ONFILM October 2011

october 2011 $7.10 incl gst

N Z ’ S S CREE N P RO D U CT I O N I N D U S TR Y M A G A Z I N E o n f i l m . c o . nz

Speaking from the heart

9 421902 251047

Tusi Tamasese’s outstanding Samoan language feature The Orator Festival report on Costa Botes’ The Last Dogs of Winter Are LEDs changing the world of professional lighting?

The Asia-Pacific Producers Network comes to town

contents octoBER 2011

Views 4

5

A private view nfilm columnist Doug Coutts and cartoonist Barry Linton “stand O up to bean counters” and look desperately for any sign of substance in recent pre-election industry forums.

Editorial

A quick word from editor Steven Shaw; Cartoonist Andy Conlan offers stereotypes of indie filmmakers and their lighting preferences.

10 COVER: Tausili Pushparaj as Vaaiga in Tusi Tamasese’s debut feature The Orator (O Le Tulafale). Image: Supplied.

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

9 Review: The Orator

Onfilm reviewer Helen Martin finds plenty to like in Tusi Tamasese’s debut feature film.

18

The winner on the day

Record viewership of Rugby World Cup coverage is levelling the playing field between Maori TV and its bigger free-to-air rivals, reports Philip Wakefield.

25 Asia-Pacific Producers come to town

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The annual symposium of the Asia-Pacific Producers Network (APN) is being held in New Zealand for the first time this November, bringing with it opportunities for the local screen industry.

Features 10

Feature: Speaking from the heart

Onfilm talks to first-time writer-director Tusi Tamasese and producer Catherine Fitzgerald about their adventures in the South Seas filming NZFC-funded feature film The Orator (O Le Tulafale).

14 Festival Report: A dog’s life Correspondent Kerry Doole reports from the Toronto International Film Festival on Costa Botes’ outstanding new documentary The Last Dogs of Winter.

Lighting 20-24 Lighting feature Peter Parnham looks at recent developments in LED lighting.

Plus, we hear from Auckland lighting specialist Xytech Lighting.

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

27 A legal view Legal expert David McLaughlin looks at Option and Purchase Agreements, the starting point for most film and TV projects.

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Production listings

Volume 28, Number 9

Est 1983

Editor: Steven Shaw (editor@onfilm.co.nz), 021-905-804 Contributors: Doug Coutts, 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 Onfilm is published 11 times a year by Mediaweb Limited, which also publishes The Data Book.

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October 2011

3

A private view

Stand up to bean counters Many years ago, an Australian author called Afferbeck Lauder published a handbook for by doug coutts linguists in the Lucky Country called Let’s Talk Strine.

I only know about this because I read a cut down version in an old Reader’s Digest – I used to read them all the time, which has no doubt contributed to my inability to concentrate for any length of time and to my vast store of wildly amusing anecdotes.

Back to the Strine… the book was an affectionate piss-take on the mangled vowels and missing consonants of English as she was spoke back then (around 1965). It included terms like “flesh in the pen”, meaning momentary brilliance; “gonnie” for Do you have any? (as in: “Gonnie epples?”); “Marmon Dead” for parents; and my own personal favourite, “aorta”.

Here in Godzone, the aorta is a major blood vessel leading from the heart, but in Strine it’s “the vessel through which courses the life-blood of public opinion”. Its main usage is to start sentences blaming other people, such as “Aorta do something about it...” – the sort of thing we now hear in this country all too often.

Bleeding hearts leading from the lip, as it were.

Aortas were once found only in newspapers, in the letters column.

Then came talkback radio, and with it the audible proof that New Zildish and Strine were becoming one. And now there’s Facebook – although we’re saved having to endure the twangs, there are no

sub-editors to spare us the typos.

There are many Aorta pages on Facebook, most of which begin with “Save”. There’s been Save the Concert Programme, Save Darren Hughes, Save RNZ and more recently Save Avalon.

They’re the pages the disposed and inconvenienced go, to vent their spleens about perceived injustices, without having to do anything about it. It’s enough to have your say – after all, if enough people agree with you someone will have to take action, surely?

I have to admit I’ve never been particularly proactive myself, probably because anything with the word “active” in it tends to put me off. But recently I took myself off to the SINZ pre-election forum in Wellington to hear representatives from across the political spectrum speak on their policies and answer questions.

With the emphasis on film and television there was, as you’d expect, a packed house. Also as you’d expect, there was a total absence of the Facebook Aortas. They were probably

too busy grizzling. Or trying to spell grizzle.

The spectrum of politics was not as broad as it could have been either. We had green and red, and true blue, but no brown or black or whatever colour Act is. We can probably assume though that Mr Brash’s broadcasting policy involves setting fire to the MTS offices and dancing on the ashes.

Of the others’ policies it was more of the same (as in same old, not ritual fire dances). Minister Finlayson told us the Gummint is proud of its achievements in broadcasting, especially as it relates to the Historic Places Trust. Steve Chadwick wholeheartedly agreed with everyone, Clare Curran took pains to look pained and Cathy Delahunty apologised for channelling Sue Kedgley.

Not content with being the snappiest dresser in the room, Finlayson went for Most Confused Person as well – the Gummint is comfortable with the lack of a public service television broadcaster he said, but he is committed

to retaining RNZ. With or without pictures.

Oh well, at least the other three think there should be public service television with lots and lots of local programming on it. In fact, that’s their policy – Labour and the Greens. Labour has a cute name for theirs – Home Groan they said it was. It must involve a lot of reality shows.

The Greens don’t have a name for their broadcasting policy yet but there’s sure to be a consensus before the election. But in the meantime, like the Labs, the Greens think we should have more local content, reflecting the real New Zealand, whatever that might be. Yup, much more local content…

But as for who’s going to pay for it and who’s going to play it, that’s another story. Or no story – no one had any suggestions, apart from aorta do something about it. As for when that’s going to happen, dough toldyer breff.

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Views

Andy Conlan’s view

Ed’s note The Internationalists

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his month we’re proud to bring you coverage of two great films.

The first is The Orator (O Le Tulafale), the debut feature film from Samoan born writer-director Tusi Tamasese. It is a truly moving film that will stand the test of time – check out Helen Martin’s review on page 9 and find out the background in our story on page 10.

The Orator’s international premiere was last month at the Venice International Film Festival, where it screened in the Orizzonti Competition section and was honoured three times, including a Special Mention from the Orizzonti Jury.

News just to hand as we go to print is that The Orator has also been submitted for consideration as Best Foreign Language Film for the 84th Academy Awards.

How this works is the Academy invites a country to select and submit its best foreign language motion picture for consideration. The New Zealand Oscar Selection Committee comprises Sir Peter Jackson, Fran Walsh, Philippa Boyens, Ngila Dickson, Grant Major, Keisha Castle-Hughes, David Coulson, Graeme Mason and John Toon.

While that’s not yet a nomination, it’s big news and welldeserved recognition for Tamasese, a softly spoken director who is so new to the craft. “This is the first time New Zealand has submitted a film for consideration for the Foreign Language Film category of the Academy Awards,� says the NZFC’s Graeme Mason, who adds it “could provide a terrific platform for Tusi’s career as a filmmaker�.

We also have a report from Kerry Doole, who attended the Toronto International Film Fest where Costa Botes’ new documentary The Last Dogs of Winter screened. Kerry sat down with Botes and co-producer Caleb Ross to discuss the film, about the plight of Canadian Eskimo Dogs, also known as Qimmiq.

A reminder, before I go, that nominations are open for the Onfilm/SPADA Industry Champion. Look out for the nomination form online via onfilm.co.nz – or email your nomination through to editor@onfilm.co.nz for consideration. The 2011 Onfilm/SPADA Industry Champion will be announced at the annual SPADA conference, 10-11 November at SkyCity in Auckland.

Until next time – go watch a movie!

Steven Shaw, editor

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october 2011

5

Short cuts

By Philip Wakefield

NZ reviewers roast and toast The Devil’s Rock

K

iwi critics have both razed and praised The Devil’s Rock. Two major newspapers gave Paul Campion’s feature debut hell with two-star reviews: the NZ Herald dubbed it “dreadfully staid and deadly boring� and the Sunday Star Times argued “the languid pace undermines attempts at suspense�.

But The Dominion Post’s three-star recommendation said it “engages longer than more ambitious Kiwi horrors� and praised the “tug of war tension, an unpredictable outcome and a lack of camp, intentional or accidental�.

Most online critics were also kind: “A pacy attempt at a good psychological horror ‌ and may impress more than you’d initially expectâ€? (TVNZ); “a very different kind of film to come out of New Zealand and a wholehearted attempt at doing a high concept horror filmâ€? (Voxy); “enjoyably trashy, well acted horror flickâ€? (View Auckland).

But Flicks.co.nz thought otherwise: “It doesn’t deliver either the suspense of a war film or the scares of a horror, despite doing its best to inhabit the costumes, props and settings of those genres.�

The Devil’s Rock. Image: supplied.

SoHo so sophisticated

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Mad Men and below, Boardwalk Empire. Images: supplied.

ky’s newest premium channel, SoHo, is an overdue showcase for most of the world’s top drama series.

It launches on October 31 and will mix US cable dramas, like the latest seasons of Mad Men and Boardwalk Empire, with occasional BBC series of the calibre of The Hour and The Shadow Line.

Most of the US fare will be HBO sourced as part of an output deal with the iconic cable channel that changed the face of US TV with The Sopranos, The Wire and Deadwood.

But there also will be series from Showtime (Weeds, Dexter) and AMC (The Killing, Mad Men), some of which already air on other Sky channels The Box and Prime.

They will now screen first on SoHo, although don’t expect Prime’s signature drama, True Blood, to follow: it will continue to premiere on the free-to-air channel as despite its low ratings, it’s deemed too important a property for Prime to relinquish.

Sky couldn’t have timed SoHo’s launch better, given the new Copyright Act theoretically will stop or discourage Kiwis from downloading shows that either would never screen here or would take months to turn up.

SoHo will run these series as close as possible to their US airdates. The schedule hadn’t been disclosed at press time but expect SoHo’s first couple of months to include seasons of series that have just gone to air in the US, like Boardwalk Empire and Dexter, and older newcomers like Game of Thrones, so NZ viewers can catch up in time for their 2012 seasons.

SoHo won’t worry Sky’s FTA rivals, as most US cable drama is thought too niche for primetime here.

For every series that has succeeded, like TV3’s Sons of Anarchy or TV2’s The Walking Dead, there have been many more casualties (Breaking Bad, Justified, Damages, Burn Notice, The Shield, Entourage, Dexter, Mad Men, Weeds, Hung, Big Love ‌).

But SoHo should prove lucrative for Sky: it provides both extra revenue – subscribers will have to pay $10 a month for SoHo, regardless of their plans – and a vital point of difference.

To extend its reach beyond 50% of homes, Sky needs to offer exclusive content beyond live sport and first-run movies to encourage new subscribers – and with SoHo it will attract subscribers who hitherto haven’t seen sufficient reason to have a dish on their roofs.

Sky will reinforce SoHo’s prestige by minimising advertising: programmes will screen uninterrupted (even though most SoHo subscribers will have My Sky PVRs with which to zap through the ads, anyway).

It’s also a good deal for HBO, which has similar platforms in Britain (Sky Atlantic) and Australia (Showtime).

Under the Sky deal, HBO product won’t fetch the premium prices TVNZ, for instance, paid for Band of Brothers and The Pacific.

But it does give HBO a branded outlet for its vast library of drama and comedy series, and miniseries, telemovies and documentaries, many of which would never have found a market here.

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By Philip Wakefield

Short cuts

X-Number of factors influences programming

H

Love Story. Image: supplied.

Kiwis love Habicht’s new story

F

lorian Habicht’s Love Story is proving to be his most popular movie yet.

“His previous films have been quite quirky but this one has jumped him up another notch altogether,” distributor Gordon Adam, of Metropolis Films, says.

In its first four weeks, Love Story grossed $101,082, including $27,000 from NZ Film Festival screenings.

Adam’s strategy has been to release the movie region-by-region as soon as possible after festival screenings, to maximise word-of-mouth in each area.

“If we had waited to open the film generally until the festival season had finished, we would have faced competition from the final week of the Rugby World Cup and then the election campaigns.”

Metropolis booked the main art-house/crossover locations to hit the key audience and the filmmaker has been to every festival screening to introduce the film.

“This has been a key strategy in getting the film noticed,” Adam says. “The effort put in by the director engaging with the audience has really delivered people to the screenings, so much so that we have carried this on during the first weekend of general release, with exhibitors promoting Q&A sessions with the director to their core customers. Sell-out houses have resulted.”

Adam says it was a coup to have Love Story open the New Zealand International Film Festival, on July 14 at the Civic in Auckland, with its world premiere.

“To have over 2000 people in the auditorium spontaneously applauding and laughing throughout the screening was such a buzz for the filmmaker and great for a distributor to witness.

“That guaranteed strong word of mouth to the arthouse audience from that moment on and five-star reviews followed.”

This encouraged Metropolis to slightly broaden the Auckland release to limited multiplex sites, albeit with mixed results, Adam acknowledges.

“However, where Love Story is playing to its natural audience (ie, Rialto and Bridgeway), it has a healthy screen average and is developing a strong season.”

Adam also praises Trigger Marketing for “working the director to the media” and finding quirky ideas to get the film noticed – as in guerrilla deliveries of “red velvet cake” to media personalities while they were on air.

“Florian also haunted cinema foyers in his very distinctive orange trousers, the same ones he wears in the film, so patrons could engage with him after the screenings. I think he turned down at least two marriage proposals!”

ow soon a TV series airs here after its international debut depends on x-number of factors, from public interest to programming inventory.

On the eve of the free-to-air networks unveiling their 2012 line-ups to ad agencies and media, an unprecedented raft of shows is going to air within weeks, sometimes hours, of their domestic transmissions.

The most notable example is The X Factor USA, which TV3 is screening only four hours after taking it off the satellite.

It’s airing Rove LA a mere four days after its Australian broadcast and Underbelly: Razor barely six weeks after Channel Nine’s broadcasts.

TV2’s Charlie’s Angels screens within a week of its US transmission and from October 22, Prime will launch series two of the Emmy-winning Downton Abbey, barely a month after its UK premiere.

But this shouldn’t be viewed as a brave new world for FTA TV. Despite competition from Sky and internet downloads, they are still sticking largely to traditional new-season programming models. They would rather see how key shows perform in their domestic markets before taking a punt on them in primetime.

“If a series fits the needs of the schedule and we can make it work, then we would consider it,” TV2 programming chief John Kelly says.

“Charlie’s Angels fitted the TV2 schedule, the dates coincided and we wanted to have a fresh and exciting new title in our schedule leading into summer. However, there are no plans to alter our traditional new-season launch for the majority of the schedule.”

NZ broadcasters don’t want to launch a show in sync with the US only to see it tank Stateside or risk not having enough episodes squirreled away. They prefer to have all their publicity ducks in a row before launching and try to maximise a show’s prospects by stockpiling episodes to give it a decent run.

That’s why Prime held off screening Being Human and then aired two series back-to-back. But there are signature series it will accommodate promptly, such as Downton Abbey, Top Gear, Doctor Who and True Blood.

TV3’s had a tough year, with many of its key series, from The Event to Hawaii Five-O to Underbelly NZ: Land of the Long Green Cloud, going belly-up. The timing of The X Factor USA is a godsend for a network short on viable product, soaking up two nights of primetime a week.

“When the worldwide buzz about a show is this big, the only way to programme it is as close to the international broadcast as humanly possible,” TV3’s Kelly Martin says. “It has a lot to do with the nature of the show, but I do think we’ll end up having more and more series airing closer to US air dates as time goes on.”

X-Factor USA. Image: supplied.

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7

Short cuts

By Philip Wakefield

Kaitangata Twitch DVD Spawns New Project

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etailer demand for the DVD of Kaitangata Twitch has been so high that distributor Madman Entertainment ran out of initial stock.

“Sales of Kaitangata Twitch were about 20% higher than original expectations at our end, but I don’t have enough sellthrough data yet to comment on that,” general manager Wilf Robinson says.

“There has been terrific support from some media partners in helping drive awareness, and we also managed to get [author] Margaret [Mahy] out to a few store signings during release week, which was quite an emotional affair, I believe.”

Robinson was so impressed with Production Shed’s contribution to the campaign that Madman has committed to another project with the Wellington production company.

“Production Shed have done a wonderful job in helping us get the product to market, and have provided great ideas and insights in terms of the production, the author etcetera to help steer our marketing,” he says.

“We are committed to working with them on another project, which we have not hesitated agreeing to, due to the professionalism and ability they have shown through this Kaitangata Twitch project.”

Robinson says the series deserves to succeed on DVD. “Quite simply, it is a world class family show, with an easy ability to cross generational and ethnic boundaries.

“It’s exactly what New Zealand needs more of, and hats off to Maori Television for funding it when certain other major broadcasters weren’t interested.

“I guess there was My Biggest Fattest Ugliest Stupidest Farce reality show to screen instead.”

Rating a mention

A

fter five weeks, Billy T: Te Movie had grossed $771,291 and was still playing on 28 screens, making it the year’s highest grossing NZ release ... For the first time, the AFTA ceremony will be broadcast in high definition, when TV3 airs delayed coverage of the awards on November 12 … Three years after going HD, TVNZ at last started transmitting in Dolby Digital 5.1 in time for the Rugby World Cup. But there’s a catch with the catch-up: a software snafu could stop some programmes from transmitting in 5.1. It turns out TVNZ’s computerised programme/scheduling management system sometimes updates audio settings incorrectly, which means TVNZ can’t even reliably promote which of its shows are 5.1 … On the eve of the US remake of The Killing airing on Sky’s new premium drama channel, SoHo, Madman Entertainment is releasing the Danish original on DVD.

Universal NZ a force to be reckoned with

P

aramount Home Entertainment International has renewed its NZ distribution deal with Universal Pictures International Entertainment.

It was announced on the eve of Universal releasing some of Paramount’s biggest DVD and Blu-ray titles for the year, including Thor, Captain America: The First Avenger, Super 8, Kung Fu Panda 2, Cowboys & Aliens and Transformers: Dark of the Moon.

Since Universal started distributing Paramount titles two years ago, Paramount’s market share has increased with crowd pleasers like The King’s Speech (the year’s second highest home entertainment new release in NZ), Iron Man 2 and Boy (Paramount has also just released Tracker on DVD).

Warner Bros’ Harry Potter and the Deathly Hallows Part I has been the year’s top-selling disc but at press time Universal had a new back-catalogue force to be reckoned with Star Wars.

In its first week, Star Wars: The Complete Saga, a nine-disc collection of all six movies on Blu-ray for the first time, sold one million units worldwide and added another US$84 million to the franchise’s coffers.

According to 20th Century Fox, this made it the #1 pre-order and #1 catalogue Blu-ray title in the history of the format.

In NZ, Universal distributes on Fox’s behalf, having taken over the label from Roadshow Entertainment earlier this year.

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Film review

Film review: The Orator (O Le Tulafale) Helen Martin takes a close look at The Orator (O Le Tulafale), the knockout debut feature from Samoan-born New Zealander Tusi Tamasese.

Feature NZ 2011 prod co O Le Tulafale Ltd, assisted by NZFC prod Catherine Fitzgerald dir/writer Tusi Tamasese DP Leon Narbey ed Simon Price production design Rob Astley costume design Kirsty Cameron sound Richard Flynn composer/sound design Tim Prebble cast Faafiaula Sagote, Tausili Pushparaj, Salamasina Mataia, Ioata Tanielu, Ga Sakaria, Tauili’ili Maiava, Lino Lemana 110 minutes

T

usi Tamasese’s feature debut is a knockout, a real treat for the eye, the ear and the heart.

While not, as some claim, the first Samoan feature film, it is the first with Samoan dialogue. Importantly, it is also the first to eschew the theme of colonisation’s devastation. In Flying Fox in a Freedom Tree, for example, half-caste dwarf Tagata, alienated by his mixed ethnicity and physical difference, is joined in a destructive rampage by his friend Pepe, enraged by an enforced Western education.

While the central character in O Le Tulafale is also a dwarf, the story’s

conflicts are rooted in traditional Samoan culture. The head of a family of outsiders, for whom the struggle of subsistence living is ever present, Saili is daily humiliated by his fellow villagers, needing the title of chief to save the family land, but too timid to claim it. His beautiful but fragile wife Vaaiga, banished pregnant from her village 17 years earlier, urges him to show courage, while fending off violent demands from her estranged brother and trying to keep her daughter away from an unsuitable lover.

Then things get really tough.

While this is a classic allegory, what distinguishes the film is its beautiful execution. Its authenticity gives it an almost documentary feel. The actors are predominantly untrained, yet the performances are absolutely convincing. Faafiaula Sagot, for example, a carpenter with no acting experience, offers us a Saili equal to any historical David confronting his Goliath.

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The pace is measured, contemplative. The subtlety in the shooting, editing and performance styles feels European, allowing for the story to be told as much in silence as in dialogue and action. Rather than “European” it may be better to describe the style as “not Hollywood” and to borrow Barry Barclay’s phrase “talking in”, meaning that O Le Tulafale tells its story from deep inside the culture.

The use of the Samoan rather than the English tongue is crucial, but inviting the viewer in goes way beyond verbal communication. There are the potent visuals. The jewel-coloured landscape and its signs of human occupation are lush, vibrant and tactile. Diamond raindrops fall on taro leaves, framed by mist shrouded mountains. Paint peels off an old building in such sharp relief it seems to be in 3D… There is the beautifully judged soundtrack, with Samoan music and instruments evocative in enhancing mood and at-

Tausili Pushparaj as Vaaiga in The Orator. Image: supplied.

mosphere. And there is the narrative itself, cleverly melding the passions of myth and tradition to create a wonderfully uncompromised whole.

It really is a knockout.

– Reviewed by Helen Martin

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october 2011

9

Writer-director Tusi Tamasese.

Image: supplied.

Speaking from the heart Released this month, NZFC funded feature film The Orator (O Le Tulafale) is the debut feature film for Samoan born writerdirector Tusi Tamasese. Onfilm spoke with him and producer Catherine Fitzgerald about their adventures in the South Seas.

S

amoan born and raised Tusi Tamasese first stepped out with a short film called Va Tapuia (Sacred Spaces), which screened in the 2010 New Zealand International Film Festival in Auckland and Wellington and is still travelling the festival circuit. The film was a trial run to gain experience before making his debut feature film

The Orator (O Le Tulafale).

The Orator stars Faafiaula Sagote as Saili, a taro farmer and outcast who lives with his ailing wife Vaaiga, played

by Tausili Pushparaj. It’s being promoted as the first Samoan language film written and directed by a Samoan and filmed entirely in Samoa – apart from Wellington-based Pushparaj,

the cast members are all untrained local actors from Samoa. The story is about love, death and the struggle for acceptance for Saili, a dwarf who has not inherited his father’s chiefly status.

Tamasese wrote The Orator when he was completing a Master’s degree in Creative Writing at Victoria University. “I was always interested in the concept of death in Samoa,” he says, “the relationship between dying, the dead people being buried in the front yard. It’s a common thing when you go to Samoa, it’s one of the first things you see, the graves being decorated in front of the homes. And I was always interested in the imagery of a chief.

That’s where the ideas came from.”

Award-winning producer Catherine Fitzgerald (Rain of the Children, Two Cars, One Night) mentored Tamasese and produced both projects. “We

were working on the feature, it was in development. It kept coming up that he hadn’t directed anything and there came a point where we looked at each other and said, we’re going to have this circular argument until we just do it.

“Frankly, I believed he could do it,” she says, “just from his writing. It was his beautiful writing that made me realise that he had all the images in his head, the sounds and performances.

He knew exactly what he wanted, and he acknowledged that.

“I’d been to Samoa with him, looking at auditions and locations,” says Fitzgerald, “I was aware that it would be no mean feat to actually try and make a film there. The Film Commission said we should go away and direct something to prove he could direct. I think they meant for us to do some sort of exercise, a couple of

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scenes, something like that. But he decided it was a great opportunity to use the script development money to go off – and instead of feeding his family, make a film. “It’s not just about directing shots – or directing actors or directing crew.

You actually have to take something from concept to delivery, that’s directing – and producing, for that matter.

So we got together a group that we hoped would work on the feature film. We got a skeleton crew together

and we went off and did it. It allowed the key crew to get the sense of what it would be like to make a low budget feature film up there. The development strategy was a lot more lateral than just script development.�

Leon Narbey came on as cinematographer for both the short and the feature, much to Tamasese’s delight. “Hell yeah,� he says, “Leon is amazing, he’s an awesome guy to have next to you when you’re shooting. He’s very patient.

“Most of the heads of department were from NZ, but we had assistance from Samoa. When we shot the short film we had a small team of locals and when we returned for the feature we brought them back.�

Not many films start with the rain teeming down, but this one does. And that rain sounds heavy. It’s inland and overcast in Tamasese’s Samoa, which bears little resemblance to a tourism ad. “I tried to avoid showing the sea,�

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he says. “Every film that was shot there previously had a depiction of paradise. I wanted to go deeper inland and just stay there. There’s much more richness of culture and people inland, than on the beaches. There’s one scene I hoped people didn’t notice. When they chase him off the yam farm you can see the water.� “The rain in Samoa is such a force,� says Fitzgerald, “but it’s kind of a connecting force as well – it connects the heavens and the earth and it

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Tausili Pushparaj as Vaaiga. Image: supplied.

Every film that was shot there previously had a depiction of paradise. I wanted to go deeper inland and just stay there.

– Tusi Tamasese.

Cinematographer Leon Narbey with Tusi Tamasese. Image: supplied.

refreshes the earth. People talk about New Zealand as a green place but boy, the lushness of Samoa…”

Casting was a challenge. Aside from trained actress Tausili Pushparaj, Tamasese didn’t want to cast actors out of New Zealand – “I was after the experience of living in Samoa, the subtleties of life there” – and he admits that it was a hard task to find the lead actor.

“When I wrote the script I had one person in mind,” says Tamasese. “But then it didn’t work out. The main challenge was finding a small person.

We found him (Faafiaula Sagote) a year before we started the shoot, on another island. I came back and started writing, trying to fit the script to him, because he was a bit shorter.

But it was a lucky coincidence that we found him.”

The Orator was produced with funding from the New Zealand Film

12

october 2011

Commission and the Samoan Government.

“We shot the short in August 2009, and a year later we were shooting the feature film,” says Fitzgerald. “We also had a lot of non-financial support from the Samoan Government. Just smoothing our path and helping us through bureaucracy, lots of little things. We had sponsorship for our tickets through Polynesian Blue, which is half-owned by the Government.

“With permissions it was a case of going and meeting with the village council,” she says. “Some of our NZ crew found that a bit different and I was saying no it’s the same thing, just done differently. You don’t often have to sit down in a room with a city council these days to get a permit to shoot in New Zealand, but you do in a village in Samoa. But a lot of that stuff we had done in advance. We used the same main village as we used

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for the short film, so they knew us a little bit.”

While The Orator is mainly a drama, Tamasese also provides plenty of moments of levity, and well-rounded characters who can’t be pigeon-holed as heroes or villains.

“I love comedy, I love dark comedy,” he says. “And it’s a natural part of the culture as well, people are quite funny. I wanted to bring some of that stuff in just to soften the storyline.

The comedy stuff is intentional.

“In the first scene where the three men come to the woman, I wanted to just neutralise the scene. I didn’t want to paint it any way – even the costumes – I wanted to neutralise everything so people would listen to both arguments, because they both had legitimate arguments. The guy is fighting for the rights of the family as well, I didn’t want to make him the bad guy.”

Fitzgerald says the lack of easy clichés helps this debut to come across as a mature piece of work. “It doesn’t shy away from the hard things,” she says.

Tamasese describes the screenings at the Venice International Film Festival, where The Orator premiered in competition in the Orizzonti (New Horizons) section, as “nervewracking”.

“On the night of the screening, the premiere night, I didn’t know what the Italian audience would expect from the film, but it turned out okay.

Like the jokes – New Zealanders sort of have an idea of the islands, but there, they didn’t even know where Samoa was.”

At Venice, The Orator received three special honours, including a Special Mention from the Orizzonti Jury of the Festival, the Art Cinema Award from the CICAE Jury of the Festival, and the CinemAvvenire Best Film – Il cerchio non è rotondo Award from the Jury of the Associazione Centro Internazionale CinemAvvenire.

The Orizzonti Jury of the Festival said the film “expands the border of cinema with this mystical tale of brave individuals negotiating the politics of community in the Samoan countryside. A culture unfamiliar to many takes the screen with striking images and anecdotal flair. Following his first feature, we look forward to his next film.”

Variety gave The Orator a favourable review, calling it a “compelling drama” and an “auspicious feature debut”, and describing the script as offering “an insider’s view of a society that just about keeps a lid on simmering violence through complex, ritualised forms of group interaction and humour.”

“What’s really gratifying is to see people reacting to it as a universal story,” says Fitzgerald. “I guess one of the most common responses we got was that it’s completely different to anything they’ve seen, the style of filmmaking is different. They’d say it’s sort of like a Japanese film but not, and it’s a place they’ve never seen before at all. But they felt at home and secure in the ‘world’ and the story goes over and above cultural boundaries – it’s universally accessible, and moving.”

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Images: supplied.

A dog’s life The Last Dogs of Winter at TIFF Costa Botes’ latest documentary The Last Dogs of Winter screened three times in the Toronto International Film Festival’s Real to Reel series last month, landing a positive review in Variety. Onfilm correspondent Kerry Doole sat down with Botes and co-producer Caleb Ross to hear more about their extraordinary film.

I

n terms of quantity, the New Zealand component at the 36th Toronto International Film Festival (TIFF) was smaller than in recent years. In 2010, for instance, both Tracker and Matariki were presented, while a banner year in 2009 included The Vintner’s Luck, Under the Mountain, and the TIFF prize-winning Topp Twins doco Untouchable Girls.

Flying the Kiwi flag solo in 2011 was The Last Dogs of Winter, the latest documentary from prolific writer/ director Costa Botes, which screened three times in the fest’s Real to Reel documentary series.

Onfilm attended the first TIFF public screening in Toronto, which qualified as the film’s official world premiere. The film was greeted with a full house and genuine enthusiasm.

Other commitments prevented us from staying for the post-screening Q&A session, but NZ Film Commission head Graeme Mason reported very knowledgeable audience questions. “Most of it centred on the actual dogs, as opposed to the filmmaking process,” Mason told Onfilm.

“To me, that’s a sign Costa did his job.” Two other public screenings at TIFF were also well-attended.

Present at the premiere was Botes, his wife Jennabeth (a key contributor to the making of the film as the only other crew member), New Zealand actor Caleb Ross (given a co-producer credit on the film), and Brian Ladoon, the central subject of The Last Dogs of Winter. Also in attendance were NZFC’s Graeme Mason and NZ Film sales and marketing execs James

Thompson and Jasmin McSweeney.

The audience was predominantly middle-aged or older, including one gentleman drawn to the film by the fact that he worked in its setting, Churchill, Manitoba, in the 1950s. “I didn’t even know it was a New Zealand film,” he told Onfilm.

TIFF programmer Jane Schoettle introduced the film, calling it “incredibly fresh”, and praising Botes for his “unflinching insight”. The filmmaker then informed the audience, “I just finished the film a week ago.”

Botes also thanked NZ Film “for seeing what I saw in this idea”, adding “I am very grateful to TIFF. Making indie docs is a form of insanity, but an opportunity like this is what we live for. I’m pretty thrilled about it.”

The film depicts the plight of the

Canadian Eskimo Dog or Qimmiq, a once-thriving breed now facing extinction. As central to the film as the dogs is Brian Ladoon, a genuine character and free spirit who, since 1976, has devoted his life to protecting and breeding the dogs. Just outside Churchill, a remote town of 870 people on the shores of Hudson Bay, Ladoon has, against the odds, built up a viable breeding colony. Botes stresses that he sees this as a character story more than an animal story. “My films tend to be about passionate and driven characters who haven’t given up. That is inspiring to me.”

The story behind the making of The Last Dogs of Winter would itself make an interesting script. The catalyst was Caleb Ross, the young NZ actor who scored international

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Fest report

I don’t think I’d have coped very well at 50˚ below, but around minus 15˚C when we were there was fine.

– Costa Botes. attention in TV series The Tribe and has appeared in such series as Xena: Warrior Princess, Hercules, and Mercy Peak. Romance lured him to Canada a few years back, and when that crumbled, he responded to a job posting reading, “Come to Churchill, breed Eskimo dogs, see polar bears.” He ended up there as an assistant to Ladoon, and, three years later, he still lives and works there. The cause of the Eskimo Dogs has gripped him tightly, as Last Dogs depicts.

Botes directed Ross in The Tribe, and a chance meeting of the two on a New Zealand beach was the spark that led to The Last Dogs of Winter. “Caleb told me three years ago, ‘I think this would make a good movie’, and here we are,” Botes tells Onfilm.

The pair were still in very good spirits when they sat down with Onfilm the day after the premiere. Botes noted that the audience’s response at the premiere “is exactly the one I want. It’s not a film that’s heavy on exposition. It’s not a procedural on how to look after an Eskimo dog or a be-all history of the dogs. I want it to be emotionally satisfying. We didn’t get the bothersome kind of questions that tell you you’ve made a film that no-one gets.”

TIFF marked Ross’ first chance to see the completed film. “I went to one of the test screenings back in NZ about three months ago, but yesterday was the first time I’d seen the final cut. I was blown away. I was choked up when the film started, and I was extremely happy with the

response of the audience. To me, the questions they asked showed they had a connection with the film. They were genuinely interested and wanted to know more about the dogs.”

Botes is a fan of screening his films ahead of final editing. “You look for a consistency of response, and so I got a lot of that out of the way during the testing process. Using an audience as part of my process protects me from unbelievable horror at the back end.

I think it results in a much better film too.”

The Last Dogs of Winter was shot in and around Churchill, Manitoba, over a five-week period, from midOctober to mid-November. “We went from late autumn to early winter,” says Botes. “A cute idea was to edit according to the seasons but that became impractical. It was more important to edit for pace. I was hoping to catch Hudson Bay freezing over, but we couldn’t stay that long.”

Shooting in early winter on the fringes of the Arctic naturally presented technical challenges. “The cold was the thing I felt the most nervous about,” says Botes. “In fact, it didn’t really turn out to be an issue, other than discomfort. I don’t think I’d have coped very well at 50° below, but around minus 15°C when we were there was fine.

“I tried to anticipate those issues.

Wind is actually the biggest factor.

Even when you’re in the pickup truck with the heater blowing, you still have to stick your hands out the window.

Sometimes I’d have a great shot in my

Caleb Ross and Girl. Image: supplied.

viewfinder. You’d be trying to hold it and the wind is blowing across your hands. I couldn’t wear anything decent on my hands because you can’t operate the buttons or focus. You estimate ‘how long can I hold this before I scream with pain?’ At other times, you have the shot but you can’t be sure of the focus. Part of that is to do with the cold in your eyes. When I look at some hardcore wildlife shots in really freezing places, I just think it’s amazing.”

Hazards of another kind came in the form of polar bears. The Last Dogs of Winter was shot during the bears’ migrating season in this area, and a vigilant eye was constantly needed.

That’s why the bulk of the filming was done from within the truck.

“The biggest challenge in filming was being contained within a vehicle,” says Botes, “it simply wasn’t safe to get out and walk around. If you’re stuck inside a truck, you’re off the ground and it’s quite restric-

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Fest report

Brian Ladoon with Caleb Ross. Image: supplied.

I had my driver’s door open, and the next thing I know a bear walks around it. I had my shotgun on the ground. The camera just drops and I jump in the truck.

– Caleb Ross. tive. It’s handheld as opposed to being on a rigid platform. There are window mounts, but if there’s a bear 10 feet away and he decides to move in quickly, a handheld you can pull in. I had to think about strategies for overcoming that. Any chance to get out of the truck I took, otherwise it was a case of yelling at the wife ‘go over there, move here, can’t you see the bear is moving over there? What are you doing still here?’ So there was a bit of marital friction,” he recalls

16

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with a chuckle.

To Caleb Ross, “Safety had to be uppermost. There were 10 or 12 bears around, and they are so silent.

After Costa left, he left me one of his cameras and because I had a gun and was more aware of working in that environment, I got a few shots from outside the truck.”

“Some of the most striking wildlife shots are Caleb’s,” says Botes.

“There was a lot more snow and ice around then, making it bleaker,” says

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Ross. “It was mainly the shots of the polar bears playing together, and the little cubs. Dogs in foreground, bears in the background.”

Each filmmaker had some close calls. “I found the best position when the wind was blowing was to park the truck back to the wind and duck down behind one of the wheels,” says Ross.

“There is some footage I gave Costa where I’m doing that. I had my assistant looking out for bears. I’m crouched down filming the dogs and bears and I say to Jeremy ‘what’s that bear doing?’

He said ‘you’re okay.’ I had my driver’s door open, and the next thing I know a bear walks around it. I had my shotgun on the ground. The camera just drops and I jump in the truck. Those are situations that can arise.”

Botes says, “That footage didn’t make it into the film as you couldn’t see anything. You could hear lots, but we had to deliver a PG cut!”

Botes hopes to screen his film in Churchill at some point. That’d be interesting, given the heated opposition to Brian Ladoon and his dogs from many town residents. Their concerns are given plenty of screen time in Last Dogs.

“I think a film is only as interesting as its conflict,” says Botes. “There’s not much point in having a hero if there’s no opposition. The difficulty for me was in winnowing out facts from the awful lot of rubbish that is talked about Brian Ladoon. There are some very extreme views about him.

A lot of it is libellous, and I didn’t want to dignify that. But I talked to enough people to get some opinions of my own, then tested that against observations. A classic example in the movie is where you see dogs with bits of fur coming off. Caleb talks about how ice forms on the coat and fur comes off. The sequence is there because one of Brian’s critics told me with great authority that his dogs had mange. That just doesn’t hold up.

That’s typical of criticisms of him, all rooted in rumour.

“Another example is people see the dogs chained up on barren land and their hearts go out to them. They feel angry anyone would do that. I wanted the audience to have that strong first impression, and then set the story straight. Some people said ‘you’re never going to show the dogs on chains, are you?’ I am an honest person. I try to tell the truth by making a documentary. Except for Forgotten Silver of course!”

Getting his film placed in Toronto was always the goal for Botes. “Part of you is always thinking ‘where will this film be seen?’ I wanted it to be a film that could be seen in theatres, and that absolutely means you need an A-list festival. It’s a Canadian subject and it hasn’t been at all treated here.

Thanks, Caleb. You led me right into a mystery that no-one else has gone to. To make a documentary, you need access, you need something that’s new, and you need a strong parochial base. Caleb is a listed co-producer for a reason. He did a lot of work behind the scenes. Firstly, on Brian. It took two years to persuade him to allow us to make this film.”

According to Ross, Ladoon is now “over the moon” over the film. “He’s happy the story is being told and that people can finally be educated into what is going on. Regardless of how people react, at least the information is there for people to view, and make an educated decision.”

Botes is a stalwart defender of the subject of his film. “Brian’s critics just don’t give him credit for the honesty of his passion. That’s bedrock of what he is doing. Even if you don’t agree with his methods or the process, it is about keeping this breed going.

How many people have bothered to try to preserve that animal? I think he’s really happy that the dogs are highlighted to this extent. It’s an op-

Fest report

portunity for him to share the journey he’s been on.”

Last Dogs is produced by Botes’ Lone Pine Film & TV Productions, in association with the New Zealand Film Commission. He tells Onfilm that he initially approached Television New Zealand. “I had some notions of how it might be done, but they were quickly shot down. I took it to them, saying I saw it as a six-part of half hours. They said there were no slots for that. How about a one-off documentary? No slots for that. At that point I started to envisage a slot I could jam their head up!”

His next thought was of a co-production with a Canadian producer. “I got in touch with one when I was here in Toronto for the Hot Docs festival last year. She was really keen, but she said going down this road might take a while. You may get a bigger budget, but I’m not sure you’d get all the money onscreen. The vagaries of co-production, with so many compromises and bureaucratic red tape.

The real driver was that we could only really shoot in bear season, and the window for that year came and went. I had the feeling if it didn’t happen the next year, it might never happen. I thought I’d probably have to do it the old-fashioned way, on my credit card. I was prepared to do that.

Come over with my own camera and do what I do.

“But then I talked to someone at the Film Commission. It is now a rather different beast to what it was, like night and day. I was experiencing much more positivity there. A sense of what might be possible, rather than what wasn’t. So I presented some video, gave a presentation, and they were really keen. They gave me a small amount of development money that allowed me to do more prep work and research. I was encouraged enough to apply for production funding.”

Graeme Mason has opened up the door for documentaries again, says Botes. “Before, they were just done on a very ad hoc basis with the Commission. They were seen as broadcasting’s problem, but now broadcasters just

don’t want to know. If it’s a one-off authored documentary, they don’t want to know. That’s tragic. Just appalling.”

Botes is determined to get a theatrical run. “The Film Commission only gets involved in things that have the potential to be shown in cinemas.

As a condition of funding, you must have a theatrical run in New Zealand. I looked at that, and with the proliferation of digital cinemas now, it is logistically much simpler and cheaper. My plan is to distribute it myself, but who knows. Maybe we’ll get a distributor. I wouldn’t say no.

I think this one does have a bit of crossover potential. It is not a classic Animal Planet thing, I think it’s more of a character story.”

“Seeing it on that big screen yesterday was special,” says Ross. “Those landscapes need a big screen, so their vastness can soak in.”

Ross says working with Botes has, “sparked an interest in working on the other side of the camera”.

“I learned a lot from him, and I see it’s not an impossible dream. I never meant to stop working in the film industry. When I moved to Canada, I was thinking of carrying on acting, in Toronto or Vancouver. I got sidetracked, and thankfully it has ended up as a film project anyway.”

For now, at least, Ross has returned to Churchill to continue working with and for the dogs, as well as recording some of the music he’s been writing.

The actor’s moderate celebrity status may work to the benefit of Last Dogs. “I did an interview back in NZ with fans of The Tribe, and there was a lot of interest in the documentary from them. I think there will be a following from that. The more people that see it, the better.”

Don’t be surprised if Botes and Ross work together again in the future. The director confided to Onfilm that the landscape and people of Churchill has inspired thoughts of coming up with a fictional script using those components. “It’s a place where people get to escape, to find themselves, or to reinvent themselves.

There’s great potential in that.”

I am an honest person.

I try to tell the truth by making a documentary.

Except for Forgotten Silver of course!

– Costa Botes.

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october 2011

17

Free to air

MTS’ Te Reo channel RWC commentary team. Image: supplied.

The winner on the day?

Record viewership of Rugby World Cup coverage is levelling the playing field between Maori TV and its bigger free-to-air rivals.

M

aori Television has the lion’s share of live RWC coverage under a FTA rights deal the Government helped to broker when it looked as if there would be a bidding war between MTS and TVNZ – one that MTS was prepared to pursue to reach a much wider audience.

“It is about showing the public of New Zealand that we are here and that we are not just a minnow broadcaster – we can deliver a World Cup and we have quality programming that is worth watching,” chief executive Jim Mather says.

“It is about visibility and changing habits amongst new viewers … It can take a long time to break into the often entrenched viewership habits of New Zealanders, which have literally been formed over generations.

“Prior to Rugby World Cup 2011, our highest monthly reach was two million viewers.

“Twenty-one days into September we’ve already reached 2.4 million viewers, so we can assume that at least 400,000 new viewers have tuned into the channel so far, and that number will continue to increase as the Rugby World Cup goes on.”

TVNZ’s telecast of the opening game thrashed MTS’ but in the first two weeks of the tournament, MTS’ exclusive live RWC coverage scored historic ratings for the channel and decimated most of the FTA competition.

The September 16 All Blacks game against Japan notched up the biggest audience for any channel that day 18

october 2011

and drew Maori TV’s largest-ever audience: 696,430 viewers.

MTS also was the most-watched channel during its live coverage of the September 17 Australia versus Ireland game (MTS estimates about half of its viewers are watching the games via Freeview, a quarter via Sky, and a quarter via analogue TV).

“New Zealanders have already shown they enjoy the style and tone of our coverage,” Mather says.

“Right from the outset we sought not only to make it authoritative and credible but also entertaining. We think this uniquely Maori Television approach to tweaking the traditional style of sports broadcasting has really appealed. The record ratings we’ve enjoyed clearly show we’re on the right track.”

Mather attributes this to not only a “huge appetite” to watch the RWC for free but also MTS’ commentary team and presentation style.

“We also made the decision not to try and cram in the maximum number of ads as we could have done and as others have. We wanted to preserve the sense of occasion that Rugby World Cup 2011 represents and I think people have appreciated this.

“The calibre of our commentators is another reason why we’ve done so well. There are 27 in our commentary team broadcasting over two channels in both Maori and English. It is the most international team of any broadcaster and combined also has more test rugby caps than any other.

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So we’re confident the quality of our commentary team and the experience viewers have had with us so far will hold us in good stead against other broadcasters.”

The first test of this came on September 24, when TV3 also carried live coverage of the All Blacks-France clash, but the biggest will be in the semi, bronze and grand finals.

TV One traditionally has been the default broadcaster for events of national significance but MTS has been steadily chipping away at this with its Anzac Day coverage and now the RWC, with its ratings surprising media buyers and other broadcasters.

“People have an affection for Maori TV and are getting in the habit of going there,” says one network insider, who acknowledges TV One, TV3 and Prime have been hurt by an almost “red socks” enthusiasm for the RWC. Says Mather about MTS’ RWC strategy: “We set out to make a statement about Maori Television being our nation’s indigenous broadcaster and having relevance for all New Zealanders … We’re delighted by how our coverage has rated and we think it’s the perfect vehicle for showcasing the other quality programming we have on Maori Television.”

The big event post-RWC is Kowhiri 2011. MTS will air seven election specials and have live coverage on the night.

“We are currently in the final stages of contracting a high-profile international sporting series for our

Thursday night primetime slot exclusive on the free-to-air platforms,” Mather says.

“In our international documentary slot on Tuesdays, we are pleased to be able to premiere immediately post-RWC We Shall Remain, the definitive historical series on the native Americans.”

Closer to Christmas MTS will screen The Maori Music Awards, the Maori Sports Awards and Songs from the Inside, in which top musicians, including Tiki Taane and Anika Moa, work with eight prisoners to create unique musical compositions.

“It’s heartbreaking and inspirational all at the same time,” says Mather.

MTS is using the RWC to re-run shows that weren’t widely seen previously, like East West and Head Start, and to promote its mix of quality documentaries and movies, including the FTA world premieres of Apocalypto and Boy. “A specific highlight of our coverage has been the broadcast of all 48 games entirely in the Maori language on our Te Reo channel,” Mather says.

“This has been a core component of our Rugby World Cup 2011 language strategy, alongside the introductory level of te reo Maori delivered during our Maori Television channel commentaries.

“We have been committed to promoting te reo Maori in ways that will complement our overall coverage of the tournament on both channels.”

By Philip Wakefield.

Chris McKenzie with space light challenger The Ohm (shown here on a stand). images: supplied.

The light fantastic LEDs have transformed the humble torch from a clumsy piece of old-world technology into a lightweight, efficient tool of the modern age. Peter Parnham asks if they can pull off the same feat in the world of film and television lighting.

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one are the days when somewhere around the house was a hand torch powered by two lumpy size D batteries. No, these days you’ll have a head torch not much bigger than a matchbox that puts out more light while the batteries last for absolutely ages. They also dim, strobe, and some can even flash out SOS in Morse code – handy next time you’re lost, out of cellphone range, and if there is an elderly pilot flying by.

Your torch shrank because it no longer has a bulb. Instead it has LEDs – pronounced L.E.D. and short for light emitting diode. These are bits of electronic circuitry that couldn’t be more different from traditional

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heat-until-it-glows-really-bright incandescent lamps with tungsten filaments.

It’s not just LED torches that are smaller, longer lasting, using less power and performing tricks – LEDs are transforming lots of different lighting products. If anything, the specialised nature of film and television means this industry is coming late to the LED stampede.

David Epstein of A2Z Technologies says he attended the big NAB broadcasting show in Las Vegas in April and was astounded by the number of LED lighting manufacturers.

“LED had a bumpy start but in the US it is really big now,” he says. “Instead of lugging Redhead (800w tungsten)

type lights around, suddenly you are into LED lights powered by batteries, as well as small camera mounted lights.”

“So we brought a whole lot into New Zealand and thought we’d give it a go, and they have really taken off, I think because they are so portable.”

Professional Lighting Services head Chris McKenzie counts LED lights among his company’s sales and rental products, and says there are most definitely some good quality LED luminaires on the market.

“But there is a lot of snake oil too,” he says. “The film industry is leveraging off the LED development for the general lighting industry, but the problem for us in the film industry is that we need accurate and consistent colorimetry.”

A rainbow is daylight broken down into component colours – light frequencies – and colorimetry is the reverse process – putting a mix of light frequencies together to make up natural looking white light. How well this is achieved is measured by colour rendering index (CRI), a key specification for LED lighting.

In real life your eye tends to adjust if the colours are not too far out of balance, but get the component mix of colours wrong in an image and your characters’ faces assume an undesirable pallor. They might look sickly, wildly ruddy or take on a green, alien tinge.

“This is where a lot of the cheaper LEDs fall down,” says McKenzie. “They might stick LEDs from torches or domestic lamps on a panel and call it a Litepanel (one of the first specialist film industry LED brands).

“Reputable manufacturers will get their fittings as good as they can, but it is still dependent on the quality of the actual LEDs themselves.”

Lighting

I use them for a kicker light or back lights or something like that, when you can get away with a bit more colour differential.

– Kevin Riley.

When fluorescent lights were first used in the film industry they too had colorimetry issues that were largely solved by research and development.

LEDs are now going through a similar rapid development phase with lighting heavyweights like Arri, Kino Flo and Dedo Light and newer manufacturers like Litepanel and Gekko all weighing in.

Director of photography Kevin Riley, also a founder of Cinestuff, a

lighting rental company that has LED Litepanels, is cautious about the colour rendering of LEDs. “When people say an LED is daylight balanced or tungsten balanced, in the past there has always been an odd spike of a colour within that balance which means the fixture doesn’t appear true when you put it up beside a true daylight source or a true tungsten source.

“When I have used LEDs on set, I

Light or computer?

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october 2011

21

Lighting

The film industry is leveraging off the LED development for the general lighting industry, but the problem for us in the film industry is that we need accurate and consistent colorimetry.

– Chris McKenzie.

No bulb – six small LED squares on a circuit board.

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october 2011

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have always avoided using them as frontal, skin tone lights. I use them for a kicker light or back lights or something like that, when you can get away with a bit more colour differential. If you use them flat on to the skin tones and you’ve got other ambient light sources they often don’t match.

“The challenge to the specialist film lighting manufacturers is to produce units that are much closer to matching natural and tungsten light sources.

“At the higher end of production that’s what they are interested in. Of course at the other end there are a lot of LED manufacturers out there who are making quite cheap copies of various LED lighting fixtures and a lot of people are quite happy with them because of the kind of work they’re doing.”

He says if consistent LED light sources are used, a video camera’s internal colorimetry processing can sometimes compensate – a quick calibration process known as white balancing.

“But the trick comes when you’ve got a face that’s receiving true daylight from one side and the other side has your LED with a colour spike in it.

Then suddenly you have something

that is very hard to grade, or very hard to white balance out.”

All the same, Riley says it is expected these days that a gaffer truck will have some LED panels or “bricks” because of the versatility that comes from small size, low power and comparatively cool running temperature.

“I used them on Legend of the Seeker when I was shooting in canvas tents and didn’t have the headroom to rig a conventional hot running lighting fixture between the actor’s head and the top of the tent. I could put up a lightweight LED fixture, say clamped to the tent pole, and it could safely make contact with the canvas. Then I had some light into the top of the dark hairline to create differential to the background.”

For all their usefulness and promise, LED lights are way too small to offer any challenge to big lights, particularly HMI lights powerful enough to be used for daylight exteriors. What’s more, even bigger 24K HMI luminaires are now appearing on the scene. Still, the big lights are not just about power, it is the quality of light produced by a big power light source.

“As far as quality of nice wrapping soft light goes, most DPs will still start

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off with a very large front faced unit and put it through a very large silk,” says Riley.

And even Arri, known for top of the range products, is just beginning to release a series of fresnel lens LED lights that reach equivalent output to a conventional 1K tungsten fresnel.

The promise of this lighting is that it will save power. Arri’s L series brochures offer 75% power reduction over the equivalent tungsten light. Over time the power saving offers the big dollar payoff – plus the bonus satisfaction of being “green”.

But compared to tungsten light that merely holds a few wires and a bulb, an LED light is a pricey and complex piece of electronics, complete with microprocessors and in some cases with USB ports for uploading new firmware.

Plus, there is all that R&D to pay for.

The elevated price tag means that except for special purpose compact or battery driven lights it is unlikely gaffers will be rushing out to replace their conventional tungsten lights with LED equivalents as they become available.

They would have the extra cost but are not the ones who will get the payback of savings on power or reduced diesel to fuel a generator.

But in a television or production company studio the dynamics are different – the same people who pay for the lights pay the power bill, and the payback of power savings is likely to make the price of LED lighting look very much more affordable or even cheap over the long term.

Then there are also savings on lamp changes. Arri says the life of its L Series fresnel LEDs is 200 times that of an equivalent tungsten lamp, while it’s not uncommon for other manufacturers to put the LED life at 50,000 hours – close to 14 years of burning 10 hours per day, every day.

That kind of life saves not only the cost of replacement lamps but the cost of someone running around with a ladder doing the work – a significant and real cost in a large television studio with hundreds if not thousands of lights.

If you are shooting in a real studio and not a tin shed, you can also add a line in your budget for savings in air conditioning. LEDs put out heat which must be managed with heat

dissipating surfaces, fins or fans, but nothing like the heat of equivalent tungsten lamps.

Aside from television broadcasting studios, LEDs are also posing a challenge to the ubiquitous 6K space light, often hung in vast numbers in the ceiling of a studio to raise the ambient light during drama shoots.

The Ohm is a newly released LED luminaire designed to take on 6K space lights. Substitute The Ohm for a space light and you can save over 4kW of power per light per hour, a saving that rapidly accumulates when a large feature can have hundreds of them burning for hours a day.

Chris McKenzie says the light, like some other top-end LEDs lights, uses a design where each emitter is formed from a cluster of individual LEDs that produce different parts of the colour spectrum. A built-in processor evaluates and adjusts the colorimetry, selfcalibrating and tuning the light output to reduce any anomalies and compensate for the changes in colour in individual LEDs over their life span.

With this kind of processing power built into the top end LED lights, as well as the usual dimming functions, from the remote control board you can simply dial up the correct colour of light to match daylight or tungsten light sources – a trick that could only previously be performed by laboriously clipping coloured gel filters across the face of the light.

As it happens all this development is taking place at a time when the increasing sensitivity of digital cameras is increasing. Light may be manipulated with lighting for creative reasons just as it has always been, you just don’t need as much of it, especially in the controlled environment of a studio.

Outside, as one gaffer puts it, you are always fighting the sun, and to do anything effective with lights you will always need some raw grunt – something that LEDs are not yet able to supply.

For a gaffer, so far LEDs are largely in addition to the variety of HMIs, tungsten, and fluorescent lights they are expected to have on hand.

It looks like LEDs may be able to shrink torches, but they aren’t going to turn behemoth lighting trucks into little vans anytime soon.

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Lighting

Bumper year for Xytech Onfilm chats with Xytech Lighting’s Stephen Pryor, managing director of the Auckland-based lighting sales and rental company.

T

his has been an absolutely blockbuster, record-breaking year for us overall,” says Stephen Pryor, managing director of Xytech Lighting in Auckland. “It’s been very good. The calendar year for 2011 will definitely be our busiest year ever in terms of work.”

The company’s income is two-thirds rental and one-third sales, he says. “We basically sell anything and everything relating to the lighting, power distribution, a certain amount of grip – that’s all within the film and television industry – and with the entertainment industry we also do a lot of events, shows and theatrical productions. That’s rental and also sales.”

Pryor says that in general, all areas of the business have been flat out this year.

“With the Rugby World Cup, there’s been a lot more work in the event and entertainment end with the shows that have been going on. But also in film and TV, commercials, there’s been a lot happening. We also have an office in Sydney; we’re busy there as well.

“It’s been an unusual year overall. Areas that wouldn’t normally be busy have been busy. And other areas you’d expect to be busy have been a bit quiet because of the World Cup. We certainly noticed that over the past two months and into October – the mix is quite different. But overall there’s a good level of activity.”

Xytech was a supplier for RWC opening night events both down at the

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waterfront and at Eden Park. “So you have those sorts of things, plus corporates doing special events. We’ve also been involved with shows like Anything Goes at the Civic Theatre. But in other areas, a lot of events have been put off until after the Cup.” It has also been the main supplier for Spartacus and supplied equipment down to The Hobbit. Pryor says that was more for additional studio requirements rather than long term. “I think at one point we had 10 trucks full of gear down there and that was certainly more than I expected.”

Pryor says that LED lighting has gained widespread acceptance over the past 12 to 18 months. “It’s been quite noticeable, last year and even the year before they were a bit of a novelty, people were a bit ‘we’ll see what happens’.

But in both sales and rentals there’s been a lot of activity and a lot of acceptance. I guess the more people use them, the more they understand what LEDs can and also what they can’t do – where they kind of fit into the mix of tools.

“Personally in most of what we do I don’t see them taking over anytime soon. But I certainly think there’s a place for them and some really useful aspects to them. And that’s right across film, TV, entertainment, event, all that sort of stuff. Maybe the event and entertainment sort of picked up on them early because they’re an easy thing to

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The more people use them, the more they understand what LEDs can and also what they can’t do.

– Stephen Pryor. use for some flashy colour and to make things look pretty.”

A lot of the manufacturers talk about the total cost of ownership, he says. “When you look at say a tungsten lamp head, which is relatively cheap to buy in the beginning, but every couple of hundred hours you have to put a new bulb in it. The power that’s consumed, air conditioning, additional cabling, power distribution – when you add all those things up over the lifespan then it has been shown that LEDs do lower the total cost of ownership. The initial cost is higher but you’re not in the situation of having to replace lamps. And if you’re paying for the power there’s benefit.”

With any tool of the trade, there are always advantages and disadvantages with any of the tools out there. Pryor says it’s about figuring out what the best tool for the job is.

“I think since the early days with LEDs, there’s been a lot of R&D gone into it now. They’re finally getting to

the point where they are a lot more stable, they are providing the benefits they claimed initially but didn’t always perhaps live up to in the early stages.

Some of the newer versions of things are coming along quite a bit.

“There’s also a bit of crossover – ARRI’s new L7 series which is modelled on a 1k tungsten Fresnel. You now have an LED in what looks like a 1k Fresnel lamp housing. The output is very similar, but with about a third of the power consumption. But it’s interesting that the early LEDs didn’t look like conventional lights. The line is blurring a little bit, there’s more of the traditional Fresnel style design.

“Then these things do become an actual substitute rather than an additional item – LEDs have been great for little car rigs or portable things, oncamera. But in a more general lighting setup they haven’t fitted in quite so well.

Some of the new lighting fixtures out there look more familiar and operate in a more familiar way.”

Events

Asia-Pacific Producers come to town Hosted by Film Auckland, the annual symposium of the Asia-Pacific Producers Network is being held in New Zealand for the first time.

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he Asia-Pacific Producers Network (APN) symposium, to be hosted this year in Auckland from 11-13 November, will offer an opportunity to develop relationships and generate new projects and partnerships, and the forum on Sunday 13 November is open to pitches from New Zealand industry.

The APN was formed in 2005 with the aim of encouraging co-productions, collaboration and joint projects and represents a group of more than 80 leading screen producers, primarily from China, Hong Kong, Japan, Korea, Taiwan, Singapore and New Zealand.

Paul Carran of Film Factory NZ and Global Entertainment Fund is the current president of APN. His first APN conference was in 2007 in Korea and since then he has attended meetings in Japan, Shanghai and again in Korea.

Carran is enthusiastic about how the producer network has developed and grown over the last five years and how positive the members are towards New Zealand.

“There is genuine interest in engaging with New Zealand and with us co-producing movies with key Asian territories,” he says. “Translating that interest into deals done is the opportunity of the Auckland conference and the additional location tour to Wellington and Queenstown.

“We are encouraging our local creative talent to come up with pitches to the visiting producers and to begin a process. Last year in Korea the pitching meeting resulted in at least one if not two co-productions between member countries.”

“The members of the APN are looking for partners – that is what the organisation is all about,” said Film Auckland in a statement to Onfilm.

“They are also looking for English language partners to make English language films. They are serious when they look towards New Zealand.

There is no doubt this will require long term work and the first productions may not happen overnight. But make no mistake – they will happen.

And they will open up markets and finance for New Zealand producers, where the local producers still retain a stake in the final product.”

“New Zealanders are dealing with producers and filmmakers from across Asia all the time,” says Gisella Carr, chief executive at Film NZ, “so there will already be relationships and business projects in place, but this APN gathering is likely to deepen those where they exist, and create them where they do not.”

Some of Asia’s most influential film industry figures have confirmed their attendance at the Asia-Pacific Producers’ Network Forum.

Zhonglei (James) Wang, Shuguo Tomiyama, Jin Wha (James) Choi and Satoru Iseki, representing leading film companies from China, Japan and Korea, head up a long list of delegates confirmed to date.

James Wang is the president of Huayi Brothers Media Corporation, China’s largest privately owned film production company. James Choi is chief executive officer of Kang Je-Kyu Films, one of Korea’s leading production companies. Shuguo Tomiyama is a producer at Toho Studios, where classics by legendary director Akira Kurosawa, including Seven Samurai, Hidden Fortress, Kagemusha and the Godzilla series were produced, and

Satoru Iseki, who began his career as production manager to Kurosawa, is a senior Japanese producer – he was executive producer of The World’s Fastest Indian and producer of Smoke, The Emperor and the Assassin and Battle of Wits.

“Bringing such a powerful group to New Zealand is incredibly exciting and provides a once-in-a-lifetime opportunity for the New Zealand screen industry,” says Carran.

New Zealand industry professionals are also involved in the forum as speakers and panellists. These include: Rob Tapert, Robin Scholes, John Barnett, Leanne Saunders, Gar-

ry Little, Grant Baker, and directors Roseanne Liang and Stephen Kang.

APN attracts experienced, fascinating people with a wide range of creative and business interests, says Carr. “Those attending will find it a very stimulating environment. On a business level, it will be interesting to see what grows from it as a next phase development. And of course, we hope our guests have a fantastic experience of New Zealand and of New Zealanders.”

• Pitching submission information and online conference registration can be found at www.filmauckland.com/apn

BRINGING IDEAS TO LIFE

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Across the ditch

Nga¯ Hau E Wha¯ The Four Winds by Leilani Kake

NSW screen funding cuts a blow to the yarts Our expat spy provides his idiosyncratic take on the Aussie film and television industry.

A

n o t h e r NSW state budget and the Yarts are right up there getting

by JAMES BONDI a big haircut.

While disappointing, it came as no great surprise that the A$5 million top-up to the Screen NSW Production Investment Fund will no longer be on offer.

The new-ish NSW government has a massive job ahead of them, restarting an economy that’s been left behind the rest of the country after decades of rule by increasingly inept and dodgy NSW Labor factional governments. The screen funds have taken the first hit in an overall belt tightening.

The budget also booted the A$20 million film and television industry attraction fund out the door.

However, NSW deputy premier and minister for trade and investment Andrew Stoner assures us all is not lost. Well, not to Alex Proyas’ new production Paradise Lost anyway.

Stoner says, “The NSW government secured the production of the multimillion-dollar film Paradise Lost for Sydney, which is estimated to bring $88 million in production expenditure and 1300 jobs to NSW.” So that will be all right then!

Stoner claims the economic benefits of the film and digital sectors are recognised by the NSW government. Industry types are sceptical, with the Screen Producers Association of Australia (SPAA) exec director Geoff Brown commenting “It’s an unfortunate outcome: one that will hit NSW very hard.”

Time will tell but it will certainly be an unfortunate outcome if the recent uptick in screen work in NSW ticks back down again.

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it Aussie doggie flick Red Dog continues its phenomenal success with expectations of A$16m in ticket sales by the end of September. That will put it up near the top ten highest grossing Australian films in Aussie cinemas.

In an interview in the Sydney Morning Herald, producer Nelson Woss revealed he has adopted the film’s star, who now sleeps under the kitchen table in Perth, from which Mr Woss works. Not the adorable Rachael Taylor, but the loveable mutt, Koko.

“I’ve been so busy over the last months that it [the film’s success} hasn’t sunk in yet. What happens with producers is that everyone moves on – the actors move on to other movies, directors move on to other gigs – but I’m the guy who turns the lights out.”

Looks like it’ll be a while before Mr Woss’ kitchen is plunged into darkness, with the film now set for international release.

Another sign of Red Dog’s popularity is dog breeders and shelters reporting floods of calls from people wanting their own kelpies, possibly not realising just how much space and exercise the breed requires. Could a red dog turn out to be the secret weapon against Aussie obesity? Or will there be a lot of bored kelpies sleeping under designer tables? ***

S

peaking of Rachael Taylor, her career is now in top gear, with a lead role in the remake of the TV series Charlie’s Angels, which started screening in the US in September.

Her talent is now bringing her media attention rather than the unfortunate incidents surrounding her past relationship with troubled actor/ filmmaker Matt Newton, which

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resulted in her having to take out an Apprehended Violence Order against her former beau. Taylor is now established as one of the rising stars in the Gumleaf Mafia. These young Aussie talents are infiltrating the LA industry so successfully that the locals think they’re local! ***

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ussie TV drama continues a dream run with a recent OzTam survey in September showing three local dramas in the top five programmes.

Set in 1860s NSW, new show Wild Boys is an Australian western about the bushrangers during the gold rush days. Featuring Kiwi Anna Hutchison in a major role, it had City Metro ratings of 1.685m for Channel Seven. Seven’s favourite Packed to the Rafters held healthy ratings of 1.621m. Channel Nine’s new Underbelly: Razor dropped from its opening night peak but still captivated 1.564m viewers, proving yet again that crime still pays. ***

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y the time you read this the Rugby World Cup final contenders will be known to all, but it was a dismal Sunday in Oz after the Wallabies were soundly thrashed by Ireland at Eden Park on September 17. While it wasn’t actually the end of the world, it seemed like it. A previous win over the All Blacks had raised high hopes but Ocker heads were bowed in shame after another Wobblies performance, hoping for a miracle in the weeks ahead. Meanwhile, ecstatic Irish backpackers drank Sydney pubs out of Guinness, cruelly taunting the locals with U2 and Van Morrison songs on the jukebox.

NZ film artists in brief Leilani Kake

I

ntermedia artist Leilani Kake (Tainui, Ngapuhi, Rarotongan, American) produces personal intercultural, intergenerational works dealing with issues of identity and culture, tradition and change in New Zealand Maori and Pacific Island communities. Her works include Mates (2006), Talking Tivaevae (2006), Minimal Baroque (2006), Ariki (2007) Tino Rangitira Tanga (2010), Kiaora/Kiaorana (2010) and Nga Hua E Wha – The Four Winds (2011).

Although born in Rotorua, Kake lived in Papua New Guinea and Australia as a child before eventually settling in Auckland.

Straddling the divide between identity politics and visual music, Kiaora/Kiaorana presents the viewer with text of New Zealand and Cook Island Maori (Rarotongan) greetings.

These transform into flattened black and white abstractions, like a moving electronic tapa of swirling star patterns, doubled biomorphic images and evocations of flora – almost as the first organisms moving into and through life – and accompanied by a rhythmic ambient soundtrack.

Kake’s immersive four-screen video installation Nga Hua E Wha – The Four Winds (2011) features four ethereally lit Pacific women (one on each screen), each representing a different stage of womanhood – post-pubescent, pregnant, motherhood and menopause. Naked, they glide on their backs, arms outstretched, through an enveloping watery darkness. The water being the ocean that all human life crossed to be here, placental fluid and a reminder that, besides the God Tangaroa, Maori mythology also spoke of maidens of the sea.

The calm and soothing soundtrack of this work includes a tauparapara, a chant-like introductory salutation, recited by Kake herself.

– Martin Rumsby

A legal view

The problem with Option and Purchase Agreements Option and Purchase Agreements are the starting point for almost every project in the film and TV industry. But, as David McLaughlin explains, they aren’t always perfect.

O

ption and Purchase Agreements should be step one for anyone interested in looking to either acquire or sell rights in a project for further development.

Without a clear and concise Option and Purchase Agreement the producer runs the risk of investing time and money in a project with no clarity around what rights they can acquire for the project going forward, or the price they’ll be required to pay for such rights.

From the perspective of the owner of the property, without a precisely drafted Option and Purchase Agreement, the very real risk is that you entangle your ideas and rights, with that of the new work done by the producer, without any clarity on how to disengage from the process, or how and when you are to be paid for the underlying material you have provided.

So clearly a solid Option and Purchase Agreement is essential for both parties when looking to develop a project. Further down the track any investor or distributor of the project will also insist on there being a suitable Option and Purchase Agreement in place, to ensure there is no fundamental defect in the project’s “chain of title”, which could lead to all manner of legal problems when the project is finally released.

Despite the obvious importance

of Option and Purchase Agreements in our industry these documents do not come without their own issues. In particular, there are situations that can arise in the development process that can put pressure on the effectiveness of Option and Purchase Agreements. The simple reason for this is that like all legal documents, Option and Purchase Agreements are set in stone at the point in time they are executed.

This is obviously what gives Option and Purchase Agreements their certainty, but in some situations it is this certainty, as of a certain point in time, that can actually limit their future effectiveness.

Certainty is incredibly desirable in any type of commercial situation. However, in an industry such as the film and TV industry, where a project can take years to develop and attract the buy-in from the necessary parties and investors to allow it to proceed, things seldom proceed along a set path, which is clearly known at the time of the initial Option and Purchase Agreement. What this means is that over time, in some situations, the deal provided for in an Option and Purchase Agreement can become outdated or superseded by subsequent arrangements the parties have made.

There is absolutely nothing wrong with this from a pure com-

mercial perspective, and indeed this is just a reality of any business situation, particularly one which stretches out over a significant period of time. However the problem is that unless the parties in these situations continue to treat the Option and Purchase Agreement as the fundamental document governing their relationship, over time they can erode the certainty on which their relationship is based.

In short, the problem with Option and Purchase Agreements is that they need to be updated as the deal between the parties changes over time. For example, if the owner of the underlying property subsequently agrees to waive certain contractually-provided-for option payments, or allow for further option periods to be granted to the producer on the basis of wanting to give the project a greater chance of actually proceeding to production, then this should be reflected in written amendments to the Option and Purchase Agreement, and signed by both parties.

Following on from this before any such leniency is granted from one party to another, there should be a full and frank discussion of whether this will entitle either party to some additional reward down the track, based on the further accommodation they’ve granted. Loosely agreeing to reward someone down

the track for concessions made, if the project proceeds and succeeds, will do nothing but introduce uncertainty into the relationship – fertile ground for disagreement, dispute and legal action.

So although fundamentally Option and Purchase Agreements should be seen as the legal bedrock of any project, the problem with them is that they need to be updated over time if the parties subsequently agree for whatever reason to vary their initial deal. If this isn’t done, they will provide nowhere near the legal and commercial certainty that both parties initially went to the cost and effort of putting in place.

• David McLaughlin (david@mclaughlinlaw. co.nz) is the principal of 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).

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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 pre PRODUCTION THE CURE action/thriller feature format Digital prod co David Gould Studios sales agents Archstone Distribution, Joker Films writer/dir David Gould prods Alex Clark, David Gould 1AD Marc Ashton cast dir Liz Mullane cinematgrphr David Paul stunts Rodney Cook, Shane Rangi vfx sup Frank Rueter loc Wellington NZ cast Antonia Prebble, John Bach, Stephen Lovatt

IN PRODUCTION KIWI FLYER Feature NZFC, NZ on Air, Kiwi Flyer Productions prod Tim Sanders dir/writer Tony Simpson writer Andrew Gunn line prod Maile Daugherty prod coord Angela da Silva asst prod coord Jimmy Hayes 2nd prod coord Louise Allan run Sam Booth acct Ian Nobin 1AD Fraser Ross 2AD Reuben van Dorsten 3AD Rachel Bristow prod des Ken Turner art coord Kim Turner onset art Alexandra Turner props byr/coord Kevin Butson art asst Russell Menary art run Delainy Kennedy DP David Paul 1AC Focus Matt Tuffin 2AC Graham Smout data wrang Alastair Mckenzie cast Neill Rea (Fly Casting) pub/cast coord Sian Clement stills Joni Anderson caterer La Petite Fleur chaprn Kerry Fleming cost des Jill Alexander cost s/by Haley Lukies cost asst Sophie Hodge script sup Karen Alexander ed Paul Maxwell asst ed Nicki Dreyer gaffer Adrian Hebron key grip Hamish McIntyre grip asst Bret Saunders b/boy Mark Matchett loc mgr Graham Thompson scout Michaela Blackman m/u sup Jean Hewitt m/u sup asst Kate Fox-Heywood Poppy MacPhedran safety Willy Heatley, Damian Molloy snd rec Ben Vanderpoel boom op Nikora Edwards stunts Steve McQuillan unit man Josanne Tane post prod Images & Sound cast Edward Hall, Tikirau Hathaway, Tandi Wright, Dai Henwood, Vince Martin, Myer van Gosliga, Doug Colling

POST PRODUCTION 50% OFF MAIL ORDER BRIDE 13min short (RED) prod co idiotvision writer/dir/ prod Alan D. Parr DP Daniel Wagner art dept hd Brent Hargreaves 1AD Gabrielle Luxton prod mgr Jesse Hilford scrnply ed Alan Brash m/up/hair Celeste Strewe cam op Ben Montgomery f/puller John Whiteside Leyland 3AD Rosemary Abel 2nd asst cam Tegan Good snd recs Nikora Edwards, Brendan Zwaan, Josiah Toclo boom op Arthur Gay gaffer James Dudley b/boy Matt Wilshere lx assts Leigh Elford, Tom Neunzerling, Kelly Chen, Britta Lauritzen, Cody Armstrong-Paul, Debbie Du Preez, Maria Pogodina art dept assts Chris Stratton, Ruby Reihana-Wilson, Ryan Mansfield assts James Watson, Maiken Bryant, Lucy Campagnolo, Jonathan Paul, Alex Cairns snd post eng Jason Fox snd post prod Samantha Jukes asst ed Carsten Kudra art Andrew Long prps/mkr Big Al Parr pre vfx Jared Baigent sfx prps/byr Jacqui Baigent p/ grphr Kelly Newland Photography dir asst Francesca Dodd-Parr ed Yaser Naser cmpsrs Katie Scott, John Paul Carroll cast Simon Ward, Mia Pistorius, Katie Scott, Toby Sharpe

A BEND IN THE ROAD NZFC funded short prod co Alpha Bristol Films prod Gemma Freeman dir/writer Rollo Wenlock DP Simon Baumfield hd art Kasia Pol eds Charlie Bleakley, Michael Horton cast dir Tina Cleary asso prod mgr Georgiana Taylor 1AD Del Chatterton stunts Rodney Cook cam asst Graham Smout lx Byron Sparrow grip

Wayne Subritsky lx/grip asst Simon Oliver snd rec Aaron Davis, Kevin Hill w/robe Caroline Stephen m/ up Lucy Gargiulo m/up asst Tiffany Te Moananui continuity Marian Angeles, Nina Katungi snd des Matthew Lambourn cmpsr Stephen Gallagher dialogue ed Christopher Todd snd fx ed Jeremy Cullen ed asst Greg Jennings loc res Lily Hacking prod assts Rachael Glassman, Robert Ormsby p/grphr Michael Hobbs catering Peartree Lane Catering cast Aaron McGregor, Tom Hern, Leon Wadham, Cohen Holloway

COMPOUND Feature prod co D S Productions 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 Productions prod/dir/ writer Alex Galvin exec prod Michael Stephens 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 Kevin Dubertrand ADR Darren Maynard 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, Amy Tsang

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 cam op Aline Tran 1ac cams Matt Tuffin, Kirk Pflaum 2ac cam Marty Lang vid split/wranglers Josh Obrien, Laetitia Belen, Shane Catherall 3AD Dan Lynch chaperones Miranda Harcourt Stuart McKenzie, Julie Roberts prod des Philip Thomas constr Geoff Goss stby prps/props byr Ryan Roche set drssr Ryall Burden prpmakers Izzat Design prpmaking asst Yohann Viseur r/player prp maker Nick McGowan art assts Ivan Rooda, Shane Catherall, Ian Middleton, Tom Mchattie, Amohia Dud-

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ding graphic 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 comp Grayson Gilmour post fac Park Road Post 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 thanks to Museum Hotel, Gail Cowen Management, Johnson & Laird, MAC Cosmetics, Celsius Coffee, Meridian, Wgtn Regional Council, Toi Poneke Wellington Art Centre, Loose Unit/Gabe Page Chris Streeter, Russell Murray & Film Wellington Nicci Lock cast Loren Taylor, Gareth Reeves, Peter McCauley, Matt Sunderland, Thomasin McKenzie, Peter McKenzie, Aaron Jackson, Rachel Roberts, Gentiane Lupi and Richard Freeman

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 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

JAKE 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

OLD SALT 10min Short (RED) prod co Korshis Possum Films dir Matt Johnston writers Tom Furniss, Matt Johnston prods Katie Gray, Matt Johnston DP Ross Turley 1ADs Andrew Burfield, David Boden art dir Julie-Anne Mueller gaffer Mathew Harte f/pullers Dominic Fryer, Ayrton Winitana cam/lx assist Rachel Choy, Jeremy Garland, Puneet Bakshi snd Jude Hassett, Jack Graves, Shannon Walsh m/up Emily Holland, Sharnelle Eden vfx Jill Round art assists Hana Spierer, Justine Keating cost des Katie Gray cast Pete Coates, Stephanie Liebert, Sean O’Connor

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 assts 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 cast Donogh Rees, Stephen Ure, Mitchell Hageman, Thomas Hageman

SIONE’S 2: Unfinished Business Feature prod co SPP (09 839 0999) prods John Barnett, Paul Davis dir Simon Bennett writers James Griffin, Oscar Kightley line prod Janet McIver acct Susie Butler prod des Tracey Collins construct mgr Nik Novis DP Marty Smith casting dir Christina Asher cmpsr Don McGlashan ed Bryan Shaw asst ed Gwen Norcliffe loc mgr Harry Harrison head m/up sup Kevin Dufty script sup Melissa Lawrence snd rec Myk Farmer pub Tamar Munch stills Jae Frew cast Oscar Kightley, Robbie Magasiva, Shimpal Lelisi, Iaheto Ah Hi, Teuila Blakely, Madeleine Sami, Dave Fane, Mario Gaoa , Pua Magasiva, Nathaniel Lees

THE RIVER CASTLE Short drama prod co SilverGate Pictures dir Pavel Kvatch writer Joseph Ryan prods Helmut Marko, Pavel Kvatch DP Waka Attewell prod mgr Steven Charles prod coord Louise Charles art dir Kathleen Collins cast dir Katie Frost 1AD Del Chatterton 2AD Charlotte Hayes 3AD Elliot Travers loc mgr Lila Reibel locs Sarah West, Matthew Christophers loc asst Jacob Cordtz f/puller Michael Knudsen 1st cam asst Kim Thomas 2nd cam asst Josh O’Brien gaffer Adrian Hebron lx asst Lee Scott grip Jan Kleinheins grip asst Neil Hunter snd rec Benoit Hardonniere boom op Dylan Jauslin cont Lillian Beets set dec Tom Frame art assts Alia Miller, Olga Durban w/robe Roc Travers m/up Natalie Morgan stills Gina Donaldson making of Symon Choveaux unit Rachael Glassman unit assts Gabriel Abreu, Kane Walker cast Te Aho Eketone-Whitu, Annemieke Van Gent, Tearuru Patia, Nathaniel Lees, Richard Whiteside, Holly Hornell, Andrew Bennett, Challot Elliot, Noosan Paku

in release BILLY T: TE MOVIE 90min feature prod co BTJ Movie prods Tom Parkinson, Robert Boyd-Bell dir Ian Mune writers Ian Mune, Phil Gifford prod mgr Liz DiFiore prod asst Rachel Choy prod runner Bronwyn Davey 1AD Neil James add AD Leighton Cardno prtcpnt coords Sarah Banasiak, Angela da Silva kaitiaki Tearepa Kahi rsrchr Dianne Lindesay pub Sue May snd rec Dick Reade, Colleen Brennan snd asst Will Reece prod des Rob Gillies props Paul Dulieu DP Waka Attewell 1st AC Mike Knudsen 2nd Ac/vid splt Kim Thomas vid splt/data wrangler Oliver Cross gaffer/grip Mathew Harte lx/ grip assts Roko Babich, Jeremy Garland, Christian Dunn, Ewan Hall, Paul Eversden, Sean Loftin lx/grip interns Richard Schofield, Josh Finnigan rigging/dolly grip Jim Rowe dolly grip Kevin Donovan greens Robbie Penny greens asst Josh Penny cost des Gavin McLean casting Christina Asher loc/unit Ronnie Hape, Nicki Tremaine unit asst Rachael Bristow continuity Madeline Cooper key m/up Susie Glass m/u asst Tamara Eyre safety Karl Koller, Jeff Hale, Chris Griggs acct Len Tenorio stills Geoff Short epk cam op/ed Cristobal Araus Lobos cmpsr Bernie Allen post prod Images & Sound ed Margot Francis asst ed Nicki Dryer post prod sups Grant Baker, Toby Parkinson

Production listings THE DEVIL’S ROCK Feature WWII Horror prod co The Devil’s Rock Ltd dir Paul Campion prod Leanne Saunders writer Paul Finch, Paul Campion, Brett Ihaka asso prod Richard Matthews script consult Kathryn Burnett Mäori consult Tainui Stephens kaumatua Rangimoana Taylor line prod Melissa Dodds prod coord Tom Kelly prod asst Bonny Crayford post-prod asst Teone Taare Te Tuakana prod acct Lyndsay Wilcox legal/ bus affairs Matt Emery, Emery Legal casting dir Mike Dwyer, Barefoot Casting DP Rob Marsh cam op Ulric Raymond 1AC camA Phil Smith 2AC camA Joe Michael 1AC camB Angus Ward, Matt Tuffin 2AC camB Martin Lang, Kim Thomas cam trainee Jared O’Neale 1AD sched Dave Norris 1AD Richard Matthews 2AD Kendall Finlayson 3AD Jonny Eagle casual AD Jules Lovelock prod des Mary Pike art dir Zoe Wilson constr mgr Colin Davidson constr Paul McInnes constr assts Adam Crighton, Joseph Auslander, Bruce Campbell stndby prps Richard Thurston ld prps maker Ben Price prps maker Alex Falkner lead set dec Laki Laban set dec Nathan Gray set paintrs Dordi Moen, Shari Finn paint hand Fraser Anderson art dept assts Lindsey Crummett, Taipua Adams gfx des Pete Wellington illustr Les Edwards title/end cred des Krystian Morgan art dept asst Lyndsay Crummet kayak constr Peter Notman arm Hamish Bruce cost sup Tristan McCallum cost stby Paul Hambleton, Coco Miles UK cost consult Josie Thomas m/up des Davina Lamont m/up art Deb Watson Dara Wakely m/up asst Hayley Ness m/up sfx Sean Foot on set prosth techs Dordi Moen, Jade Jollie prosth tech Don Brooker, Brian Stendebach weta wkshp des & fx sup Richard Taylor weta wkshp prosth tech Jason Docherty, Frances Hawker weta wkshp sculpt Sean Foot, Gary Hunt weta wkshp prosth painter Dordi Moen weta wkshp prod coord Danielle Prestidge weta wkshp sup Rob Gillies script sup Pete Wellington snd rec Nic McGowan boom op Joel Anscombe Smith snd trainee Nick Tapp gaffer Adrian ‘Wookie’ Hebron key grip Byron Sparrow lx asst Chris Murphy casual lx asst Andy Ayrton, Simon Oliver, Mark Newnham, Ben Thurston, Hayden Rowe gripB Maurice “Moose” Kapua add grip Graeme Tuckett gene op Hansel Verkerk stunt coord Augie Davis safety coord Andy Buckley safety off Richard Thurston add safety Conrad Hawkins vfx Ohu FX lead comp Frank Reuter, Jake Lee comp Scott Chambers Storm Gezentsvey, Melissa Goddard, Juan Pablo Lampe matte paint Felicity Moore, Yvonne Muinde matte paint Mattepainting UK matte paint sup Max Dennison 3d model/text paint Richard Chasemore add 3d models Malcolm Tween, Rob Farnworth loc mgr Peter Tonks unit mgr Gabe Page unit asst Hamish McDonald-Bates AD/unit assts Kura Scott, Claire Watson, Brendan Schenk catering Billionaires Catering security sup Kevin Magill add security Recon Security, Mark Matchett, Kevin Armstrong, Avele “Val” Moreli stills Gareth Moon add stills Matt Mueller, Roger Wong add stills “demon” Steve Unwin ed Jeff Hurrell ed asst Wes Thorpe, Hunter Abbey digital intermediate Park Road Post Production hd digital intermediate David Hollingsworth post-prod Tracey Brown online ed Rob Gordon colourist Matthew Wear red extraction Anthony Pratt mastering deliverables Nina Kurzmann taperoom sup Victoria Chu projectionist Paul Harris epk Mike Roseingrave epk add Jed Soane, Mark Tantrum epk ed Hunter Abbey snd des James West, Lloyd Young post-prod snd trainee Jordan Muzio comp Andrea Posse ed facility Martin Square lab facility Park Road Post cam Rubber Monkey Rocket Rentals lx Gunmetal insurnc Crombie Lockwood int sales NZFilm NZ distrib Vendetta cast Craig Hall, Matt Sunderland, Gina Varela, Karlos Drinkwater, Luke Hawker, Jess Smith, Nick Dunbar, Hayden Green, Geraldine Brophy, Jonathan King

LIQUORTINE DREAM 8.30min short digital prod co Remnant Films writer/ dir Kelly Lyndon co prod Graeme Cash, Kelly Lyndon DP Allan George cam asst Matthew Gibson gaffer Isaiah Vaega conts Ben Cooney, Kevin Luck unit/mgr Jesse Crombie cmpsr Hal Smith Stevens art dir Kelly Lyndon sfx m/up Celeste Strewe m/up/hair Peta Winikerei w/robe Dress to Impress ed Nicholas Newton cast Neesha Poole, Grae Burton, Te Kaea Beri, Rugen Du Bray, Chelsea McEwan Millar

Television 2x60min HD docos prod co NHNZ (03 479 9799) for National Geographic Channel exec prod John Hyde prod Job Rustenhoven prod mgr Suzanne Lloyd dir Job Rustenhoven, Mike Bennet rsrchrs Marcus Turner, Michael Henriquez cams Adam Jones, Grant Atkinson snd Daniel Wardrop, Craig Mullis mus Leyton eds Owen Ferrier-Kerr, Jason Horner

Nick Fryer, Karl Koller studio mgr Karl Smith unit mgr Jason Sietu trans cap Aaron Gibson craft svce mgr Abby Jones craft svce b/boy Steve Brown bts arcvst Monique Kelly stills Matt Klitscher co prod Charles Knight post prod sup Kylie Harris post prod coords Margaux Peach, Alex Hammond post runner Toby Hutton eds Gary Hunt, Allanah Milne, Tom Eagles, Eric de Beus vfx sup Charlie McClellan vfx prod Romola Lang, Lucy Bowey vfx art dir Peter Baustaedter vfx concept art John Walters, Berrin Moody, Dudley Birch, Jean-Baptiste Verdier Michelle Fitz-William vfx eds Stephen McHardy, Anu Webster vfx onset sups Ben Colenso, Tim Capper vfx set coord Amanda Boock vfx set tech coord Karl Sheridan vfx asst ed Josh Bridgman vfx post coord Ryan Heel

SPARTACUS

THE ALMIGHTY JOHNSONS 2

pre PRODUCTION MEGAFACTORY

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 dirs Michael Hurst, Paul Grinder prod mgr Helen Urban prod coord Tim Judson asst prod coord Amber Lynch prod sec Meredith Black prod assts Alan Drum-Garcia, Tom Furniss, Olivia Marshall prod runners Chris Drake, Andy Brown prod acct Sherie Wikaira asst accts LissaMia Smith, Maya Abu-Mansour p/roll acct Alicia Lee acct assts Annie Baines, Clayton Smith dirs Annabel Lomas, Faith Martin cast drivers Andrew Burfield, Julie Gunson extras cast Anita Corcoran extras cast coord Danielle White extras cast asst Desiree Rose-Cheer dir ep1, ep6 Michael Hurst dir ep2, 7, 10 Jesse Warn dir ep3 Brendan Maher dir ep4 Mark Beesley dir ep5 Rick Jacobson dir ep8 Chris Martin Jones dir ep9 TJ Scott DPs John Cavill, Dave Garbett, Rob Marsh cam ops Peter McCaffrey, Ulric Raymond, Todd Bilton 1ACs Henry West, Blair Ihaka, Jonny Yarrell 2ACs Alex Glucina, Dave Hammond, Gray Turner, Neal Wagstaff digi ops Chris Lucas, Ashley Thomas 1ADs Axel Paton, Hamish Gough, Luke Robinson 2ADs Rachael Boggs, Katie Tate, Patrick O’Connor 2nd 2ADs Aimee Robertson, Sarah Rose 3ADs Ngaire Woods, Stuart Morrice, Lynn Hargreaves, Tref Turner, Elaine Te sup art dirs Nick Bassett, Mark Grenfell, George Hamilton, Mike Becroft asst art dir Nick Connor set des Helen Strevens constr mgr Murray Sweetman lead hnd Graham Harris, Frazer Harvey hd scnic art Paul Radford scnic painter Laurie Meleisea hd plasterer Zane Grey art dept coord Anna Graves prps master Rob Bavin set dec Daniel Birt set drssr Gareth Mills set drssr asst Angus Kerr lead fab Hamish Wain lead text Sarah Bailey Harper text Patricia Dennis prps/ byr Tasha Lang props asst Henric Matthiesen sec dec fab Neil Laffoley stby prps Tom Holden, Simon Hall stby prps asst Taya Polkinghorne art runner Phil Moore art asst Holly McIvor horse master Wayne McCormack prps/pros des Roger Murray cost des Lesley Burkes-Harding cost sup Alice Baker asst cost des Olivia Dobson key stbys Barbara Pinn, Joan Wilson, Aleisha Hall stby Anna Voon, Naomi Campbell, Amanda Jelicich-Kane key backgrnd stby Jess Neff backgrnd stby Amethyst Parker cost byr Sara Beale wkrm sup Marion Olsen jeweller Emma Shakes key cost props Natalie McAndrews, Sally Maingay cost runner Crystel Tottenham m/up /hair des Denise Kum m/up /hair sup Vinnie Smith onset m/up /hair sup Susie Glass, Claire Rutledge, Lauren Steward, Natasha Lees m/up /hair art Kath Rayner, Hayley Atherton, Aly Williams, Rachel Beedell, Natalie Vincetich, Jacqui Leung m/ up pros art Shay Lawrence m/up /hair dept coord Jasmine Papprill bkgrnd m/up /hair Kyra Dawkins, Carmen Te Moananui m/up /hair asst Tamara Eyre, Vee Guliver, Kendall Ferguson strybd Ed Butler script sups Di Moffatt, Monique Knight, Guy Strachan gaffers Tony Blackwood, John Enright b/boys lx Tane Kingan, Luke Macready, Marcus Upton gene ops Kimberly Porter, Aidan Sanders lx assts Vanessa Cotterill, John Paul McDonnell key grip Kayne Asher dolly grips Miles Murphy, Carl Venimore rig grip Jared Edley b/boy grips Peter Cleveland, Andy South crane op Daimon Wright grip assts Te Ra Tehei, Aaron Lewis, Solomon Dalton snd mix Dave Madigan, Fred Enholmer boom op Chris O’Shea snd utility Sandy Wakefield key stunt coord Stuart Thorp stunt coord Clint Elvy, Shane Dawson asst stunt coord Ryan Carey stunt dept coord Erika Takacs sfx sup Brendon Durey sfx snr techs Sven Harens, Steve Yardley, Tim Christiansen sfx tech Brin Compton sfx asst Rowan Tweed safety Willy Heatley,

Series 2 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey, James Griffin prod Simon Bennett line prods Tina Archibald, Sally Campbell writers James Griffin, Tim Balme, Ross Hastings, Fiona Samuels, Tiffany Zehnal prod mgr Jo Tagg co prod Mariya Nakova prod sec Tim Burnell script coord Rachael McMahon prod run Olivier Campana acct Elisha Calvert asst acct Sheree Silver 1ADs Gene Keelan, Craig Wilson, Shane Warren 2ADs Kate Hargreaves, Kylie McCaw script sups Lisa Cook, Gabrielle Lynch loc mgr Benny Tatton loc asst Rick Waite unit mgr Amy Russo DP Marty Smith cam op Ollie Jones f/puller Bradley Willemse cam asst Fiona Young gaffer Nare Mato b/boy Jason Kerekere gen op Trent Rapana key grip Gary Illingworth grip asst Conrad Hoskins snd rec Myk Farmer boom op Nikora Edwards prod des Tracey Collins art coord Jenny Morgan set dec Milton Candish art dirs Davin Voot, Matt Cornelius set dec assts Angela Durbin, Setu Lio s/by assts Nick Williams, Ollie Southwell prop buy Kiri Rainey art asst Tom Willis art run Leah Mizrahi constuct mgr Nik Novis cost des Katrina Hodge cost co Rewa Lewis cost buy Sally-Ann Mullin cost dress Petra Verweij cost s/bys Ylona McGinity, Hannah Woods m/up des Kevin Dufty m/ up arts Jacqui Leung, Jo Fountain, Hannah Barber stunt co Mark Harris catering Rock Salt Catering cast dir Annabel Lomas safety Lifeguard & Safety eds Bryan Shaw, Eric De Beus, Nicola Smith asst ed Gwen Norcliffe post prod sup Grant Baker post prod snd Steve Finnigan vfx Peter McCully comps Victoria Kelly, Sean Donnelly pub Tamar Munch pub asst Lucy Ewen stills Jae Frew cast Emmett Skilton, Tim Balme, Dean O’Gorman, Jared Turner, Ben Barrington, Keisha Castle-Hughes, Hayden Frost, Fern Sutherland, Rachel Nash, Michelle Langstone, Eve Gordon

THE FONTERRA SHOUT 120min prod co TVNZ Production Unit exec prod Tina McLaren prod Gavin Wood line prod Gilly Tyler prod mgr Terri MacFarlane res Nix Jaques field dir Mina Mathieson dir Rob McLaughlin

IN PRODUCTION ASIA DOWN UNDER 40x29min prod co Asia Vision prod Chris Wright asso prod Glenna Casalme prod mgr Elaine Parker prod asst Nathalie Chang reporters Bharat Jamnadas, Milda Emza, Kadambari Gladding, Stephen Chu reporter Geraldine Ramirez cam op Dave Flynn ed Charlotte Wanhill audio post Envy Studios

ATTITUDE - 7 40x29min disability focused docos prod co Attitude Pictures prod Robyn Scott-Vincent dirs Emma Calveley, Magdalena Laas, Gemma Murcott Ward, Richard Riddiford, Wendy Colville prod mgr Sue Wales-Earl prod trainees Brent Gundesen, Daniel Wrinch prod acct Jane Cotter rsrch Tanya Black, Dan Buckingham, Ann-Marie Quinn, Gemma Murcott Ward 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

BRING YOUR BOOTS OZ – SERIES TWO 13x26min factual/entertainment prod co Notable Pictures prod Julia Parnell dirs Dane Giraud, Ihakara

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Wilson pres Glen Osborne writers Dane Giraud, Ihakara Wilson DP Richard Harling cam op Lisa Moore snd op Cameron Lenart eds Tim Grocott, Yan Chengye prod mgr Zanna Gillespie

BUILT FOR THE KILL 4x60min doc prod co NHNZ co prod Nat Geo Wild exec prod Phil Fairclough series prod Ian McGee post prods Lemuel Lyes, Jacqui Crawford eds Jason Lindsey, Jason Horner, Thomas Gleeson archive prod Lemuel Lyes archive asst Steve Ting media mgr Wayne Biggs rsrchr Nigel Dunstone prod mgr Glenda Norris

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

COUNTRY CALENDAR 2011 26x30min rural NZ lifestyles prod co TVNZ exec prod Tina McLaren prods Julian O’Brien, Dan Henry, Frank Torley prod mgr Robyn Best dir/reps Jerome Cvitanovich, Carol Archie, Kerryanne Evans, Katherine Edmond, Dan Henry res Vivienne Jeffs

DESCENT FROM DISASTER 6x60mins prod co Screentime exec prod Philly de Lacey dirs Ross Peebles, Mary Durham, Bryn Evans, Rupert McKenzie prod Ross Peebles prod mgr Carolyn Harper

GO GIRLS 4 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Gavin Strawhan, Rachel Lang prods Chris Bailey, Britta Johnstone line prod Sharron Jackson s/liners Gavin Strawhan, Rachel Lang, Kate McDermott, Alistair Boroughs, Sam Shore, Laura Hill writers Gavin Strawhan, Rachel Lang, Kate McDermott prod mgr Linda Fenwick prod coord Kate Olive asst prod coord Sylvia Guerra script/extras coord Sarah Banasiak runner Roan Lewisham prod acct Susie Butler asst acct Natalie Millerchen dirs Murray Keane, Michael Duignan, John Laing, Britta Johnstone script sups Lisa Cook, Aria Harrison, Kat Phyn prod des Gary Mackay art dept coord Karen Mackay art dirs Paul Murphy, Emily Harris s/by props Owen Ashton, Craig Wilson prps/ byr Jo Larkin gfx Sarah Dunn art dept asst Anna Rowsell, James Rennie set dec Angeline Loo set dec asst Jacinta Gibson constr mgr Chris Halligan cost des Sarah Voon cost coord Sarah Jones cost byr Shona Lee cos s/bys Sarah Aldridge, Ciara Dickens, Lee Foreman s/by assts/jr byrs Alex Carter, Ruth England drssr Cecilie Bridgford m/up des’s Vanessa Hurley, Stefan Knight m/up/hair art Shannon Sinton m/up/hair art Ana Au Kuoi 1st ADs Sarah Miln, Mark Harlen, Sophie Calver 2nd ADs Katrien Lemmens, Sophie Calver, Michelle Sowman 3rd AD Esther Clewlow DPs DJ Stipsen, Dave Cameron cam op Dana Little f/pullers Sam Mathews, Lee Allison cam asst Sam Fraser cam trnee Aleisha Frazer gaffer John Bell b/boy Chris McAllister gene op Christian Dunn lx asst Ewan Hall key grip Tommy Park asst grip Jeremy Osborn trnee grip TeOranga Witehira snd rec Richard Flynn boom op Matt Cuirc snd asst Adnan Taumoepeau loc mgr Charlotte Gardner loc coord Eddy Fifield loc asst Nina Bartlett eds Bryan Shaw, Jochen Fitzherbert, Brough Johnson, Allanah Milne asst ed Kerri Roggio casting Christina Asher cmpsr Jonathan Bree post prod Images & Sound pub Tamar Munch pub coord Lucy Ewen safety Willy Heatley, Bryce Pearce catering Rock Salt stills Jae Frew, Caren Hastings, Matt Klitscher stunts Mark Harris unit Ben Dun unit asst Josh Dun swing driver cptn Ben Dun cast Jay Ryan, Anna Hutchison, Alix Bushnell, Bronwyn Turei, Esther Stephens, Matt Whelan, Brittany Wakelin, Ingrid Park, Annie Whittle, Leighton Cardno, Michele Hine, Johnny Barker, Roy Snow, Arthur Meek, John Tui, Jon Brazier, Dan Musgrove, Laura Hill

GOOD MORNING 2011 prod co TVNZ Prod Unit exec prod Tina McLaren prod Sally-Anne Kerr line up prod Melanie Phipps script eds Mary-Lou Harris, Simon Ragoonanan dirs Jim Curry, Alan Henderson, Mark Owers dir asst Samantha Fisher prod mgr Dawn Aronie prod asst Ness Simons spcl projs Marcus Hamilton rsrchrs

The 2011 Data Book is now available. BUY YOUR COPY TODAY for just $25 + GST www.onfilm.co.nz

october 2011

29

Production listings

Andrew Wood, Georgia Stephens, Erina Ellis, Laura Bootham, Sally Page, Gabrielle Paringatai-Lemisio rsrchr asst Liana McPherson sponsorship mgr Merril Thompson adv prod Amber Smith adv prod mgr Donah Bowers-Fleming adv dir Rachael Hennessey adv prod asst Julia Lynch

MANA MAMAU

13x30min current affairs prod co TVNZ prod unit TVNZ n/work exec Philippa Mossman exec prod Tina McLaren prod/pres Damian Christie ed Brian Mead prod mgr Stewart Jones

40x26min brdcst Maori TV prod co Buto Productions exec prod Glenn Elliott n/work exec Melissa Wikaire asso prod Karen Bunting prod mgr Anna von Tunzelamann prod cam ops Greg Parker, Jake Mokomoko, Guy Quartermain, Ollie Logan dir Rangi Rangitukunoa snd Cameron Lenart, Tom Dreaver prod assts Maria Hendrischke, Sean Buckley, Rachel Jury presenters Tumamao Harawira, Patara Berryman IPW crew Nathan Fenwick, Daniel Burnell eds Calkin Rameka, Janice Mulligan asst ed Samuel Rodgers Te Reo cons Scott Morrison

HISTORY UNDER THE HAMMER

MOTORWAY PATROL

HINDSIGHT SEASON 2

prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Peacocke line prod Kylie Henderson rsrchr Alex Reed fund PRIME / NZOA

HOMAI TE PAKIPAKI 20x90min Heats, 2x90min Semi-finals, 1x2hr Grand Final. Live, interactive, karaoke prod Erina Tamepo pres Matai Smith asso prods Piripi Menary, Michele Bristow dir Greg Mayor prod mgr Shirley Allan set des Coylehall net exec Carol Hirschfeld snr prod mgr Sandra Richmond

ICE CAPTAIN

90min feature prod cos Making Movies, Gebrueder Beetz prods James Heyward, Andy Salek line prod Liz DiFiore writers James Heyward, Leanne Pooley dir Leanne Pooley dir asst Kelly Krieg prods pa Katie Bolt 1AD Hamish Gough 2AD Katie Tate prod assts Ellie Callahan, Rachel Choy prod intern Lisa Brown prod runners Jasmine Rogers-Scott, 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 asst Kim Thomas vid splt/data intern Leigh Elford 2nd unit DP John Cavill 2nd unit ac George Hennah 2nd unit 2nd ac Meg Perrot cont Rachel Choy gaffer Thad Lawrence b/boy Tony Slack lx assts Merlin Wilford, Gilly Lawrence, Steven Renwick, Ben Corlette, Sam Jellie key grip Kevin Donovan b/boy grip Chris Rawiri grip assts Winnie Harris, Chris Tait grip trainee Sam Donovan spfx Film Effects Company Ltd spfx sup Jason Durey spfx office co-ord 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 asst Charlotte Turner m/up des Davina Lamont m/ up arts Michele Barber, Tash Lees, Hayley Oliver safety coords Scene Safe Chris Griggs, Sam Armitage nautical adv Kevin Donovan unit mgr Sam 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 cast Craig Parker, Charles Pierard, Hugh Barnard

INSIDE TATTOOING

44min doco brdcst TV3 prod co Buto Productions exec prod Glenn Elliott prod/dir Glenn Elliott prod Karen Bunting DP Greg Parker prod mgr Anna von Tunzelmann snd Cameron Lenart ed Niki Hiini TV3 commissioner Sue Woodfield

I SURVIVED 4 (#2) 10x60min HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec i/c of prod Michael Stedman series prod Alan Hall prod mgr Dayle Spavins rsrchrs Marina De Lima, Stephanie Antosca, Bridget Baylin, Jonathan Zurer, Peter Holmes, Brant Backlund, Amy Tenowich dir Sally Howell DP Kris Denton prod coord Dwayne Fowler post dirs Jacqui Crawford, Bill Morris, Peter Holmes offline eds Chris Tegg, Jack Woon, Jeff Avery

I SURVIVED… BEYOND AND BACK 10x60min HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec i/c of prod Andrew Waterworth exec prod Judith Curran series prod Janice Finn prod mgr Robyn Pearson rsrchrs Nadia Izakson, Becky Beamer, Alissa Collins Latensa, Kelly Meade dir Judith Curran, Lauren Thompson DP Alex Hubert, Eric Billman cam 2 Lindsey Davidson prod coord Supriya Vasanth post dirs Craig Gaudion, Kelly Meade, Jane Adcroft, Libby Young offline eds Cameron Crawford, Marilyn Copland, Karen Jackson, Sandy Pantall

30

october 2011

prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Fraser prod mgr Rebeca Plaistow prod coord Simone Faets fund TVNZ

NEIGHBOURS AT WAR prod co Greenstone Pictures ho prod Andrea Lamb exec prod Sophie Dungate asst prod Kathryn McMillan dir Lee Baker rsrchr Katrina Inkster prod mgr Rebecca Plaistow prod asst Rochelle Leef fund TVNZ

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 2011 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 Pictures ho prod Andrea Lamb prods Simone Goulding, Anna Lynch prod mgr Laura Peters fund TVNZ

RURAL DELIVERY 7 40x30mins weekly prod co Showdown Productions exec prod Kirsty Cooper prod Tracy Mika line prod Emma Slade dir Jerome Cvitanovich, Kirsty Cooper prod mgr Iris Derks prod coord Barbie Nodwell prod asst Andrea de Klerk DP Richard Williams rsrchrs Richard Bentley, Jerome Cvitanovich, Hugh Stringleman, Marie Taylor ed Christine Jordan presenter Roger Bourne

SCU – SERIOUS CRASH UNIT prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Fraser line prod Kylie Henderson prod asst Rochelle Leef fund TVNZ

SHORTLAND STREET 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, Laurence Wilson trainee dir Oliver Driver script prod Paul Sonne s/ liner/story ed Paul Hagan s/liners Kirsty McKenzie, Alistair Boroughs, Caley Martin, Joanna Smith, Damon Andrews, Aimee Beatson med adv Sally Geary, Tamah Mclean script eds Lynette Crawford-Williams, Karen Curtis script eds asst Nina Vlahovic prod coord Kinta Jennings prod sec Kylie Newman script typ Casey Whelan, Eva Yang prod acct Diane Boddy acct asst Stephanie Dahlberg loc mgr Bryce Wood 1ADs Michele Priest-Edmondson, Moe Hobbs, Flora Woods, Jimmy Scott 2ADs Francis Koon, Katie Dallimore 3AD Cat Henshall prod runner 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 Sturge loc gaffer Drew Wright cam ops Sheree Swale, Nigel Roberts, Rayner Cook, Nick Hayward cam asst Daniel Lacy snd rec Greg Moon boom ops Andrew Revell, Andrew Lusk prod des Ana Miskell art dirs Sophie Guthrie, Ross Goffin, Andy Currie, Natalie Tsuchiya art dept mgr Liz Thompson-Nevitt stby prps Scott McDowall, Logan Childs art dept assts Brooke Darlison, Jessica Leijh gfx coords Alex Kriechbaum, Sarah Dunn cost des Nicola Newman asst cost des Rebecca Jennings cost standbys Katie Jones, Kelly Marumaru, Keri Wheeler cost asst Rowena Smith laundry asst Jan Beacham hair/m/up sup Rebecca Elliott m/up Ambika Venkataiah, Katie Fell, Sophie Beddoes ed Anna Benedikter jnr ed Matthew Allison online ed Dylan Reeve snd mix Neil Newcombe snd eds Margaret Newcombe, Ora Simpson cast dirs Andrea Kelland post prod sup Sara Knight pub Rachael Keereweer pub asst Chris Henry dialogue coach Shirley Duke asst chaperone Kate Lumb comp Graham Bollard

www.onfilm.co.nz

p/grphr Jae Frew caterer Rock Salt cast Michael Galvin, Angela Bloomfield, Amanda Billing, Robbie Magasiva, Benjamin Mitchell, Peter Mochrie, Lee Donoghue, Matt Chamberlain, Beth Allen, Sally Martin, Jacqueline Nairn, Ido Drent, Pearl McGlashan, Natalie Medlock, Geordie Holibar, Frankie Adams, Virginie Le Brun, Tyler Read, Amelia Reid, Teuila Blakely

THE ART OF ARCHITECT 44min prod co TVNZ Production Unit exec prod Tina McLaren prod Dana Youngman prod mgr/ prod acct Deb Cope dir Dean Cornish pres Peter Elliott sen rsrchr Sue Donald rschr Sue Killian ed Doug Dillaman

THE COURT REPORT 3

comp dirs Summer Wharekawa, Jo Tuapawa pres/ dir Huria Chapman pres Whatanui Flavell reo con Hohepa Ramanui dirs Kent Briggs, Kewana Duncan, Dan Mace, Lilly Panapa, Paora Ratahi, Tui Ruwhiu, Orlando Stewart, Jan Wharekawa, Lanita Ririnui-Ryan, Ngatapa Black, Mahanga Pihama, Jo Tuapawa trnee dir Monowai Panoho cam ops Samarah Wilson, Greg Parker, Daniel Apiata, Te Rangi Henderson post prod RPM Pictures ed Charlotte Wanhill comp ed Jason Pengelly illus Zak Waipara snd post prod/anim Phill Woollams comps Joel Haines, Ngatapa Black

MEET THE LOCALS CONSERVATION WEEK SPECIAL 2011

18x30min TVNZ7 prod co Gibson Group exec prod Gary Scott prod Sofia Wenborn pres Greg King cam/ snd TVNZ Avalon n/wrk Philippa Mossman

20x4min family wildlife series prod co TVNZ prod unit TVNZ n/work exec Philippa Mossman exec prod Tina McLaren prod mgr Stewart Jones pres James Reardon, Lesley Judd

THE ERIN SIMPSON SHOW

NZ DETECTIVES SERIES 2

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 MorrellGunn n/work exec Kathryn Graham

3x45min doco prod co Gibson Group prod Alex Clark exec prod Gary Scott dir Dan Henry ed Paul Sutorius gfx John Strang, Wayne Biggs, Simon Burgin online ed/colourist Adam Sondej cmpsr Stephen Gallagher snd post prod Phil Burton n/wrk exec Jude Callen n/wrk TVNZ

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

UNSUNG HEROES prod co Greenstone Pictures exec prod Cass Avery prods Bridgid Davis, Saffron Jackson prod mgr Jani Alexander rsrchr Kirsten Warner prod asst Siobhan Kelly fund TVNZ/NZOA

VOLUNTEER POWER Family community prod co TVNZ prod unit TVNZ n/work exec Philippa Mossman exec prod Tina McLaren prod/dir Julia Leonard prod mgr JanMarie Nicolai ed Chris Anderton pres Jim Mora, Julia Bloore

WHAT NOW 120min weekly live kids show pres Gem Knight, Adam Parcival, Ronnie Taulafo, Johnson Raela eds Michelle Bradford, Tyler King audio post Whitebait Facilities, Vahid Qualls, Dave Cooper props Warren Best, Scott Chapman w/robe Wilma Van Hellemond stylist Lee Hogsden prod asst Rebecca Myers prod coord Joshua Pollard gfx des Harold Kho, Yosef Selim, Aaron Dekker rsrch Rebecca Browning writers Andrew Gunn, Jeff Clark dirs asst Jenny Murray post prod dir Bronwyn Williams prod mgr Sharyn Mattison studio dir Kerry Du Pont creative prod Jason Gunn asso prod Josh Wolfe prod Reuben Davidson exec prod Janine Morrell-Gunn n/work exec Kathryn Graham

WHAT WOULD YOU DO? 6x30min reality prod co TVNZ prod unit TVNZ n/ work exec Tony Manson exec prod Tina McLaren prod Gavin Wood prod mgr Terri MacFarlane prod coord Nicola Smith

POST PRODUCTION AERIAL ASSASSINS 1x60min HD doco prod co NHNZ co prod National Geographic Channel & Nat Geo Wild exec prod John Hyde host James Currie prod/dir/cam Giles Pike cam Max Quinn prod mgr Christina Gerrie rsrchrs Marcus Turner, Michael Henriquez ed Christopher Tegg mus Leyton post prod snd Errol Samuelson

INNOVATION STORIES 14 eps TVNZ7 prod co Gibson Group prod Gary Scott res Emily McDowell prod mgr Ali Black dirs Emily McDowell, Dan Salmon cams David Paul, Bed Freedman, Matt Knight ed Ben Powdrell n/wrk Philippa Mossman

MĪHARO 6 50x26min Māori language, educational series prod co Tūmanako Productions exec prod Kay Ellmers prod Kim Muriwai prod mgr Moana-Aroha Henry prod coord/art/res Casey Kaa prod asst Miria Flavell res/

OPERATION HERO 10x30min children’s factual entertainment prod co Gibson Group exec prod Dave Gibson prod Bevin Linkhorn dirs Dan Henry, Michael Huddleston edit Ben Powdrell gfx Tim Gibson online ed/colourist Adam Sondej cmpsr Stephen Gallagher snd post prod Phil Burton n/wrk exec Kathryn Graham n/ wrk TVNZ

PRIMEVAL NEW ZEALAND 1x60min HD doco prod co NHNZ exec prod Judith Curran prod/ed Celia Offwood host Peter Elliott cam Max Quinn rsrchrs Brant Backlund, Steve Ting prod mgr Christina Gerrie post prod snd Stacey Hertnon

SHACKLETON’S CAPTAIN 85min feature prod cos Making Movies, Gebrueder Beetz networks 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

TANGAROA WITH PIO SERIES 7 26x26min fishing/lifestyle b/caster Mäori TV prod co AKA Productions 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 gfx Lettica Shelford prod acct Lee Ann Hasson prod mgr Karen Sidney prod asst Lettica Shelford n/wrk execs Reikura Kahi, Melissa Wikaire

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