafted, contracting with an individual through their services company under a loan out type arrangement should not necessarily involve any overall disadvantage.

• David McLaughlin (david@mclaughlinlaw. co.nz) is the principal of and Emily Jackson (emily@mclaughlinlaw.co.nz) is a solicitor, at McLaughlin Law (www.mclaughlinlaw. co.nz).

• Disclaimer: This article is intended to provide a general outline of the law on the subject matter. Further professional advice should be sought before any action is taken in relation to the matters described in the article.

Got a legal issue you’d like examined in an upcoming column? Then email David McLaughlin (david@mclaughlinlaw.co.nz).

sounds wooden, awkward or just not as concise when repeated. We are trying to compete in the highly competitive international marketplace so we need to look as slick and professional as all the others.

However, please feel free to point out things like the lens cap is still on, or help with a stand, light, microphone or key prop. We’re all there for the greater good of the production. Above all please remember, without publicity we are all working our guts out for nothing more than the director’s home movie.

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JULY 2012

27

Production listings

How to get your production listed Because all listing information is voluntarily supplied by the production companies concerned, these pages are indicative of production activity rather than being an exhaustive record.

Film IN PRODUCTION FANTAIL prod co curious film prods Sarah Cook, Matt Noonan exec prod Ainsley Gardiner dir Curtis Vowell writer Sophie Vwell DP Ian McCarroll 1ACs Ben Rowsell, Bryce Swainson 1AD Quentin Whitwell prod mgr Dan Higgins prod des Brant Fraser stby prps Sean Black cost des Kylie Cooke m/up adv Lisa Shearer key grip/gaffer Jerry Mauger best boy Tom Davis script sup Elizabeth McGlinn snd rec Ande Schurr ed Richard Shaw ed adv Cushla Dillon cmpsr Tama Waipara script exec Katherine Fry epk dir James Boddy cast Sophie Vowell, Jarod Rawiri, Stephen Lovatt, Jahalis Ngamotu, Vincent Nelson, Vinnie Bennett, Epine Savea, Henare Erihe, Beulah Koale, Hami Pehi

GAME SHOW 16mm short prod co The Film School dir Will McGuire writer Scott Williams prod John Reid exec prod Sashi Meanger asso prod Alison Langdon DP Jared Gray prod mgr Corey Le Vaillant pro coord Charlotte Dallison loc mgr Kupa Warner cam op Jesse Corah f/puller Nick Dol c/loader Andre Cox grip Jared Flitcroft gaffer Kahli Briggs snd rec Michael Nicholas 1AD Charlotte Dallison cont Scott Williams art dir Julie Russell prps/arts asst Sam Etheredge w/robe Crystalea Wilson-Connell cast Danny Mulheron, Jessica Robinson, Kirsty Bruce, Kate McGill, Hannah Paterson, Gavin Rutherford, Shirley McGregor, Karl Kalders, Grant Pearce, Josiah Jordan industry help Alan Morrison, Dylan Jauslin, Oren Graham industry mentors Annie Frear, Paul Chattington, Adrian Hebron

MISSING PERSON 16mm short prod co The Film School dir Scott Williams writer Will McGuire prod John Reid exec prod Sashi Meanger asso prod Alison Langdon DP Kupa Warner prod mgr Kahli Briggs pro coord/on set art dir Charlotte Dallison loc mgr Nick Dol cam op Andre Cox f/puller Crystalea Wilson-Connell c/loader Jared Gray grip Sam Etheredge gaffer Will McGuire snd rec Jesse Corah 1AD Corey Le Vaillant pre pro art dir/cont Julie Russell prps/arts asst Jared Flitcroft w/robe Michael Nicholas cast Miranda Harcourt, Thomasin McKenzie, Alistair Browning industry help Alan Morrison, Dylan Jauslin, Oren Graham industry mentors Annie Frear, Paul Chattington, Charles Edwards, Michael Knudsen

PENNY BLACK Feature (RED) prod cos Lapwing, Moondown Films dir Joe Hitchcock prod Fiona Jackson writers Fiona Jackson, Joe Hitchcock DP Ben Woollen ed/1AD Brad Davison prod coord Renee Casserly cmpsr Jeremy Mayall, Chris Lam Sam gfx des Matt Schuerich m/ up/hair Tanya Barlow cost des Sophie Tucker stdcam Moehau Hodges-Tai cast Astra McLaren, Anton Tennent, Sam Blood, Sash Nixon, Morgan Albrecht

POST PRODUCTION [COMPOUND] Feature prod co D S Prods prod/dir/writer Dale Stewart exec prods Dale Stewart, Graeme Gilby prod Jacqui Gilbert DP Mathew Harte 1st cam asst Roko Babich 2nd cam asst Dale Stewart 1st ad Candice Crow boom op Chanel Simpson prod mgr Jacqui Gilbert prod assts Jono Bevin, John Gilbert, Joseph Gilbert gaffer Mathew Harte gaffer asst Roko Babich adv John Gilbert m/up Sarah Taylor, Zoe

Boyle, Anna Brock, Simone Faets ed Dale Stewart ed assts Ben Fowler, Chris Tarpey colourist Allan George cmpsr/mus Gabrielle Gilbert snd/foley/snd post prods Nadav Tabak, Alex Ward loc Spookers cast Te Kaea Beri, Richard Lambeth, Nikki Christensen, Russell Wills, Debbie Foster, Omar Al-Sobky, Tim Hammersley, Tonci Pivac, Campbell Cooley, Mike O’Sullivan, Jacqui Gilbert, Tim Schijf, Jennifer Lopsi, Dale Stewart, Andires Mentz, Chad Mills, Gareth Paget, Andy Sophocleous, Breigh Fouhy, Andrea Bates, Alex Way, David Coggington, Amy Malloy, Eppie Bowler, Mike Tilton, Chantal Renee Samuela, David McCartney, Dan Coddington, David Austin, Jimmy James, Sean O’Connor, Jonathan Gilbert, Rachel King, Gabriel Henry

ETERNITY Feature prod co Eternity Prods prod/dir/writer Alex Galvin co prod Eric Stark exec prods Michael Stephens, Brendon King DP Matthew Sharp prod mgrs Catherine Juniot, Sophie Gregory prod asst Amanda Berryman 1st ADs Kendall Finlayson, Lisa Fraser-Clark 2nd AD Anne Jaeger cont Marian Angeles f/puller Bryson Rooney cam assts Kim Thomas, Graham Smout gaffer Lee Scott b/boy Daniela Conforte lx assts Jan Kleinheins, Sally Cunningham, Royce Goddard, Sam Wynn key grip Will Matthews dolly grip Brett Saunders grip asst William Flanagan snd rec Aaron Davis boom Lance O’Riley w/robe Larissa McMillan w/robe asst Daria Malesic art dept Anna Brown art assts Fern Karun, Ryan Roche m/up Julia O’Neil, Lucy Gargiulo sfx Bill Hunt prod des Robert Flynn loc mgr John Patrick data wrangler Symon Choveaux unit Cameron McCulloch stills Robert Johnson runners Mike Potton, Ryall Burden eds Patrick Canam, Nick Swinglehurst asst ed Betsy Bauer ADR Darren Maynard vfx Tony St George, Brett Johansen, Kenny Smith, James Bell, Marty Chung, Matthew Pearson, Mike Potton, Carlos Slater composer Michelle Scullion cast Elliot Travers, Geraldine Brophy, Dean Knowsley, Alan Brunton, Liz Kirkman, Simon Vincent, Kirsty Peters, Rachel Clentworth, Renee Sheridan, Amy Usherwood, Ralph Johnson, Jessica Manins, April Phillips, Ben Fransham, Nigel Harbrow, Tom Rainbird, Raquel Sims, Lucy Smith, Alana Henderson, Laurence Walls, Luke Hawker, Amy Tsang

FINDING HONK Feature prod co Run Charlie prods Eldon Booth, Jason Crane exec prod Irene Gardiner writer/dir Eldon Booth prod mgr Katya Masanja prod coord Zahra Archer prod asst Peta Douglas art dept Vea Mafile’o art assts Elizabeth Mafile’o, Michael McNamara DP Jason Crane cam asst Dominic Fryer snd recs Ande Schurr, Ben Vanderpoel, Mark Story ed Jarrod Wright mus Heydon Hohaia snd des Dick Reade cast Heydon Hohaia, Tapua Hohaia, Alison Bruce, John Rawls, Erroll Shand, Greg Smith, Karlos Drinkwater, Wati Edwards, Maya Dalziel, Barnie Duncan

FRIDAY TIGERS 12min RED Cam prod co Notable Pictures prod Julia Parnell dir Aidee Walker scrnply Aidee Walker DP Roko Antonio Babich ed Dan Jarman 1AD Alexander Gandar f/puller Ayrton Winitana snd rec Cameron Lenart gaffer Matt Harte lx asst James Dudley prod des Laura Smith art Spencer Harrington m/ up Jacinta Driver prod mgr Zanna Gillespie dir asst Vicky Yiannoutsos cast Aidee Walker, Matariki Whatarau, Simon Wolfgram, Anysia Davies, John Davies, Kahurangi Carter

GHOST SHARK 2: URBAN JAWS Feature prod co Mad Fox Films writers/prods/ dirs Andrew Todd, Johnny Hall line prod Alastair Tye Samson DP Andrew Todd art dir Jasmine Rogers-Scott m/up Kirsten Taiapa sfx Bailey Palmer, Kylie Nixon

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snd recs Alastair Tye Samson, Joh Bloomberg, Kirk Pflaum stills Adam Baines PA Ellie Callahan 2 unit dir Doug Dillaman eds Andrew Todd, Johnny Hall cmpsr Luke Di Somma cast Campbell Cooley, Johnny Hall, Steve Austin, Kathleen Burns, Roberto Nascimento, Isabella Burt, George Hardy, Juliette Danielle, Alan Bagh, David Farrier, Lizzie Tollemache, Stig Eldred, Timothy Bartlett, Helen Moran, Jeff Clark, Anoushka Klaus, Leighton Cardno

hair Vee Gulliver w/robe Sarah Aldridge safety off/ onset co Dr Rebecca Mackenzie-Proctor catering Jenny Mortland, Katie Heath & Ainsley Allen unit sup Ronnie Hape unit mgr Nicki Tremain unit asst Wayne Hooper ed Simon Price asst ed Dena Kennedy script ed Kathryn Burnett stills p/grphr Mark Gore cast Beulah Koale, Murphy Koale, Maggie Tele, Mauri Oho Stokes, Patrick Tafa, Ben Timu, Andy Bryers, Aleni Tufuga, Stacey Leilua, Madhu Narsai

JAKE

THE CURE

Feature (RED) prod co Hybrid Motion Pictures prods Alastair Tye Samson, Anoushka Klaus, Doug Dillaman writer/dir Doug Dillaman 1AD Ellie Callahan prod mgr Amanda Cairns-Cowen DP Ross Turley f/pullers Garth Merrylees, David Steel, Meg Perrott, Ayrton Winitana key grip Heath King 2nd asst cam Fiona Janet Young lx assts John Young, Ewan Hall snd rec Alex Bird art dir Jasmine RogersScott cost Jasmin Gibson, Barbara Pinn m/up art Anna Hewlett stby w/robe Shannon Winn conty Oliver Rose catering Concierge NZ stills Adam Baines ed Peter Evans 1st asst ed Katie Ross 2nd asst ed Gideon Smit colourist Alana Cotton snd des Jason Fox music Paul Velat cast Jason Fitch, Leighton Cardno, Greg Johnson, Martyn Wood, Tainui Tukiwaho, Campbell Cooley, Anoushka Klaus, Narelle Ahrens, Toby Sharpe, Deborah Rea, Julie Collis, Mick Innes, Jodie Hillock, Renee Lyons, Sam Berkley, Julian Wilson, Anna Davies

Digital action/thriller prod co David Gould Studios sales agents Archstone Distribution, Joker Films writer/dir David Gould prods Alex Clark, David Gould prod coord Olivia Scott prod asst Amanda Berryman runners Alistair van Hattum, Steven Charles acct Marc Tyron prod des Gim Bon art dir/sby Haley Williams byr/dress Chris Chandler art dept assts Hannah Sutherland, Heather Winship, Josh Cleary set bldr Richard Klinkhamer painter Stine Wassermann gfx Larissa McMillan intern Ruby Fitzgerald 1AD Marc Ashton 2AD Jack Nicol 3AD Keryn Johns cast dir Liz Mullane script sup Marian Angeles DP David Paul equip hire Cameraworks; David Paul, Chris Hiles f/puller Matthew Tuffin 2AC Graham Smout 3rd AC/grip Gene Warriner data wrang Josh O’Brien 2U cam Ross McWhannell 2U cam asst Manuel Czepok cost des Gabrielle Stevenson byr/ sby Estelle Stroud asst/sby Rose McIntyre gaffer Adrian ‘Wookie’ Hebron b/boy Alan Wilson b/boy add Chris Murphy lx asst Jared O’Neale fx m/up lead Naomi Lynch fx m/up art Tanya Barlow m/ up intern Sarah Elford snd rec Benoit Hardonniere stunt sups Rodney Cook, Shane Rangi stunts Allan Henry, Luke Hawker spfx sup Paul McInnes vfx sup Frank Rueter fluids/fire Bodo Keller concepts/gfx Felicity Moore sci consult George Slim experiments Richard Hall weapons Paul McLaughlin EPK Brendan Dee unit pub Sian Clement cast Antonia Prebble, Daniel Lissing, John Bach, Stephen Lovatt

MEDICINE WOMAN prod co SPP (09 839 0999) prods John Barnett, Chris Hampson writer/dir Dana Rotberg line prod Catherine Madigan acct Susie Butler writer/dir Dana Rotberg ed Paul Sutorius asst ed Shailesh Prajapati pub Tamar Munch pub asst Lucy Ewen adv Ngamaru Raerino, Kararaina Rangihau, Whitiaua Ropitini, Tangiroa Tawhara caterer Marvel Catering post prod Images & Sound cast Whirimako Black, Antonia Prebble, Rachel House, Nancy Brunning, Te Waimarie Kessell

RUNAWAYS 35mm NZFC funded short prod co Candlelit Pictures prod Alix Whittaker writer/dir Jordan Dodson cowriter Oliver Page DP Matt Meikle 1AD Tony Forster prod coord Emily Van Wichen prod des Lyn Bergquist strybd Glen Christie cam op Dana Little f/puller David Shope loader Raymond Edwards clapper/ vid split Alan Waddingham snd rec Mark Williams boom op CJ Withey gaffer Paul Eversden key grip Jim Rowe gaffer asst Richard Schofield, Sean Loftin grip asst John Whiteside script sup Shana Lang m/ up/hair Paige Best sfx/m/up Sean Bridle w/robe Krysta Hardaker sfx rain Raymond Allen stunt coord Albert Heimuli catering Luscious Catering unit mgr Roan Lewisham making of Ilai Amir ed Kerri Roggio 4k scan Pete Williams, Nick Booth snd des James Hayday foley art Jonathan Bruce colorist David McLaren cast Donogh Rees, Stephen Ure, Mitchell Hageman, Thomas Hageman

SUNI MAN Short prod co Opposable Thumbs writer/dir/prod Hamish Mortland prod mgr Nikki Baigent DP Andrew McGeorge 1AD Darren Mackie 2AD Sez Niederer casting dir/extras co Jay Saussey loc mgr Jeanette Bremner prod asst Alix Whittaker prod runner Rachel Ross prod des John Ioane art dir Sarah Beale art asst Lisa Ioane illustrator Niamh Purcell 1st cam asst/f/puller Dave Hammond 2nd cam asst Dave Steel vid split/ data wrangler Alan Waddingham steadicam op Dave Garbett snd rec Mike Westgate boom op Shardae Foden gaffer Gilly Lawrence b/ boy Merlin Wilford lx asst Mana Lawrence key grip Tommy Park b/boy grip Adnan Taumoepeau grip asst Hamish Young script sup Shana Lang m/up/

IN RELEASE EXISTENCE NZFC Escalator Salvagepunk Western prod co Existence dir Juliet Bergh prods Mhairead Connor, Melissa Dodds writers Juliet Bergh, Jessica Charlton based on a concept by Juliet Bergh, Jessica Charlton, Philip Thomas script adv Graeme Tetley 1AD/asso prod David Norris prod asst/trainee Jess McNamara prod acct Lyndsay Wilcox casting dir Tina Cleary, The Casting Company DP Jessica Charlton DP/1ac cam Aline Tran 1ac cams Kirk Pflaum, Matt Tuffin 2ac cams Marty Lang, Josh Obrien vid asst Laetitia Belen, Shane Catherall 3AD Dan Lynch chaprns Miranda Harcourt, Stuart McKenzie, Julie Roberts prod des Philip Thomas lead hand Geoff Goss stby prps Ryan Roche set drssr Ryle Burden prop byrs Ryan Roche, Ryle Burden prpmkrs Izzat Design prpmkrs asst Yohann Viseur r/player prp mkr Nick McGowan art dept assts Shane Catherall, Ian Middleton, Tom Mchattie, Amohia Dudding, Ivan Rooda art dept mentor Joe Bleakley gfx des Nick Keller armourer Hamish Bruce livestock wrangler Hero Animals, Caroline Girdlestone asst horse wrangler Monique Drake rider dble Mark Kinaston-Smith cos des Kate Trafford asst des Kristiina Ago m/up art Tess Clarke m/up asst Chrystal script sup Karen Alexander snd rec Nic McGowan boom op Dylan Jauslin onset PA/trainee Nick Tapp gaffer/grip Andy Rennie grip Graeme Tuckett grip/lx asst Ray Eagle, Buddy Rennie Ben stunt coord Augie Davis, Shane Rangi safety Scene Safe, Rob Fullerton vfx Frank Reuter unit mgr Hamish McDonald-Bates unit asst Zoe Studd catering Blue Carrott EPK/stills Nick Swinglehurst assembly ed Paul Wadel, Gretchen Peterson ed Simon Price snd des Nick McGowan

Production listings

THE RED HOUSE Feature funders Asia NZ, Creative NZ, NZ Film Commission prod/dir/writer Alyx Duncan develop prod David White, Paul Wedel advis line prod Han Niu prod mgr Jun Ren story develop Daniel Strang, Francisco Rodriguez, John Downie, Catherine Bisley, Lee Stuart, Han Niu camera Francisco Rodriguez, Chris Pryor, Alyx Duncan, Aline Tran ed Daniel Strang composer David Long story adv John Downie 1AD Paul Wedel art dept Paul Wedel, Francisco Rodriguez dolly grips Conrad Hawkins, Rajiv Raj, Jason Naran grip asst Jay McDaniel camera assts Jason Naran, Paul Wedel, Jay McDaniel snd recordist Jeffrey Holdaway, Alyx Duncan catering Jeffrey Holdaway cam boat skipper Bernard Rhodes translator Lucy Johnston cultural adv Shuyu Chen develop ed Paul Wedel develop Berlinale Talent Campus/Doc Station, Institute for Provocation coord doc Station Sirkka Moeller ip dirs Els Silvrants-Barclay, Shuyu Chen city test cinematography Alyx Duncan, Han Niu city test dev editing Jessica Sanderson, Rowan Pierce, Richard Larsen ip asst Zhu Shujuan data wrangl Alyx Duncna online colourist Andrew Brown post prod fac Toybox toybox prod Olin Turrin sound post Inside Track, Chris Burt pub Nick Grant distrib strategy Jenny Ross website Jason Bock poster des Layla TC cast Meng Jia Stuart, Lee Stuart

WHAKATIKI 12mins 16mm short fund Independent Film Makers in asso NZ Film dir Louise Leitch prod Melissa Dodds writer/co-prod Bernadette Murphy DP Martyn Williams ed Lala Rolls comp Tom McLeod snd des Ray Beentjes snd rec Ken Saville boom op Joe Fraser pic/ snd services Park Road fac mgr Nina Kurzmann DI ed Tim Willis colourist Matthew Wear snd mix Gilbert Lake taperoom sup Victoria Chu tape op Steve Duburguet snd mix sup Hassan Lehrech titles/credits Brendan Dee offline ed asst Nathan Hickey add snd fac Outpost score sup Sarah Lineham feat musicians Sarah Lineham, Nick Granville, Tom Mcleod 1AD Jules Lovelock script sup Pete Wellington prod asst/3AD Tom Kelly casting Tine Clearly, St Joseph’s School, Angela & Paul Murphy art dir Nicole Spackman art assts David Hewitt, Tom Southall m/ up/w/robe sup Kate Trafford m/up asst Azure Ellis w/robe stby Alex Boyd w/robe assts Cam Putt, Jessica Murphy f/puller Graham MacFarlane 2nd cam asst/stills Tammy Williams 3rd cam/lx asst Simon Oliver gaffer/grip Byron Sparrow gaffer Adrian Hebron lx/grip asst Chris Murphy lx asst Hansel Verkerk unit loc mgr Gabriel Page unit assts Akira, Jarryn safety off Brent Sylvester rnnrs Heather Cottam, Melanie Murphy, Emma Murphy chaprns Tania Milne, Pare-kotuku Porter-Samuels, Aniwaniwa Porter-Samuels, Michaela Gemmel cam Metro Film film stock Fuji grip/lx Gunmetal radios Wireless Warehouse catering Billionaires Catering, Billie Lusk coffee c4 Christchurch insurance Crombie Lockwood cast Mabelle Dennison, Jim Moriarty, Jason Te Kare, Stephanie Matuku, Christian Dennison, Alyssa Mataiti, Daarian, Dylan, Nathan,Tyronne, Harley - Te Rakau Trust, Krystal Meyrick, Ariana McCormack, Clarisse Harman

Television PRE PRODUCTION ABALONE WARS 3x60min HD doco prod co NHNZ (03 479 9799) for Discovery Oceania exec prod John Hyde asst prod/cam Luke Pike prod mgr Suzanne Lloyd field dir Max Quinn prod rsrch Marcus Turner prod coord Nikki Stirling post prod Robin Shingleton ed Cameron Crawford

AVALANCHE HUNTERS 3x43mins n/wrk Eden TV dist Naked Flame prod cos Making Movies, Bear Cage co pro New Zealand/ Australia exec prods James Heyward, Michael Tear prods Andy Salek, Hugh Barnard writers Hugh Barnard, James Heyward pres Jordy Jendrikx

TANGAROA WITH PIO SERIES 8 13x26min fishing/lifestyle b/caster Mäori TV prod co AKA Prods prod/dir Aroha Shelford pres Pio Terei cam op Richard Curtis u/w cam Dean Savage snd Colleen Brennan te reo Mäori Tumamao Harawira ed John Fraser aud post Reade Audio mus Reo Dunn, Woodcut prod acct Lee Ann Hasson prod mgr Karen Sidney prod asst/gfx Lettica Shelford n/wrk execs Annie Murray

THE BLUE ROSE 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Rachel Lang, James Griffin prod Chris Bailey line prod Sharron Jackson prod mgr Linda Fenwick prod coord Kate Olive asst prod coord Lisa Prestt script/extras coord Sarah Banasiak prod rnnr Lance McMinn writers Rachel Lang, James Griffin, Tiffany Zehnal, Kate McDermott, Nick Ward, Tim Balme acct Elisha Calvert acct asst Esther Schmidt dirs Mark Beesley, Simon Bennett, Michael Duignan, John Laing 1ADs Mark Harlen, Jimmy Scott 2ADs Puti Simich , Teuila Field, Michelle Sowman 3AD Lindsay Gough script sups Melissa Lawrence, Louise Jones, Gabby Lynch, Lisa Cook loc mgr Charlotte Gardner loc scout Jacob McIntyre, loc coord Aimee Russell loc asst Nina Bartlett DP Rewa Harre, Marty Smith cam op Dana Little A f/ puller Bradley Willemse B f/puller Lee Allison cam asst Nina Wells cam trnee Mitchell Doyle gaffer Paul Eversden b/boy Christian Dunn gene op Matthew Harte lx asst James Dudley key grip Anton Leach grip asst Mark Wigglesworth snd rec Richard Flynn boom op Matt Cuirc snd asst Niclas Wideldt prod des Gary Mackay art coord Jenny Morgan art dirs Paul Murphy, Gim Bon set dec Angeline Loo set dec asst Carly Mohan-Druce props buy Jo Larkin sby props Keegan Jansen, Lisa Dunn onset asst Tahl Kennedy, Billy Mizer gfx Sarah Dunn construct mgr Chris Halligan cost des Sarah Aldridge cost coord Kirsty Steele cost byr Lili Janes cost s/bys Karen Hossack, Ciara Dickens dresser Hannah Mo Tomlinson m/up des Kevin Dufty m/up assts Louise Harris, Kate Wilcox, Tania Houghton unit mgr Ben Dun unit asst Josh Dun cast dir Annabel Lomas stills Jae Frew stunts Stunts Productions safety Lifeguard & Safety eds Eric De Beus, Brough Johnson, Jochen Fitzherbert, Lisa Hough ed assts Shailesh Prajapati, Gwen Norcliffe catering Luscious Catering pub Tamar Munch pub asst Lucy Ewen cast Antonia Prebble, Siobhan Marshall, Jennifer Ludlam, Raj Varma, Matt Minto, James Trevena-Brown, Anna Jullienne

THE WILDE BUNCH prod co Subtext prod/dir Mike Smith prod Judith Trye script prod Paul Yates writers Jamie Bowen, Amanda Allison, Dean Butler, Sam Smith, Leon Wadham DP Grant McKinnon prod des Miro Harre cost Pauline Bowkett prod coord Donna Pearman prod sec Vanessa Macedo prod run Marcel Vidot acct Alex Cole-Baker art dir Petelo Vaihu prod run Amy Hutton 1AD Craig Wilson 2AD Ainsley Allen 3AD Rebecca Webb cam op

Peter Janes 1ACs Lee Allison, Graham MacFarlane digi tech Richard Simkins caterers Peter Bonifant, Will Keely cont Kristin Witcombe cost stby Cecilie Bridgford cost run Ngametua Paitai ed Lisa Hough asst ed Shailesh Prajapati post prod Grant Baker post prod coord Anna Randall cast Tammy Davis, Oliver Driver, Morgana O’Reilly, Erroll Shand, Molly Tyrrell, Ian Mune, Mick Innes, Adam Gardiner, Aleni Tufuga, Jennifer Ward-Lealand, Tainui Tukiwaho, Jim McLarty, Sally Stockwell

WHAT NOW 120min weekly live kids show pres Gem Knight, Adam Percival, Ronnie Taulafo, Johnson Raela eds Michelle Bradford, Tyler King audio post Whitebait Facilities, Vahid Qualls, Dave Cooper props Warren Best, Rosie Taurima w/robe Wilma Van Hellemond stylist Lee Hogsden asso prod mgr Joshua Pollard writers Andrew Gunn, Jeff Clark dirs asst Jenny Murray post prod dir Franc Bol gfx des Matt Landkroon rsrchr Joanna Manson prod asst Charlotte Meads prod mgr Jill Bailey studio dir Kerry Du Pont creative prod Jason Gunn Live in your Living Room asso prods Martin Hale, Josh Wolfe prod Reuben Davidson exec prod Janine Morrell-Gunn n/wrk exec Kathryn Graham

IN PRODUCTION ANNABEL LANGBEIN FREE RANGE COOK SIMPLE PLEASURES 13x30min prod co Screentime exec prod Philly de Lacey prods Carolyn Harper, Annabel Langbein dir Ross Peebles prod mgr Kate Moses DP Hamish Wilson, Scott Lee, John Patrick pst dir Rita Attwood ed Paul Skulander

ATTITUDE - 7 40x29min disability focused docos prod co Attitude Pictures prod Robyn Scott-Vincent dirs Emma Calveley, Magdalena Laas, Richard Riddiford, Wendy Colville prod mgr Sue Wales-Earl prod trainees Brent Gundesen, Daniel Wrinch, Emily Martin prod acct Jane Cotter rsrch Tanya Black, Dan Buckingham, Ann-Marie Quinn cam Sean Loftin snd Damon Arts, Eugene Arts gfx Brandspank ed Attitude Pictures offline eds Simon Hyland, Jai Waite online ed Simon Hyland snd TVNZ, Simon Weir reporters Tanya Black, Dan Buckingham

BEYOND THE DARKLANDS 8x60mins prod co Screentime exec prods Philly de Lacey, Mary Durham line prod Sandra Clark dirs Mary Durham, Cameron Bennett, Ingrid Leary, Michael Huddleston, Amanda Millar, Alison Horwood visual dir Kim Gunter rsrchrs Eugene Carnachan, Gerri Eller prod coord Chansina Chin eds Peter Evans, Roger Yeaxlee, Margot Francis, Emma Patterson, Alex Behse online ed Keith McLean snd post Inside Track pres Nigel Latta

COUNTRY CALENDAR 2012 26x30min rural NZ lifestyles prod co TVNZ exec prod Tina McLaren prods Julian O’Brien, Dan Henry prod mgr Robyn Best dir/reps Frank Torley, Jerome Cvitanovich, Carol Archie, Kerryanne Evans, Katherine Edmond, Dan Henry res Vivienne Jeffs

DOG SQUAD prod co Greenstone ho prod Andrea Lamb exec prod Ashley Stuart Coupland prod Kate Peacocke prod mgr Laura Peters prod coord Wendy Tetley fund TVNZ

FAMILY REPORT 10x30min prod co The Gibson Group exec prod Dave Gibson prod Jane Robertson asso prod Sam Stacey prod mgr Inga Boyd rsrchr Sarah Boddy dirs Dan Henry, Alison Horwood fac mgr Rex Potier eds Nathan Hickey, Paul Sutorius prod acct Kathy Regnault n/ wrk exec Sue Woodfield

GOOD MORNING 2012 prod co TVNZ exec prod Tina McLaren prod Sally-Anne Kerr line-up prod/ed Melanie Phipps script ed/line up prod Dominic Smith prod mgr Terri MacFarlane dir Karen Hinkley pres Rod Cheeseman, Jeanette Thomas DA Samantha Fisher advt prod Amber Smith advt mgr Donah Bowers-Fleming advt prod asst Isabella Stimpson spnsrship mgr Merril Thompson rsrchrs Cinna Smith, Daniel Hood, Fiona Cumming, Liana McPherson, Marilyn McFayden, Irene MacArthur special projects rsrchr Ana Mules script ed/rsrchr Adrienne York prod asst Julia Lynch 2nd floor mgr Giverney Cootes stylist/props Anna Clark greenrm host Aoiffe Richmond segment pres Matai Smith, Astar Kirkpatrick

HINDSIGHT SERIES 3 13x30min current affairs prod co/prod unit TVNZ n/wrk exec Philippa Mossman exec prod Tina McLaren prod/pres Damian Christie asso prod Sofia Wenborne ed Marko Siraky rsrchr Melanie Love prod mgr Stewart Jones

I SURVIVED 5

30x60min HD doco prod co NHNZ (03 479 9799) for A&E TV exec prod Alan Hall sup prod Penny Ashbrook prod mgrs Dayle Spavins, Robyn Pearson prod asst Shannon Winn rsrchrs Stephanie Antosca, Bridget Baylin, Amy Tenowich, Amy Kagelmacher, Karen Price, Tucker Bowen, Hillary Heath, Valerie Aburn, Megan Parlen, Deirdre Cossman, Lisa Moderelli Werner, Myra Morris, Ann Lieber, Diane Hassan dirs Sally Howell, Deborah Vogel Cornwell DP Kris Denton, Robert Winn prod coords Dwayne Fowler, Sally Williams 2nd unit cam Lindsey Davidson post dirs Jacqui Crawford, Peter Holmes, Kelly Meade offline eds Chris Tegg, Jeff Avery, Mark Orton

MOTORWAY PATROL prod co Greenstone ho prod Andrea Lamb prod Kate Fraser prod mgr Jody Phillips prod coord Kali Moss fund TVNZ

NEIGHBOURS AT WAR

BORDER PATROL prod co Greenstone ho prod Andrea Lamb prod Saffron Jackson prod mgr Jani Alexander prod coord Carita de Jong fund TVNZ

prod co Greenstone ho prod Andrea Lamb prod Lee Baker dir Lee Baker rsrchr Jane Dowell prod mgr Lauren Lunjevich prod coord Kali Moss fund TVNZ

BUILT FOR THE KILL

NEW ZEALAND FROM ABOVE

4x60min doco prod co NHNZ (03 479 9799) co prod Nat Geo Wild exec prod Phil Fairclough series prod Ian McGee post prods Giles Pike, Lemuel Lyes eds Jason Lindsey, Sandy Pantall, archive prod Lemuel Lyes archive asst Katie Brockie media mgr Wayne Biggs prod mgr Glenda Norris snd Stacey Hertnon, Errol Samuelson vid post Stu Moffatt, Frank Lodge, Doug Clifford-Marsh, Callum Slee

COASTWATCH prod co Greenstone ho prod Andrea Lamb exec prod Ashley Stuart Coupland prod Megan Jones prod mgr Angela Burgess prod coord Carita de Jong, Wendy Tetley fund TVNZ

5x43mins n/wrk ZDF Arte/Prime/NatGeo dist Naked Flame prod cos Making Movies, Gebrueder Beetz, Bear Cage co pro New Zealand/Germany/Australia exec prods James Heyward, Michael Tear prod Andy Salek dir Bruce Morrison aerial DP Andy Salek DP Marty Williams snd John Patrick, Ant Nevison add cams Swami Hansa, Chris Kurkham writers James Heyward, Bruce Morrison res prod Hugh Barnard line prod Liz DiFiore media mgmt Jerri Halliwell pilot Alfie Speight

NOTHING TRIVIAL 2 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey, Rachel Lang,

The 2012 edition of The Data Book is coming soon Pre order your copy now from subs@mediaweb.co.nz.

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july 2012

Databook_Strp_0612_Jen

comp Grayson Gilmour adr/foley fac Underground Sound/Production Shed post prod fac Park Road Post titles/credits Brendan Dee head of prod Dean Watkins head of pic David Hollingworth fac prod Nina Kurzmann DI ed Tim Willis DI colourist Clare Burlinson re-rec mix Gilbert Lake, Tim Chaproniere deliverables Matt Wear, Victoria Chu DI workflow mgr Tony Pratt gm Cameron Harland head of mkting Vicki Jackways post prod coord Alison Ingram cam Rocket Rentals grip/lx Brightlights insure Crombie Lockwood mentors prods Leanne Saunders, Vicky Pope dir Mike Smith DP/cam ops Phil Burchell, Rob Marsh, John Chrisstoffels prod des Joe Bleakley cast Loren Taylor, Gareth Reeves, Peter McCauley, Matt Sunderland, Thomasin McKenzie, Peter McKenzie, Aaron Jackson, Rachel Roberts, Gentiane Lupi, Richard Freeman

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Production listings Gavin Strawhan prods Britta Johnstone line prod Tina Archibald prod mgr Jo Tagg prod coord Mariya Nakova prod sec Tim Burnell prod rnnr Olivier Campana writers Rachel Lang, Gavin Strawhan, Fiona Samuel, Nick Ward, Kate McDermott script coord Anna Reid, Jo Johnson acct Lee-Ann Hasson asst acct Sheree Silver dirs Murray Keane, Peter Salmon, Kathy McRae, Josh Frizzell 1ADs Gene Keelan, Michele Priest, Seumus Cooney 2ADs Kate Hargreaves, Michelle Sowman 3AD Estelle Chatenoud script sups Gabrielle Lynch, Lisa Cook loc mgr Benny Tatton loc asst Rick Waite, Nicola Rhind DP Rewa Harre, Kevin Riley, Dave Cameron cam op Oliver Jones A f/puller Peter Cunningham B f/puller Cameron Stoltz 2nd asst cam Fiona Young cam trainee Ben Firman gaffer Nare Mato b/boy Trent Rapana gene op Sam Clark lx asst Jackson Cullen key grip Gary Illingworth grip asst Conrad Hoskins snd rec Mark Williams boom op Kyle Griffiths snd asst Adnan Taumoepeau prod des Gary Mackay art coord Karen Mackay off set art dir Emily Harris on set art dir Greg Allison, Andy Currie stby props James Rennie, Lia Neilson set dec Anita Dempsey set dec asst Domini Calder stby asst Tom Willis, Brooke Darlison gfx Sarah Dunn, Christiaan Ercolano construct mgr Chris Halligan cost des Katrina Hodge cost coord Rewa Lewis jnr byr/cost asst Daisy Uffindell cost byr Charlotte Rust cost dress Alexandra Carter cost s/bys Hannah Woods, Petra Verweij m/up des Shannon Sinton m/ up assts Lisa Foothead, Verity Griffiths, Jacinta Driver unit mgr Amy Russo unit asst Deborah Boylan cast dir Annabel Lomas safety Lifeguard & Safety eds Allanah Milne, Jochen Fitzherbert, Paul Maxwell post prod sup Grant Baker snd post sup Steve Finnigan mus cmpsr Callie Blood, Wayne Bell catering Luscious Catering pub Tamar Munch pub asst Lucy Ewen cast Blair Strang, Tandi Wright, Debbie Newby-Ward, Shane Cortese, Nicole Whippy

POLICE TEN 7 40x30min prod co Screentime exec prod/prod Philly de Lacey, Mary Durham dirs Scott Hindman, Les Dawson prod Sarah-Luise Whatford asso prod/ rsrch Katherine Birchall prod coord Olivia Lynd gfx Kathy Kennedy pres Graham Bell offline ed Malcolm Clarke online ed Keith Mclean

PRAISE BE 2012 prod co TVNZ prod unit TVNZ exec prod Tina McLaren prod/dir Ron Pledger prod mgr Dawn Bowater pres rsrch Chris Nichol mus dir Peter Averi

RENTERS prod co Greenstone head of prod Andrea Lamb prod Saffron Jackson asso prod Wendy Tetley prod coord Lauren Slade fund TVNZ

RESTORING HOPE 1x52min doco charting the Maori restorative justice process prod co Notable Pictures prod Julia Parnell dir Eugene Carnachan prod mgr Zanna Gillespie

RURAL DELIVERY 8 40x30mins weekly prod co Showdown Productions exec prod Kirsty Cooper prod Tracy Mika line prod Emma Slade dir Jerome Cvitanovich, Kirsty Cooper prod mgr Barbie Nodwell prod coord Andrea de Klerk DP Richard Williams rsrchrs Richard Bentley, Jerome Cvitanovich, Hugh Stringleman, Marie Taylor ed Christine Jordan pres Roger Bourne

SHORTLAND ST 5x30min weekly prod co SPP exec prods John Barnett, Simon Bennett prod Steven Zanoski line prod Liz Adams dirs Geoff Cawthorn, Katherine McRae, Richard Barr, Wayne Tourell, Oliver Driver script prod Paul Sonne head writer Kim Harrop s/liners Kirsty McKenzie, Alistair Boroughs, Caley Martin, Joanna Smith, Damon Andrews, Aimee Beatson med adv Sally Geary, Sarah Nevitt script eds Lynette Crawford-Williams, Karen Curtis script eds asst Nina Vlahovic prod coord Kinta Jennings prod sec Kylie Newman script typ Eva Yang, Ming Schaumkel prod acct Stephanie Dahlberg acct asst Natalie Millerchen loc mgr Bryce Wood 1ADs Michele Priest-Edmondson, Moe Hobbs, Flora Woods, Jimmy Scott 2ADs Francis Koon, Katie Dallimore 3AD Cat Henshall prod rnnr Aaron Levi dir assts Kathe Calis, Sarah Brinsdon, Laurel Urban tech prod George Platt tech coord Bryn Collins vis mix Fran Hodgson lx asst Chris Watkins loc DP Drew Sturgecam ops Nigel Roberts, Nick Hayward, Ayrton Winitana cam asst Daniel Lacy snd rec Greg Moon boom op Andrew Lusk, Nick Whittaker prod des Ana Miskell, Nick Williams art dirs Ross Goffin, Andy Currie, Natalie Tsuchiya art dept mgr Alex Kriechbaum stby prps Scott McDowall, Logan Childs art dept assts Katherine Sasse, Brooke Darlison gfx coord Alison Campbell cost des Nicola Newman asst cost des Rebecca Jennings cost standbys Kelly Marumaru, Keri Wheeler cost asst Rowena Smith cost trnee Abby Stevens, Kurupae Rikihana laundry asst Jan Beacham hair/m/up sup Rebecca Elliott m/up Ambika Venkataiah, Katie Fell,

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july 2012

Sophie Beddoes eds Anna Benedikter, Matthew Allison asst ed Lorne Haugh Post 4 Sound & Video snd mixrs Simon Weir, Graham Wallace cast dirs Andrea Kelland post prod sup Dylan Reeve pub Rachael Keereweer pub asst Chris Henry dialogue coach Bree Peters asst chaprn Shirley Duke comp Graham Bollard p/ grphr Jae Frew caterer Rock Salt cast Michael Galvin, Angela Bloomfield, Amanda Billing, Robbie Magasiva, Benjamin Mitchell, Matt Chamberlain, Beth Allen, Sally Martin, Jacqueline Nairn, Ido Drent, Pearl McGlashan, Geordie Holibar, Frankie Adams, Tyler Read, Amelia Reid, Teuila Blakely, Brooke Williams, Gerald Urquhart, Pua Magasiva, Chris Tempest

SHOWTIME prod co Greenstone ho prod Andrea Lamb exec prod Ashley Stuart Coupland prod Sam Blackley field dir Esta Hutchins prod mgr Angela Burgess prod coord Rochelle Leef fund NZOA/TVNZ

SPARTACUS 10x60min graphic action-drama US prod cos Starz Media NZ, Pacific Renaissance exec prods Rob Tapert, Sam Raimi, Josh Donen, Steven S. DeKnight prod Chloe Smith line prod Mel Turner prod dir Rick Jacobson asso prod Paul Grinder, Moira Grant prod mgr Tara Landry prod coord Helen Urban, Amber Wakefield rig coord Fiona Wadman asst prod coord Meredith Black prod sec Olivia Marshall prod assts Tim Armstrong, Rebecca Rowe, Andy Brown, Petra Gray prod runners Carlos Santos, Scott Litchfield prod acct Sherie Wikaira asst accts Lissa-Mia Smith, Maya Abu-Mansour p/roll acct Alicia Lee acct assts Annie Baines, Clayton Smith cast dirs Annabel Lomas, Faith Martin key cast coord Honor Byrne cast coord Tim Judson cast driver Julie Gunson, Tim Foley, Alan Drum-Garcia extras cast Anita Corcoran extras cast coord Marjan Gorgani extras cast asst Kesha Robertson dir ep1, ep6 Mark Beesley dir ep2, ep7 Jesse Warn dir ep3 John Fawcett dir ep4, ep9 Michael Hurst dir ep5, ep8 TJ Scott dir ep10 Rick Jacobson DPs John Cavill, Dave Garbett, Adam Clark cam ops Ulric Raymond, Todd Bilton, Andrew Stroud 1ACs Henry West, Dave Hammond, Willy Pearce 2ACs Alex Glucina, Tom Markham Short, Gray Turner 3AC Neal Wagstaff digi op Chris Lucas digi asst Robert O’Connor 1ADs Axel Paton, Hamish Gough, Edd Bennetto 2ADs Paddy Compter, Katie Hutchinson, Katie Tate 2nd 2ADs Stuart Morrice, Lynn Hargreaves 3ADs Arielle Zadok, Andrew Burfield, Ant Davies, Tref Turner prod des Iain Aitken sup art dir Nick Bassett art dirs Mark Grenfell, George Hamilton art dir Nick Connor set des Neil Kirkland, Lilli Knight constr mgr Murray Sweetman lead hnd Graham Harris, Bryan Gravatt hd scnic art Paul Radford scnic painter Troy Stevens, Tane Griffen hd plasterer Zane Grey asst art dept coord Todd Smythe prps master Rob Bavin set decs Eliza Meldrum, Megan Vertelle set drssrs Angus Kurr, Colin Elms lead fab Hamish Wain lead text Sarah Bailey Harper text Patricia Dennis prps/byr Tasha Lang prps/fin Mei Ling cooper props asst Michael Morgan stby art dirs Tom Holden, Simon Hall stby prps Zac Becroft stby prps asst Olly Southwell art runner Joseph Griffen horse master Wayne McCormack prps/ pros des Roger Murray cost des Barbara Darragh cost sup Shani Gyde asst cost des Olivia Dobson key stbys Joan Wilson, Ylona McGinity, Alistair Johns stbys Naomi Campbell, Katie Jones, Hanna Geor, Troy Garton backgrnd stby Amethyst Parker, Jess Neff, Jasmine Rogers-Scott cost byr Sara Beale wkrm sup Marion Olsen key cost props Natalie McAndrews, Sally Maingay cost prod asst Monica Anderson cost runner Ryan Freeman m/up /hair des Denise Kum m/up /hair sup Vanessa Hurley onset m/up /hair sup Susie Glass, Stefan Knight, Lauren Steward, Natasha Lees m/up /hair art Hayley Atherton, Charlie Rogers, Pilar Alegre, Jo Fountain, Kyra Dawkins, Aly Williams, Samantha Lees, Jacqui Leung, Vee Gulliver m/up pros art Shay Lawrence, Hayley Oliver m/up /hair dept coord Jasmine Papprill bkgrnd m/up / hair Jo Baker, Matt Huckstep, Carmen Te Moananui m/up /hair asst Tamara Eyre, Deanna HighstedJones, Danielle Orme strybd Ed Butler script sups Di Moffatt, Monique Knight, Guy Strachan gaffers Tony Blackwood, John Enright b/boys lx Tane Kingan, Luke Macready gene ops Aidan Sanders, Simon Schaetzle lx rig sup Allan Solly lx rig tech Jason Kerekere key grip Kayne Asher dolly grip Daimon Wright rig grip Jared Edley b/boy grips Andy South, Peter Cleveland crane op Karl Rickard-Worth grip assts Chris Rawiri, Te Oranga Witehira snd mix David Madigan, Fred Enholmer boom op Chris O’Shea snd utility Sandy Wakefield key stunt sup Allan Poppleton stunt coord Clint Elvy, Shane Dawson, Steve McQuillan asst stunt coord Ryan Carey stunt dept coord Erika Takacs sfx sup Brendon Durey sfx snr techs Steve Yardley, Dagan Jurd sfx tech Brin Compton, John Towe sfx asst Eliot Naimie safety Willy Heatley, Nick Fryer, Jeff Hales studio mgr Karl Smith unit mgr Jason Sietu trans cap Aaron Gibson craft svce mgr Abby Jones unit b/boy David Saena bts arcvst Clinton Haugh stills Matt Klitscher co prod Charles Knight post prod sup

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Kylie Harris post prod coords Margaux Peach, Alex Hammond post runner Anthony Butters eds Gary Hunt, Tom Eagles, Jonathan Venz vfx sup Charlie McClellan, Remo Balcells vfx prod Romola Lang vfx art dir Peter Baustaedter vfx concept art John Walters, Berrin Moody vfx eds Stephen McHardy, Anu Webster vfx onset sups Tim Capper, Zane Holmes vfx set coord Amanda Boock vfx onset tech asst Nick Hamilton vfx post coord Ryan Heelan, April Lougheed, Anna Cottle vfx asst Sean Ames

THE ART OF ARCHITECT 44min prod co TVNZ Production Unit exec prod Tina McLaren prod Gavin Wood prod mgr/prod acct Naomi Marsh dir Dean Cornish pres Peter Elliott rschrs Sarah Jones, Sue Killian ed Doug Dillaman

Lacey prod Ross Peebles line prod Carolyn Harper dirs Ross Peebles, Mary Durham, Bryn Evans, Howard Taylor visual dir Rupert Mackenzie rsrchr Dianne Lindesay prod coord Olivia Lynd eds Roger Yeaxlee, Margaret Kelly online ed Keith McLean

FROCK STARS (WT) 6x30min HD doco prod co NHNZ (03 479 9799) for Smithsonian exec prod Judith Curran series prod Judith Curran prod mgr Christina Gerrie post dirs Lauren Thompson, Madge Szoeke offline eds Cameron Crawford, Marilyn Copland snd Stacey Hertnon, Errol Samuelson

MARAE DIY

prod co/unit TVNZ exec prod Tina McLaren prod Gavin Wood prod mgr/line prod Julia Leonard dir Rob McLaughlin pres Sarah Bradley rsrchr Min Mathieson

7x60mins prod co Screentime exec prods Philly de Lacey, Greg Mayor prod Nix Jaques line prod Sandra Clark dirs Greg Mayor, Matt Summich, Kewana Duncan, Mina Mathieson rsrchr Mina Mathieson loc mgr Daniel Watkins loc coord Ngarangi Walker eds Malcolm Clarke, Janice Mulligan, Josh Bridgman online ed Keith McLean snd post Native Audio pres Te Ori Paki, Aroha Hathaway, David Clayton-Greene, Harry Anneff

THE BIG IDEA

OPERATION HERO

THE AUSTRALIAN WOMEN’S WEEKLY – ‘ENTERTAINING IN STYLE’

5x30min current affairs prod co TVNZ7 exec prod Philippa Mossman co prods Damian Christie, Tim Wilson prod mgr Stewart Jones dir Norman Sievewright pres Tim Wilson rsrchr Mina Mathieson

THE ERIN SIMPSON SHOW 30min wkday youth show prod co Whitebait-TV pres Erin Simpson reporters Kimberley Crossman, Katy Thomas, Isaac Ross, Mark Dye, Eve Palmer prod coord Kim Johnston studio rsrchr Nicola Eton dir asst Tom Dyson art dept Lennie Galloway cam op Matt Martini ed/cam op Nathan McKinnon w/robe Lee Hogsden website Kieran Granger eds Stu Waterhouse, Tyler King audio post Vahid Qualls gfx Mike Boulden rsrchr Juliana Murphy post dir Tracey Geddes dir Nigel Carpinter prod mgr Jo Eade asso prod Penny Watson prod Emma Gribble exec prod Janine Morrell-Gunn n/wrk exec Kathryn Graham

THE HEALTH STORY 1x90min Platinum fund doco prod co PRN films prods/dirs Paul Trotman, Malcolm Hall DP/cam Scott Mouat

THE INVESTIGATION prod co Greenstone ho prod Andrea Lamb prod Sam Blackley prod mgr Angela Burgess rsrchr Nicola Wood, Gemma Murcott prod coord Wendy Tetley fund TVNZ

THE ZOO prod co Greenstone ho prod Andrea Lamb prod Tash Christie dir/loc coord Candace McNabb prod mgr Lauren Lunjevich prod coord Rochelle Leef fund TVNZ

ULTIMATE ANIMAL COUNTDOWN 10x60min doc prod co NHNZ (03 479 9799) prod co Nat Geo Wild exec prod Andrew Waterworth series prod Ian McGee post prods Giles Pike, Brant Backlund, Sina Walker eds Jason Lindsey, Thomas Gleeson, Sandy Pantall archive prod Lemuel Lyes media mgr Wayne Biggs rsrchr Nigel Dunstone snd Errol Samuelson, Stacey Hertnon vid post Stu Moffatt, Ulf Uchida, Frank Lodge, Wayne Poll prod mgr Glenda Norris

WILD ABOUT NEW ZEALAND 6x60min HD doco prod co NHNZ (03 479 9799) for TVNZ, NZOA Platinum Fund exec prod John Hyde series prod Nicky Hammond prod mgr Suzanne Lloyd field dirs Nicky Hammond, Alex Clark rsrchr Marcus Turner prod assts Michael Henríquez, Claire Clements, Rob Bridgeman, Amy Anderson, Joey Bania cam Alex Hubert snd Daniel Wardrop host Gus Roxburgh post dirs Nicky Hammond, Alex Clark, Quinn Berentson eds Cameron Crawford, Chirs Tegg, Josi Haines, Doug Dillaman, Marilyn Copland

POST PRODUCTION BOTH WORLDS 10x26min special interest prod co Notable Pictures prod Julia Parnell dirs Dane Giraud, Stephen Kang, David Hay DP Richard Harling snd op Cameron Lenart eds Tim Grocott, Brough Johnson prod mgr Zanna Gillespie res Angelique Kasmara

CLINICAL YEARS 1x60min doco prod co PRN prod/dir Paul Trotman cam Scott Mouat, Stephen Dowwnes, Wayne Vinten snd Brian Shennan ed Cameron Crawford

DESCENT FROM DISASTER 6x60mins prod co Screentime exec prod Philly de

10x30min prod co The Gibson Group exec prod Dave Gibson prod Bevin Linkhorn prod mgr Inga Boyd dirs Dan Henry, Michael Huddleston pres Dayna Vawdrey eds Nathan Hickey, Mike Townsend fac mgr Rex Potier prod acct Kathy Regnault n/wrk exec Kathryn Graham

SAVING TUNA 1x60mins MTS doco prod co The Gibson Group prods Gary Scott, Fiona Apanui-Kupenga dir Emily McDowell prod mgr Alison Black cam op Mike Jonathon ed Nathan Hickey online ed Adam Sondej cmpsr Maaka McGregor

THE MAKING OF THE OPERA: HOHEPA

Feature doco that follows the international cast as they rehearse the groundbreaking opera by Jenny McLeod. A NZ cultural and artistic milestone prod cos Focus Films & Hawke Films prods/dirs/cams Craig McLeod, Keith Hawke thanks to the cast and crew of Hohepa especially cmpsr Jenny McLeod dir Sara Brodie conductor Marc Taddei narrator Rawiri Paratene, singers Phillip Rhodes, Nicky Spence, Jonathan Lemalu, Jenny Wollerman, Deborah Wai Kapohe & the chorus. Also Vector Wellington Orchestra & NZ Opera general director Aidan Lang

IN RELEASE SHACKLETON’S CAPTAIN 85min feature prod cos Making Movies, Gebrueder Beetz n/wrks TVNZ, ZDF, ARTE dist ZDFE writers James Heyward, Leanne Pooley, Tim Woodhouse prods James Heyward, Andy Salek line prod Liz DiFiore dir Leanne Pooley dir assts Kelly Krieg, Olivia Garelja prods PA Katie Bolt 1AD Hamish Gough 2AD Katie Tate 3AD Andrew Burfield prod assts Ellie Callahan, Rachel Choy, Shannon Ween prod intern Lisa Brown prod runners Jasmine Rogers-Scott, CJ Withey, Emma Behrns, Nathaniel Sihamu prod des Roger Guise on set art dir Geoff Ellis propmster Paul Dulieu props mker Phil Gregory art assts Clarke Gregory, Jim Anderson constr mgr William Schmidt DP Simon Baumfield 1st cam assts Graham MacFarlane, Roger Feenstra 2nd cam assts Kim Thomas, Jacob Slovak vid splt/data intern Leigh Elford 2nd unit DP John Cavill 2nd unit ac George Hennah 2nd unit 2nd ac Meg Perrot snd Myk Farmer conts Rachel Choy, Katie Theunissen gaffer Thad Lawrence b/boy Tony Slack lx assts Merlin Wilford, Gilly Lawrence, Steven Renwick, Ben Corlette, Sam Jellie, Jack Gow key grips Kevin Donovan, Jim Rowe b/boy grip Chris Rawiri grip assts Winnie Harris, Chris Tait grip trainee Sam Donovan spfx Film Effects Company spfx sup Jason Durey spfx office coord Tanya Bidois spfx snr tech Mike Cahill spfx techs Graham Nixon, Rowan Tweed, John McLaren, Eliot Naime, Michael Lawton spfx runner Gavin Ravlich cost des Suzanne Sturrock w/robe stdby Cathy Pope w/robe assts Charlotte Turner, Amber Rhodes m/up des Davina Lamont m/up arts Michele Barber, Tash Lees, Hayley Oliver, Debbie Watson, Levonne Scott safety coords Scene Safe, Chris Griggs, Sam Armitage nautical adv Kevin Donovan unit mgr Samuel Shelton unit asst David Shope caterers Bonifant & Saxby epk/stills Cristobal Araus Lobos, Andy Salek cams Panavision prod acc Kylie Strain ed Tim Woodhouse cmpsr John Gibson post prod sup Grant Baker vfx prod Cris Casares vfx sup Brenton Cumberpatch vfx arts Brenton Cumberpatch, Richard Borg, Dale Pretorius, Carlos Purcell vfx interns Richard Neal, Brendon Chan, Josh O’Donnell archive res Sarah Bunn cast Craig Parker, Charles Pierard, Hugh Barnard

FOUR YOUR CONSIDERATION Two new lightweight zooms expand the ARRI/FUJINON Alura series The new Alura 15.5-45/T2.8 and Alura 30-80/T2.8 zooms are compact and lightweight: perfect for handheld, Steadicam and 3D rigs. They are compatible with the ARRI Lens Data System, deliver outstanding optical performance and, like the original two Alura Zooms, match all other ARRI prime and zoom lenses.

Visit the ARRI booth at IBC: Hall 11.F21

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Poetry in Super Slow Motion Shoot slow, work fast, capture everything

E-mount lens

A-mount lens with LA-EA2 adaptor

Use a variety of lenses via 3rd-party adaptors

NEX-FS700

pro.sony.co.nz

Thereâ&#x20AC;&#x2122;s more to the NEX-FS700 than meets the eye. The latest in Sonyâ&#x20AC;&#x2122;s growing line-up of NXCAM interchangeable lens camcorders, the full-HD FS700 lets you push your creative boundaries using a range of E-mount or a wide variety of other lens choices.

The FS700 is designed for high-speed shooting, high resolution and high sensitivity image capture thanks to its new 4K Exmor Super 35mm CMOS sensor. With playback at up to full-HD 10x super slow motion you can count on capturing breathtaking images. Other highlights include built-in ND filters, multiple shooting profiles and 3G HD-SDI output. No matter how you look at the FS700 it is every bit a winning performer.

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